Word: tharon
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Dates: during 1960-1969
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...outset, Androcles' name in Greek-alphabet capitals hovers over the stage. A yellow scrim hangs in front, with sunflowers traced on it. As Tharon Musser's lighting changes, suggestions of a lion's head appear; and shortly some slinky jazz with a perky clarinet over a tonic-dominant ostinato ushers in the Lion (Ted Graeber) with a lioness (Jane Farnol). The two animals perform a semidance pantomime, until the Lion gets rid of his partner. Shaw's script calls for no lioness, but this seems a quite acceptable bit of directorial padding. When alone, the Lion does some pushups, indulges...
...just been torn by civil war, and the stage is punctuated by four enormous red columns, all but one of which are badly cracked and chipped. Surrounding them, therefore, is a network of metal scaffolding, parts of which later fold in to Antigone's prison cell. This and Tharon Musser's fluid lighting allow the show to proceed for two hours straight through, as Anouilh intended, without intermission...
...Tharon Musser has provided lovely lambent lighting, though its technical execution is distractingly jerky. At one point, taking a cue from Titania's words--"The moon methinks looks with a wat'ry eye;/ And when she weeps, weeps every little flower"--she has all the pendent vegetation come alive with tiny lachrymal lights, while the fairies march out carrying hand torches. A beautiful way to end the show's first half...
...Tharon Musser has provided lovely lambent lighting, though its technical execution is distractingly jerky. At one point, taking a cue from Titania's words--"The moon methinks looks with a wat'ry eye;/ And when she weeps, weeps every little flower"--she has all the pendent vegetation come alive with tiny lachrymal lights, while the fairies march out carrying hand torches. A beautiful way to end the show's first half...
Conrad Susa's incidental music is mostly just a series of sound effects. When Caesar's ghost appears to Brutus, Tharon Musser's eerie lighting makes it quite unnecessary to add the off-stage roll on the cymbal. And must we have another crude cymbal roll when Brutus runs on his sword? As a background to the aura of death at Philippi, Susa has also introduced on the harp an ostinato pattern from the Dies irae plainchant, which recalls the identical ostinato near the end of Rachmaninoff's tone-poem Isle of the Dead. At any rate, I suspect that...