Word: thespianism
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...expert: actors. Sonny, 54, broke into Broadway as the understudy for Sidney Castleman (né Schlossberg), a much bellied matinee idol 20 years his senior. Now the worm has turned. Castleman is on the skids, sponging off Sonny while sneering at him as a "mechanical rabbit," a thespian technocrat devoid of true passion. To top it all, Castleman involves Sonny in a gang war between black hoodlums and a Polish mobster. But Sonny simply loves the old gaffer all the more...
...night's performance. A reviewer needs to see these things, not to encourage a more lax critical standard (theater people are generally among the most demanding play-goers at Harvard), but to encourage a better, different standard. If The Crimson wants to rescue its reputation for the fires of thespian damnation, maybe its editors should give reviewers some on the job training. Who knows? It certainly couldn't hurt...
...recognition of his Thespian talents, he was more or less seriously offered a leading role in the Broadway production of Sleuth; but he plans to stick to politics despite his disastrous showing in last year's presidential primaries, after he switched from Republican to Democrat. Now 51, he may run for Governor against his archfoe Nelson Rockefeller in 1974, or he may wait until 1976 to challenge Conservative-Republican Senator James Buckley. By then, he can only hope that New Yorkers will have forgotten how much they disliked him as a mayor...
George A. Weller '29 is the oldest Crimson editor with a Pulitzer. While an undergraduate, Weller divided his time between being Editorial Chairman and his life as thespian. After graduation the stage called and Weller enrolled in the Max Reinhardt School in Vienna, and later became an actor in the Max Reinhardt Theater...
Director Capobianco's inventions are infinitely more than acceptable for the oldest reason known to show business: they work. Given the incomparable team of Treigle and Sills, he has the added advantage of dealing from strength. Sills is in superb voice and thespian mien, as usual. She somehow manages, for instance, to make the viewer simultaneously amused by and sorry for the doll Olympia. Wind her up, and oh, how she warbles-even standing on one foot. Take her hand too passionately, and oh, how she runs away...