Word: trojans
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Dates: during 1960-1969
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...hardly see the seam between the set and music and the rest of the show, so perfectly do they mesh. For Thomas Babe has forged a magnificent Trojan Women out of many disparate elements--Greek theatre, American language, rock and roll music...
Babe's adaptation adds the brass of the American idiom to Euripides' sterling verse, and every line rings true. His new version of Trojan Women is--from the brilliant sex metaphors of Cassandra's speech to Hecuba's point-by-point indictment of hypocrisy--incisive and beautiful dramatic poetry. It should be published...
What makes this Trojan Women such good tragedy is that it shows off passion without self-consciousness, and we extend our sympathy to meet it half way. It uses a passionate form of music, rock and roll, so naturally and so well that it may be that long-awaited theatrical millenium--a real rock and roll musical. Bradley Burg's score, which, when it is not playing off organ beeps against tympani thumps, is airing subtle and poignant melodies, may well be the best music he has written...
...life, and today it can still make us think and cry. Especially if it is put on the stage with skill and passion. Thomas Babe has embellished an ancient theme with the trappings of 1967, and the result is such a success that few of us who saw his Trojan Women will soon get over...
...turn of the century with Gide, who wrote stage pieces about Philoctetes, Prometheus, and Oedipus. Montherlant turn-to Pasipha*e, and Cocteau dramatized Antigone, Orpheus, and Oedipus. Claudel turned to Proteus, and did a version of Aeschylus' entire Orestes trilogy. Giraudoux turned to Amphitryon, Electra, and the Trojan War, while Sartre refashioned the Oresteia in his Les Mouches. As part of this movement, then, Anouilh wrote not only Antigone, but plays about Eurydice and Medea...