Word: uncut
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...courageously mounted an uncut production in 1969 and was lucky enough to enlist the services of that splendid classical actor Brian Bedford. Bedford delivered his lines rapidly, as was done in Shakespeare's day, so that the running-time was only three hours and a half. He acted, as Shaw advocated, on the lines, rather than between the lines, as the most famous American Hamlet, John Barrymore, was wont to do. (Uncut productions are exceedingly rare. In Britain, Frank Benson did it first, in 1899. Gielgud and Guinness acted the full text in the decade before World...
First, Coe has settled on a running-time of two and three-quarters hours (plus intermission), which means that the text had to be cut. That is pretty standard these days, since directors generally assume that audiences will not sit through an uncut text (unless it's written by Eugene O'Neill). But Coe has cut more than usual here. To what end? Well, instead of letting Henry IV speak his opening lines, Coes has the King sit in silent thought while we hear a taped chunk of Richard II played on a loudspeaker with a hideous echo track...
John Nelson, 40, of the Indianapolis Symphony Orchestra. Formerly a choral conductor, Nelson has an easy, fluent way with some of the grandest pieces in the repertory, like the Berlioz Requiem. He first came to attention when he organized an uncut performance of Berlioz's sprawling opera Les Troyens at Carnegie Hall in 1972 and then conducted the work the following year at the Met. An imaginative programmer, he has championed offbeat works like Shostakovich's Symphony No. 15, the composer's enigmatic symphonic valedictory...
...violinist father and cellist mother play chamber music regularly as half of the Hollywood String Quartet. Slatkin on the podium maintains tight control over his orchestra; his performances are marked by precision and a command of musical architecture that permits him to bring off unwieldly pieces like Rachmaninoffs uncut Second Symphony...
...serves Shakespeare with feudal valor ("We've done it, Will, we've done it"). As for Courtenay's Norman, as his voice echoes sepulchers and his hands etch the air with images of touching vulnerability, he opens the book of acting to a previously uncut page. -By T.E. Kalem