Word: weaverization
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...parts of Henry IV thus concern themselves with the failure of one king, and the development of another. In these productions, the excellence of Fritz Weaver as Henry and Edwin Sherin's more than competent Prince Hall combine with Eric Berry's somewhat unsatisfactory Falstaff to show the plays in this light despite the missing context of the two other plays...
...Weaver's King has a sombre majesty of such impressiveness that when Douglas says "I fear thou art another counterfeit;/And yet, in faith, thou bearest thee like a king," we nod in inward and compelled assent. His face bears the signs of his shaken age, "wan with care," and there is a poignancy to his recurring mention of his desire to embark on a Crusade that becomes near unbearable when the dying King asks to be carried to the Jerusalem Chamber: It hath been prophesied to me many years I should not die but in Jerusalem, Which vainly...
...Weaver uses his hands as intelligently and skillfully as he does his face and voice. It is in their taut anguish that we perceive his double burden of worry about his kingdom and his son and it is the slow pounding with clenched fist that tells us what his apoplexy means to him, dying still worried about Hal's fitness for the throne. His performance moves me to hope, as Caldwell Titcomb did last week after Carnovsky's Prospero, that Weaver will have a chance to play Lear...
Edwin Sherin's Prince Hai does not reach the heights of Weaver's performance, but then, the role hardly permits it. His chief asset is a face that combines an appealing boyishness with intelligent solemnity, the latter growing as the plays progress. He moves well and his voice handles verse cleanly and expressively. Particularly impressive in the tavern scenes, where he manages to retain his stature as Prince and heir to the throne even in the Boar's Head atmosphere, he excels in Henry's death scene, where he matches Weaver's virtuosity...
...years past, there had been 14,500 different tones of wool for the weaver to choose from. Lurçat cut the cumbersome number down to 41 kinds of wool and 13 colors. Unlike most other designers, he does not bother with small preliminary sketches, but attacks the work directly. "Like a surgeon approaching a delicate brain operation," says he, "I have it all in mind." It takes a skilled weaver about a month to produce one square yard of tapestry, which may sell for as much as $400-or, in Lurçat's case...