Word: witting
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...Afraid of Virginia Woolf?, by Edward Albee. Winner of the New York Drama Critics Circle award as the best play of the year, Virginia Woolf detonates a shattering three-act marital explosion that, for savage wit and skill, is unparalleled in the recent annals of the U.S. stage. As the embattled couple, Arthur Hill and Uta Hagen enact their roles with magnificent ferocity...
...Please-please, no more!" squealed Sweden's vivacious Princess Christina, 19, airborne 16 times as friends and classmates helped celebrate her graduation from the French School in Stockholm. Proud wit nesses to the traditional toss-up were Grandfather King Gustav, 80, bearing a bouquet and Mother Princess Sibylle, 55. Christina kissed them goodbye, jumped into a flame-red Chevy convertible to tour streets jammed with well-wishers, then whizzed along to a champagne party. The fun-loving princess-bound for Radcliffe next autumn-looked like a girl who would fit right in at Cambridge...
...than a musical exercise was Richard Wilson's Suite for Five Players (In Five Sections). While apparently making due obeisances to the contemporary requirement of a priori organization (the sequence of timbres and textures appeared well organized, i.e., sufficiently chaotic), Wilson actually indulged in the old-fashioned technique of wit. Conducting a very competent chamber ensemble (flute, clarinet, viola, cello, percussion), Wilson produced an observable change of tempo within the very first of the five sections: an event totally unexpected in view of the leaden, unchanging tempi of the preceding work on the program. In the succeeding movements, Wilson created...
...Douglas Campbell has made a stylized harlequinade of Molière's comedy of avarice, with curtsying dances and puckish pratfalls, Halloween masks and wopsical hats. It is more a costume ball than a play, and it stresses what is sheen-deep in Molière's wit rather than what is skinflinty. Still, in a glancing way, the master French comic moralist's point does get made-that a sin is called deadly because it deadens. Mock-Hero Harpagon (Hume Cronyn) is dead to his children's hope of love, dead to his servants...
Robbins has shown no sense of the play's heroic proportions. He has turned Mother Courage into a wit; her retorts, her quips, the timing of her speech is better suited to Shaw or Wilde than to Brecht. Her power becomes verbal; its physical and emotional aspects fade. Minor characters, too were misdirected or badly cast. Ignoring Brecht's colorful human vignettes, Robbins simply instructed the peripheral figures to recite their lines (and they didn't even do that accurately...