Peter Jaszi
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Jesus
BLOBBING DAMPLY up the grand stairway of the Agassiz Theatre, to keep his appointment with Timothy Mayer's masterful staging of
Much Ado About Nothing
T HEATRES gather ghosts. In the best theatres, they collect at an alarming rate--not merely wisps of nostalgia, but the
Monmouth
A S THE final scenes of James L. Dickson's Monmouth went their way, this reviewer was, at length, able to
Schweyk in the Second World War
Through one of the disquieting coincidences which threaten to reduce criticism to an exact science, 1883 was the natal year
White Sale
O N route to the CRIMSON from the Agassiz Theater opening of White Sale, Timothy Mayer's second original contribution to
Caesar and Cleopatra
T HE diction of the huge company assembled in Robert Chapman's production of Ceasar and Cleopatra is the finest I
Falstaff
I N 1933 Orson Welles wrote and illustrated a volume entitled Everybody's Shakespeare. That title, for all its overtones of
The Empire Builders
F OR most of the third act of the Harvard Dramatic Club's most recent offering, a highly gifted actor presents
Sally's Hounds
In his first full-length motion picture, Yale film kingpin Robert Edlestein takes firm hold on a familiar visual metaphor, and
As You Like It
The vision of Arden and the court that the good people over to Adams House are retailing these evenings is