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Charles F. Sabel

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Cover image for Getting Off Without a Conviction:  Harvard's Killings in the Market
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Getting Off Without a Conviction: Harvard's Killings in the Market

The pretence that society is regulated by eternal, iron laws applying to particular areas is finally revealed for what it


Cover image for Alan Heimert:  The 'Idea' at Eliot House
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Alan Heimert: The 'Idea' at Eliot House

By Charles F. Sabel  • 

A LAN HEIMERT is everything he is incidentally, in his spare time and a bit against his better judgment. At


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Ruddigore

By Charles F. Sabel  • 

The Gilbert and Sullivan Players have mounted a thoroughly banal version of Ruddigore at the Agassiz. That the show is


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Women Beware Women

By Charles F. Sabel  • 

L AURENCE SENELICK'S production of Women Beware Women is as fluid and incisive as the history of his work suggests


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Princess Ida

By Charles F. Sabel  • 

Princess Ida is typical Gilbert and Sullivan, stereotypical in fact. After the play opened at the Savoy in 1884, Sullivan


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The Master Builder

By Charles F. Sabel  • 

Somewhere in the commodious vaults where dwell the souls of playwrights dead and gone. Two figures, faces wreathed in mist,


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The Concept of Ideology

By Charles F. Sabel  • 

G EORGE Lichtheim has collected a number of his essays and reviews, composed over the last four years for various


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Mosaic

By Charles F. Sabel  • 

Like previous numbers, the current issue of Mosaic is as professional as anything produced by undergraduates at Harvard. My only


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Toys in the Attic

By Charles F. Sabel  • 

Leland Moss's production of Toys in the Attic is a willful distortion of a medicore play. But by the mysterious


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Patience

By Charles F. Sabel  • 

The advance notices were not misleading. The production of Patience which opened at Agassiz last night is an uninterrupted delectation

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