Peter Jaszi

Jesus

•

BLOBBING DAMPLY up the grand stairway of the Agassiz Theatre, to keep his appointment with Timothy Mayer's masterful staging of

•

T HEATRES gather ghosts. In the best theatres, they collect at an alarming rate--not merely wisps of nostalgia, but the

•

A S THE final scenes of James L. Dickson's Monmouth went their way, this reviewer was, at length, able to

•

Through one of the disquieting coincidences which threaten to reduce criticism to an exact science, 1883 was the natal year

•

O N route to the CRIMSON from the Agassiz Theater opening of White Sale, Timothy Mayer's second original contribution to

•

T HE diction of the huge company assembled in Robert Chapman's production of Ceasar and Cleopatra is the finest I

•

I N 1933 Orson Welles wrote and illustrated a volume entitled Everybody's Shakespeare. That title, for all its overtones of

•

F OR most of the third act of the Harvard Dramatic Club's most recent offering, a highly gifted actor presents

•

In his first full-length motion picture, Yale film kingpin Robert Edlestein takes firm hold on a familiar visual metaphor, and

•

The vision of Arden and the court that the good people over to Adams House are retailing these evenings is