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Page 32 text:
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MOBY DICK REHEARSED by Mark Ortolani Photos by Dave Emmerling Approximately twenty years ago, that giant of the American stage and screen, Orson Welles, took on that giant of American litera- ture, Moby Dick , and emerged from the con- test neither victorious nor defeated. Instead, Welles came out creative, forming as he did a play, based on the epic work by Herman Melville. Entitled Moby Dick— Rehearsed, the play deals with many of the subjects with which the novel deals, especially the confrontation by man with the forces of Nature, Good, Evil, Destiny and himself. Unlike the novel, how- ever, the play does not contain the vast range of characters which the novel has, nor does it offer the intensity, the power and the gran- diosity of the novel. It is no wonder then, that Welles 7 work both intrigued and frustrated critics and theatregoers alike upon its pre- miere. Similar reactions were remarked when the Theatre-in-the-Round fared better with this (Continued on page 29)
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Page 33 text:
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(Continued from page 28) presentation than one might have been led to anticipate. Under the direction of Dr. James McGlone, the student actors— for the most part —managed to hold their own in what is ba- sically a performance of actors who are re- hearsing for a performance of Mo by Dick , hence the title. This at times too clever idea allows a minimum of importance to be at- tached to costumes and sets; it permits girls to read the parts assigned to boys, and so forth. This spectators are to consider as of little con- sequence, because come opening night, they assume, or at least they are supposed to as- sume, that all will be rectified. Above all, kudos go to Mark St. Germain, whose principal role was that of Captain Ahab. With a black cane substituting for Ahab ' s missing leg, St. Germain limped to an anything but lipid portrayal of the monoma- niacal Ahab. His work certainly stands as one of the finest performances on the boards of the circular theatre in recent years. He also took on the parts of the acting company ' s manager and Fr. Mapple. As Ishmael, Scott Bernstein, although he allowed his too formal physical movements to prevent the damp and drizzly November in his soul to manifest itself, salvaged his part somewhat with an exciting narration of the play ' s final scene. Owen McEvoy ' s sparse but adaptable sets and props served this production profitably, as did the background noises and music. McEvoy ' s lighting though— or rather, the lack of it— was a dismaying detriment to the show.
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