Bibliographic record
Abstract
Look Homeward, Angel By Ketti Frings, based on novel by Thomas Wolfe Directed by Benard Cummings Southern Methodist University, Dallas, 3-7 December 2014. [ILLUSTRATION OMITTED] The production of Ketti Frings's 1958 Pulitzer Prize-winning play, Look Homeward, Angel, a dramatic adaptation of Thomas Wolfe's 1929 novel, fulfilled what one has come to expect of drama from Southern Methodist University's theatre department: beautiful, innovative sets, color-blind casting, excellent acting, and fidelity to dramatist's text. I saw matinee performance on 6 December 2014, at end of play's limited run in large Greer Garson Theatre at SMU's commodious Owen Arts Center. The theatre is a beautiful venue with a professional-level box office, a spacious lobby with padded benches, and in-the-wall display cases containing artifacts from Garson's professional life. Designed by architect Milton Powell and opened in 1992, theatre was a $10 million gift of actress, wife of E. E. Buddy Fogelson, attorney, oilman, rancher, and philanthropist. With a classical thrust stage, a circular configuration, numerous entrances to stage through several aisles, and seats for at least 375, theatre was modeled on Stratford Festival Theatre in Ontario, Guthrie Theatre in Minneapolis, and Chichester Festival Theatre in England (Anderson). The audience sits in several sections of steeply raked seats facing a large stage that easily accommodates sets of any size. For Look Homeward, Angel, Russell Parkman designed a flexible set depicting front of Eliza Gant's multistory boardinghouse that changed into W.O.'s stonecutting shop, which was hidden behind Dixieland's front facade. The set also opened up to reveal a bed that slid forward and was then retracted for Ben's illness and death scenes. The bed was also used for Eugene's tryst with Laura James. The bedroom scenes represent only indoor spaces that were depicted. Other action that would have incurred indoors took place in downstage porch area. Characters entered set and departed both from wings and from aisles in sections of audience seats. The set was visible from audience at all times; no curtain was used in thrust stage. The facade of house seemed to be composed of brown wood, not yellowish clapboard of Asheville reality. The set described in text of play calls for a flimsily constructed frame house ... painted a dirty yellow (5), and set did suggest age and decay. Directed by Benard Cummings, SMU professor and New York actor, director, and playwright, production accurately presented salient and memorable incidents from last part of Wolfe's novel, capturing spirit of entire work in process. The play showed flirtations among boarders; Gant family's chaotic relationships; raucous homecomings of drunken patriarch, who is managed by his daughter Helen; and Eliza's real estate obsession, her lecture on the value of a dollar and charge of filial Ingratitude (Wolfe 432-33), and her insistence that lights be turned off to save money. It also portrayed Madam Elizabeth's visit to Gant's shop; Laura James episode; Ben's illness and death; and Eugene's departure from Altamont after speaking to ghost of Ben. Inexplicably, Frings departs from Wolfe's text when Elizabeth wants to buy Gant's favorite Carrara angel for grave of one of her prostitutes, her best girl (Wolfe, 265). In novel, Gant reluctantly sells Elizabeth statue, whereas, in play, Eugene persuades her to buy a stone lamb instead, as his father supposedly wants angel for his own grave. Other departures from novel include Eugene's marriage proposal to Laura and his plan to elope with her, as well as Eliza's discovery of their intimate relationship and her consequent brazen confrontation of Laura, who leaves Eugene a note instead of writing him a letter from Richmond (the play necessarily had to truncate time and action to have Laura tell disapproving Eliza that she is engaged to be married and thus will not pursue Eugene). …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.002 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".