herd in The Winter's Tale, Oswald in King Lear, and Sir Nathaniel in Love's Labor's Lost. Despite the unevenness of the acting, the variety of directors (a different one for each of the three plays), and the haphazard cutting of characters and lines, the Louisville company achieved some things quite worth watching. Foremost was the attention to picture on a stage that is open and flexible. Almost always the visual effect was impressive, even when the problems of outdoor auditory effects were most distressing. And there was an undeniably wholesome enthusiasm for realizing the possibilities of Shakespeare's text without resorting to the kinds of gimmicks that frequently pander to misconceived notions of modern taste. If these productions failed to match one's ideal for the plays performed, one nevertheless came away feeling that it had been an honest, and often very enjoyable, effort to approximate Shakespeare.