By Isaac Butler
"There are some of the younger geniuses-- everybody who has done one successful production on Broadway is a genius-- who are aware of the rewards that a conscious attitude brings. And chief among them is Orson Welles. Mr. Welles admits that his chief preoccupation is STYLE in his productions. He stars in an `Orson Welles Production.' George Bruckner or William Shakespeare can't say what they feel about what Welles has done to their plays, but if you ask any of the actors who appeared in these works they tell you that all Welles is interested in production. Mr. Welles hasn't been able to hold a single important actor... all of them quit Mr. Welles in disgust because they refused to be swamped in production or used as working parts in an affair of style...
"Mr. Welles is only interested in HOW he does a production. He is a little vague as to what Caesar meant, or whether Danton was `revolutionary' or `counter-revolutionary' but he knew what he wanted from the lights in each case. He has never consistently told an actor what he wanted from a performance in a way to make an actor know himself to be an artist, conscious and working toward a real performance, but he has without fail been able to tell an actor where to stand, where to run into the darkness, when to emerge from nowhere. In short, Mr. Welles has for two seasons done STUNTS with old plays. He has focused attention on the production, upon production as an art, and taken it off the play and the star-- where it has been for the entire history of American Theatre. But Mr. Welles, being merely interested in showing off, in stunting, in shocking, surprising, and upsetting a staid Broadway theatre, has nothing more to say than the theatre he is revolting against. In Mr. Welles's productions there is a certain vitality and energy, but no total meaning, no sense of the thick fabric of life, of its real BODY. Welles reduced theatre to the level of theatricalism, and this is anemic fare."
-- From "Kazan on Directing"