Showing posts with label masterclass theater. Show all posts
Showing posts with label masterclass theater. Show all posts

2/29/2012

Waiting for Godot Review

Waiting for Godot
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"Nothing happens, nobody comes, nobody goes, it's awful!". That phrase, said by one of the main characters of "Waiting for Godot", somehow sums up the whole plot of this short tragicomedy in two acts. Strange??. You can bet on that!!!. So much that a well-known Irish critic said of it "nothing happens, twice".
The play starts with two men, Vladimir and Estragon, sitting on a lonely road. They are both waiting for Godot. They don't know why they are waiting for him, but they think that his arrival will change things for the better. The problem is that he doesn't come, although a kid does so and says Godot will eventually arrive. Pozzo and his servant Lucky, two other characters that pass by while our protagonists are waiting for Godot, add another bizarre touch to an already surreal story, in which nothing seems to happen and discussions between the characters don't make much sense.
However, maybe that is exactly the point that Samuel Beckett (1906-1989) wanted to make. He was one of the most accomplished exponents of the "Theatre of the Absurd", that wanted to highlight the lack of purpose and meaning in an universe without God. Does Godot, the person that Vladimir and Estragon endlessly wait, symbolize God?. According to an irascible Beckett, when hard-pressed to answer that question, "If I knew who Godot was, I would have said so in the play." So, we don't know. The result is a highly unusual play that poses many questions, but doesn't answer them.
Ripe with symbolism, "Waiting for Godot" is a play more or less open to different interpretations. Why more or less open?. Well, because in order to have an interpretation of your own, you have to finish the play, and that is something that not all readers can do. "Waiting for Godot" is neither too long nor too difficult, but it shows a lack of action and purpose in the characters that is likely to annoy many before they reach the final pages, leading them to abandon the book in a hurry. That is specially true if the reader is a student who thinks he is being barbarously tortured by a hateful teacher who told him to write a paper on "Waiting for Godot" :)
My advice, for what it is worth, is that you should persist in reading it. If it puts you to sleep, try reading it aloud with some friends, and discuss with them the implications of what happens with the characters. This play might not be thoroughly engaging, but it changed theatre and the possibilities opened before it forever. In a way, it provoked a blood-less revolution, and because of that it deserves at least a bit of our attention.
Belen Alcat


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Starring Zero Mostel and Burgess Meredith with Kurt Kaszner and Alvin Epstein and directed by Alan Schneider. A unique film of a remarkable performance of the single most important play of the last half-century.

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2/16/2012

Scarecrow (Broadway Theatre Archive) (1972) Review

Scarecrow (Broadway Theatre Archive)  (1972)
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What a pleasure to revisit this first-rate production after its 30 years in obscurity. Funny, serious and haunting "Scarecrow" is the colorful tale of a bewitched scarecrow, falsely disguised as the image of true love, and the awakening of his heart's desire to seek and claim his soul as his own.
This production is worth viewing just to enjoy Gene Wilder's compelling and earlier performances and he is joined by an impressive cast.
Pete Duel, as the real image of true love, provides important balance as the story's sole voice of truth and reason to Blythe Danner's spellbound maiden and Wilder's beguiling scarecrow. Will Geer as the central target of Norman Lloyd's Devil and his disciple, Nina Foch, are all perfection and terrific fun.

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By Percy MacKaye. In a 17th century Massachusetts town, a scarecrow is magically transformed into a man and charged with the mission of destroying true love. Spectacular performances by two-time OscarÂn a 17th century Massachusetts town, a scarecrow is magically transformed into a man and charged with the mission of destroying true love. Spectacular performances by two-time Oscar®-nominee Gene Wilder (Young Frankenstein, The Producers)and Tony® Award-winner Blythe Danner (Butterflies Are Free). Also starring Norman Lloyd and Will Geer (The Waltons).

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2/14/2012

Alice at the Palace (Broadway Theatre Archive) (1982) Review

Alice at the Palace (Broadway Theatre Archive)  (1982)
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Finally, the musical Alice at the Palace is available on both DVD and VHS! I have been looking for this musical for almost 20 years, and am so delighted to have found it at Amazon[.com]. The musical stars Meryl Streep and has a talented supporting cast that helps her bring Alice in Wonderland and Through the Looking Glass to life in one musical.
Alice at the Palace appeared on TV in 1982, and at that time my family had a Beta tape recorder, so Alice was immortalized on tape. At some point the last 10 minutes were recorded over and it was transferred from Beta to VHS. Ever since it aired, my family has been on a quest to obtain a copy of the full musical...and at times I was desperate enough to go searching for just the transcript to read and relive it.
Alice at the Palace is low on grand theatrical gimmicks and high on incredible talent, songs, acting, and humor. It's a delight for both adults and children. I give it two thumbs up and five stars out of five for sheer entertainment. You'll be singing the songs for years afterwards....my family did.
And for anyone who says, "Meryl Streep? In a musical? Singing??!" I say, "Just wait..."

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This "music hall" version of Lewis Carroll's Alice in Wonderland and Through the Looking Glass was adapted for television from Elizabeth Swados' Joseph Papp/New York Shakespeare Festival production entitled Alice in Concert for which Swados also composed the score, adapted the book and directed for the stage. Starring Meryl Streep and featuring Debbie Allen and Betty Aberlin, Alice at the Palace is an entertaining and shrewdly conceived retelling of the Carroll classics with all of the beloved characters--from the Mad Hatter and the Cheshire Cat to the Queen of Hearts--given a unique twist by the witty and charming performances of an accomplished theatrical ensemble. Alice at the Palace was originally broadcast as part of NBC-TV's "Project Peacock" series in 1982.

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2/13/2012

Arkady Leokum's Enemies (Broadway Theatre Archive) Review

Arkady Leokum's Enemies (Broadway Theatre Archive)
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Enemies is a wonderful two character, one-act, 45 minute play from the Kultur Broadway Theatre Archives. The setting is a small restaurant in the Catskills, 1971. The two characters, well into their senior years have encountered one another for five years. Gittleman (Sam Jaffe) is a waiter who has to put up with the demanding, harsh and critical insults of customer Miller (Ned Glass), who makes his frequent visit, as he puts it, to eat before the riff raff comes in.
For five years, Miller criticizes the food, the hygiene, the coffee, the menu, the establishment and the final blow is to refer to Gittleman as a lowly waiter who Miller has had to train! Clearly Gittleman and Miller are not friends. Miller is a widowed man has merely enjoyed the pleasures of life that "discount hours" have brought him, clearly a lonely and less expensive existence. But he flaunts a different lifestyle filled with success and happiness. Gittleman is a hard-working family man.
It is the turn of events that makes this play a gem! The two veteran actors have starred in television and movies for years. Ned Glass is known also for his nasal voice while Sam Jaffe for his wild white hair. The two actors both died in 1984. Arkady Leokum is popular for his Tell Me Why: Answers to Hundreds of Questions Children Ask. If you care to see another great play by him, try Neighbors (Broadway Theatre Archive) ....Rizzo


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Arkady Leokum's short humorous play is based on theauthor's experience as a waiter at a Catskills resort. Sam Jaffe stas as a long-suffering waiter who finally turns the tables on an intolerable regular customer (Ned Glass).

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Incident at Vichy (Broadway Theatre Archive) (1973) Review

Incident at Vichy (Broadway Theatre Archive)  (1973)
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Set in a holding room Vichy, France, in 1942, this powerful play by Arthur Miller introduces nine men who have been picked up on suspicion that they are Jews or Jewish sympathizers. Waiting to be questioned are an actor, a waiter, a businessman, a psychoanalyst, a Marxist railroad worker, a gypsy, an ancient Hasid, a fourteen-year-old boy, and an Austrian prince. As they talk and begin to share bits of information, Miller examines the tendency of ordinary men to become immobilized when faced with "an atrocity...that is inconceivable," to refuse to believe that such behavior can possibly happen in a civilized world. At the same time, he also examines those others, the Nazis and their collaborators in France, who serve an ideology, not mankind, those who subordinate themselves so completely to an abstract concept that they believe "there are no persons anymore."
Directed by Stacy Keach, who also wrote the background music, the production features a talented cast, including Rene Auberjonois as the actor, Allen Garfield as the panicked and fatalistic artist, and Andrew Robinson as the German major who has second thoughts about his role. Harris Yulin shines in the very demanding and crucial role of the psychoanalyst Leduc, and his confrontation with Richard Jordan, as the Austrian prince who has failed to act when he had the chance, is heart-stopping. The external action takes place with only one set and virtually no props, focusing the audience's attention on the characters' intense psychological crises, through which Miller examines the tendency of men to believe that the world is essentially rational. Gradually, the truth about the waiting train and its destination emerges, and the sense of horror becomes palpable.
As the men, one by one, disappear from the set, the drama focuses on the psychoanalyst and the Austrian prince, one Jewish and one Christian, one of whom wants desperately to live, and the other of whom has already attempted suicide. Beautifully paced, with a very moving climax, the play is an unusually sophisticated treatment of the Nazi horrors. Miller does not see events purely in black and white, showing instead that everyone creates his own reality to keep from accepting the unthinkable. Written in 1964, while Miller was representing the New York Herald Tribune at the Frankfurt war crimes trials of officials from Auschwitz, this play is Miller's creative reaction to the atrocities he has heard first-hand--and one of his most powerful plays. Mary Whipple


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Item Name: Incident at Vichy (Broadway Theatre Archive); Studio:Kultur Video

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2/12/2012

Kiss Me Kate (Broadway Revival - PBS Great Performances) (2003) Review

Kiss Me Kate (Broadway Revival - PBS Great Performances)  (2003)
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`Kiss Me Kate', Winner of 5 Tony Awards, 6 Drama Desk Awards and 4 Outer Critics Awards including Best Musical Revival, is a wonderful production with breathtaking performances from a stellar cast including Brent Barrett and Rachel York. What I want to clear up is the criticism of the DVD. I have to disagree with everything negative said - the sound is fine and a pleasant balance of orchestra and vocal with a crisp clarity.
Secondly, the DVD is widescreen and captures a lot of the onstage `business'. Indeed the cameras do follow the main action, but never misses anything. It has been filmed by people who both appreciate the performance, the art and the intention of Michael Blakemore. Since he directed it and then adapted `Kiss Me Kate' for television, surely he of all people knows what needs to be filmed?
Always, the performance has an `on stage' feel and I urge you to ignore the exaggerated views of others here. Sound is good, video is good, DVD menu is good and I guarantee that you'll be as enthusiastic about the DVD as I was today after watching it. Maybe the others need to appreciate that this is a stage `adaptation' as stated on the DVD case.

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The first Broadway revival in nearly 50 years of the musical comedymasterpiece by composer Cole Porter and book writers Sam and Bella Spewack not onlyenchanted critics and delighted audiences, but went on to triumph as one of the biggestprize winners of the 2000 season. Taking its inspiration from Shakespeare, this hilarious romp recounts the backstage and on-stage antics of two feuding romances during an out-of-town tryout for a musical adaptation of The Taming of the Shrew. Sparkling with 18 classic Cole Porter songs including "Another Op'nin', Another Show," "Wunderbar," "So in Love," "Always True to You in My Fashion," "Too Darn Hot," and "Brush Up Your Shakespeare" this is Broadway musical comedy at its irresistible best. Directed by Michael Blakemore, this Tony winner for "Best Revival" stars Brent Barrett, Rachel York (Victor/Victoria), Nancy Anderson and Michael Berresse as the squabbling couples whose offstage disputes entangle them with a pair of song-and-dance gangsters and a pompous U.S. army general.

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2/04/2012

The Merchant of Venice / Trevor Nunn, Royal National Theatre Review

The Merchant of Venice / Trevor Nunn, Royal National Theatre
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If you are a fan of The Merchant of Venice but were disappointed by Al Pacino's Shylock this DVD may be for you. Henry Goodman brings a grounded and passionate honesty to the role that Pacino sorely lacked. Although, I was not impressed by David Bamber as Antonio (boring) or Derbhle Crotty as Portia (lacking any real substance; Raymond Coulthard as the Prince of Arragon is historical and steals his scene. The show worked better on stage than it does as a filmed version but it is still well worth a viewing.

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William Shakespeare's controversial classic comes to bristling life in this riveting production from theater legend Trevor Nunn. Relocated to Europe between the two world wars, the story follows the misadventures of young heiress Portia, who must don the disguise of a male lawyer to save the life of her love, and the financially obsessed Shylock (Notting Hill's Henry Goodman), determined to literally collect a pound of flesh in court. Trevor Nunn directed the landmark revival of Rodgers & Hammerstein's Oklahoma! with Hugh Jackman as well as groundbreaking versions of Nicholas Nickleby, Othello, and Porgy & Bess. Originally presented to tremendous acclaim at the Royal National Theatre in June, 1999. Awards include: Olivier Awards - Best Actor (Henry Goodman) / Critics' Circle Theatre Awards - Best Actor (Henry Goodman)

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2/03/2012

King Lear (1984) Review

King Lear  (1984)
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I have to disagree with the negative reviews posted above. This is possibly Olivier's best recorded performance, and the bulk of the other performances are excellent as well, particularly that of Diana Rigg. The actors speak their lines so casually and easily that, even if you're not used to Shakespearian dialog, it'll soon all seem perfectly natural. The set is minimalist, true, but if your enjoyment of Shakespeare is dependent upon set design then I recommend you never attend a stage performance. If I have one complaint about this production it's that the actors, while individually turning out great performances, don't appear to be relating to each other very well--as if they're each giving their rendition of their characters without letting their performances be informed by the performances of those around them. Still and all, this is an extremely moving production of one of the most powerful plays in the canon.

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King Lear is a violent storm on a grand scale. It is a timeless tale of greed and lust for power. It is the story of a sick old man, his scheming children, and lost loyalties. King Lear is arguably Shakespeare's greatest work, masterfully adapted for the screen by Sir Laurence Olivier, unquestionably one of the greatest Shakespearean actors of the 20th century. 158 minutes.

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Cyrano De Bergerac (translation by Anthony Burgess) (1985) Review

Cyrano De Bergerac (translation by Anthony Burgess)  (1985)
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This video is based on the Royal Shakespeare Company's stage production of Cyrano that ran in London, New York and Washington DC 1983-1985. I saw the London and New York productions each several times, and, as phenomenal as they were, the video is in many ways better, if only because this version is more permanent.
I love this play. I've seen many renditions and adaptations of Cyrano over the years, and this one is by far the best I've seen. I'm a huge fan of Sir Derek Jacobi's work, and this rendition of Cyrano showcases his work at its pinnacle. Sinead Cusack is glorious in this production as the love-struck Roxane, John Carlisle is just dark enough as DeGuiche, Pete Postlethwaite is over the top as Cyrano's sidekick, Rageneau, Tom Mannion intelligently provides a beautiful and downright stupid-sounding Christian. The rest of the cast is equally fine (there just isn't time enough to list them all: sorry, Cast, you're all terrific). But of course this show is about Cyrano and Sir Derek keeps him and his large but not obscene proboscis in the center of the viewer's attention from Cyrano's first chandelier-swinging entrance to his bittersweet death in the nunnery yard.
If you can find it, get this video, watch it and drool. Why the distribution company let it go OP is beyond me.

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1/29/2012

Sty of the Blind Pig (Broadway Theatre Archive) Review

Sty of the Blind Pig (Broadway Theatre Archive)
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This 1974 production by the Negro Ensemble is a powerful play with emotional characters, gospel music, and unrequited love. The setting is the Warren apartment bound for demolition, on the southside of Chicago. It is occupied by an elderly mother, Weedie Warren, and her spinster daughter Alberta.
Visiting periodically is Weedie's brother, Uncle Doc, played by Scatman Crothers, a drinker, a smooth dresser and he loves to play the numbers. Alberta is also a drinker, pill popper, frustrated, and has been driven up the wall by her overbearing and meddling mother, who calls Alberta a whiskey head.
While mother goes back to the south for a convocation, she observes the civil rights movements and its uprising, something not quite in Chicago yet. Meanwhile, a street singer named Blind Jordan wanders the neighborhood, looking for a woman he knew. Alberta invites him in and soon befriends him.
Witness a powerful performance, possibly 10-12 minute soliloquy by Alberta as she recites her most memorable obituary she wrote for a love she craved, Emmanuel Fisher. Then, she displays the sexual frustration reliving her angst at his funeral. This performance by veteran actor Mary Alice is worth the watch.
The play's title Sty of the Blind Pig is in actuality a house of ill repute that Blind Jordan tells about, where women, whiskey and food were sold. We also learn more of Weedie's past.
Because of Weedie's faith, gospel music is often heard in the background, such as Precious Lord, Farther Along, and Amazing Grace. The actors have all had extensive television experience. This is a wonderful play. Writer Phillip Hayes Dean has also written Freeman (Broadway Theatre Archive), where a black man struggles to break the stigma of being black in the 70s. .....Rizzo


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Philip Hayes Dian's play is about an uprooted black family from the South, living in Chicago at the start of the civil rights movement. Stars Mary ALice, Richard Ward, Maidie Norman, Scatman Crothers.

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1/28/2012

Death of a Salesman & Private Conversations (1985) Review

Death of a Salesman and Private Conversations  (1985)
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I was glad to find this DVD just shortly after reading the play. While I enjoyed reading it very much, I found the play to be very confusing. Just from the text alone it was hard to tell what was real and what wasn't. Seeing the film version of this triumphant play really helped a lot. "Death of a Salesman" is a sad and tragic drama that emotionally involves you from start to finish.
Willy Loman is a tired and heart-broken salesman who no longer lives in the world of reality. Instead, he is trapped in his world of delusions. Each day that passes by seems to be worse and worse for Willy. He spends way too much of his time in the past when he needs to be focusing on the future. His wife and two sons have no idea what they should do for him as they know that he is heading towards disaster in this unforgettable drama.
Like I said, to actually see this really made me appreciate the play more than just reading it from the text. It can get confusing when you only have the words, but when you see it performed it all comes together and make sense. The acting is terrific. Dustin Hoffman really does an outstanding job of playing Willy Loman. Not only does he just "act" the part out, he "becomes" Loman. I admit that I had my doubts at first, because I didn't see him playing the part. My doubts quickly fled from my mind after the first 10 minutes or so. Everybody else is also terrific as well. (Wow, look how young John Malkovitch looks!) I think the movie does a fine job doing Arthur Miller's play justice.
The DVD is pretty neat as well. The picture quality is good, considering the fact that it is an old movie. The DVD also includes a feature length documentary behind the movie, which is really entertaining, and a still gallery. While it may seem like this DVD doesn't have a lot to offer, the documentary really makes it worth-while.
"Death of a Salesman" is a powerhouse drama that hooks you from start to finish. Reading it is one thing, but to actually see it makes it much more enjoyable. If you just read the play from the text it can be pretty confusing at points. If you're looking for a great dramatic movie with great acting and writing, then this is something you should really think about checking out.

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Willy Loman has spent his entire life believing he and his family are bound for greatness. Struggling day to day as a traveling salesman, Willy begins to lose touch with reality and drifts away into the past. Meanwhile his family, including wife Linda and sons Biff and Happy, attempts to cope with Willy's self-destruction and the still-lingering ghosts of the past. Arthur Miller's timeless Pulitzer Prize-winning play is brought to the screen with a powerhouse performance by Academy Award-winner Dustin Hoffman, who earned Emmy and Golden Globe Awards for this role. The stellar supporting cast features Kate Reid, Charles Durning, Stephen Lang, and in his first breakout role, John Malkovich as Biff, all guided by internationally-acclaimed director Volker Schlondorff (The Tin Drum) and a haunting score by legendary composer Alex North (Spartacus).

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1/25/2012

OT:OUR TOWN. A Famous American Play in an Infamous American Town Review

OT:OUR TOWN. A Famous American Play in an Infamous American Town
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THis documentary (and I hate to use that word, as it sounds so dreary) is set in a high school in a particularly awful Southern California community -- Compton. The only good thing about the school is the basketball team (one of the players goes directly to the Chicago Bulls after graduation) and the students tend to get pregnant (the girls) or get shot (the boys). A couple of idealistic teachers decide that it's time to try putting on a play -- something that hasn't happened in ages (if at all) at this high school. They pick Our Town, which is perhaps an odd choice given how middle America Our Town is, and how -- diverse -- the students at Dominguez H.S. in Compton are (Hispanic and African American). The students think a play sounds like fun but then they think they don't like the play and what if no-one comes to see them, etc. The teachers have trouble with students coming to rehearsal and memorizing their lines. The high school has no stage (great gym, however).
I won't tell you how the play turns out -- I was concerned myself the closer they got to opening day and couldn't imagine what it was like for the teachers.
I wish movies like this were more widely distributed. For one thing, getting to know the student actors in this movie helped you see the real diversity in Compton -- how different but real each student was, how in some ways the stereotype was true (violence is a big problem in Compton and the students aren't self-disciplined and bring quite a lot of baggage to class) and yet they have potential, talent, and their own stories to tell.
I highly recommend this movie.

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Against all odds, the first theatrical production in over 20 years at Dominguez High School is going to be Thornton Wilder's American classic "Our Town." The kids at this Compton school are about to experience more than a culture clash, as they embark on a rich journey and discover the educational and social value of theater. OT: our town tells the story of human spirit and its strength against the cliches attempting to hold them down. Where Wilder wrote about little Grover's Corners, this documentary exemplifies how Our Town is every town, Our Town is Compton.Winner - Best Documentary - Los Angeles FF.Winner - Palm Springs Int'l Festival.Nominated - Best Documentary - Independent Spirit Awards.Official Selection - Toronto, South by Southwest and Tribeca Film Festivals.This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

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Steambath (Broadway Theatre Archive) (1973) Review

Steambath (Broadway Theatre Archive)  (1973)
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I first saw this TV adaptation of Bruce Jay Friedman's offbeat off- Broadway play on PBS Channel 28 in 1973 and was impressed not only by Valerie Perrine's nude shower scene but by the rest of the cast (Bill Bixby, Herb Edelman, Jose Perez, Shirley Kirkes, et al) and the bizarre story line -- an odd assortment of strangers find themselves in a Steambath, not knowing how they got there or why. The attendant seems to be the only one who has a purpose there. A terrible purpose, we learn as the plot unfolds! I saw this TV play twice back then and as far as I know it has never been shown since. But at least it's available now on DVD. I recommend it to all who enjoy a good comic fantasy with some serious overtones. The image quality is good, though a little soft (perhaps because it's in a Steambath?) but there are no bonus features except for some trailers for other Broadway plays available. Enjoy this effort from the early days of PBS when it was bold, daring and innovative -- you never saw anything like this on network TV back in those days!

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1/24/2012

Zalmen or the Madness of God (Broadway Theatre Archive) (1975) Review

Zalmen or the Madness of God (Broadway Theatre Archive)  (1975)
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Most familiar with the works of Elie Wiesel will think of his memorable semi-autobiographical novels, his two-volume memoir or his long and unflagging effort to bring the issue of human rights--not only Jewish human rights--before the eyes of the world. Here, we see a different Wiesel, even different than the man who stood up to Ronald Reagan when he urged him (unsuccessfully) not to visit Bitburg. it is not so much that his theme--the plight of oppressed Jews-- is unfamiliar. Rather, it is how it is revealed. Not only is it a play, and brilliantly cast, but, as some may remember from its appearance many years ago on PBS, it focuses us on post-World War II history, the struggle of Jews in freshly post-Stalinist Russia. Joseph Wiseman is the old Rabbi of the town who has nearly given up hope of ever seeing his people breath the brisk air of freedom, and, at the same time, grieving for his spiritually wayward daughter, while he and his neighbors and congregants alike cow-tow to the local officials who gently strong-arm them to behave and shut up. Richard Bauer, as the synagogue beadle, and crazy like a fox, tries to lift Wiseman out of his spiritual malaise and speak out. There is great humanity here, and--please--it is not just for a Jewish audience, much like, I would argue, is the case with most of the Wiesel canon. Watch this and be changed.

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Set in a post-Stalinist Russian synagogue on the eve of an appearance by a Western actring troupe, Elie Wiesel's play has been described as a cry of anguish about the collective guilt of"the Silent". Stars Dianne Wiest, Robert Prosky,Joseph Wiseman.

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1/17/2012

Samuel Beckett's Happy Days (Broadway Theatre Archive) (1980) Review

Samuel Beckett's Happy Days (Broadway Theatre Archive)  (1980)
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Irene Worth was a great actress. When teamed with Samuel Beckett's words, it is an experience to be treaured. True, Beckett is not for everyone. But for anyone with a brain, a heart, a soul, and a sense of humanity, Beckett connects. Those who don't "get" Beckett tend to hate Beckett and that's too bad. For the rest of us, Beckett hits a chord, creates a visceral reaction, illuminates the abyss. And Miss Worth (whose name was pronounced Irene-y, just as it is in England, where she spent a great deal of her career) is simply delightful to watch, as she always was. She combines the sadness, optimism, coyness, despair, beauty, and humour that is Winnie, in a way that few actresses could hope to do.

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Suffused with tenderness, lucidity, and humor, Samuel Beckett's Happy Days is a comedy in pure, music-hall style. Legendary three-time Tony Award-winning actress Irene Worth (Lost in Yonkers) stars as Winnie, an optimist who--deep down--senses she has little to feel "happy" about, though she never allows a day to pass without looking her best and hoping for better. Worth gives a tour-de-force performance as she chatters incessantly and cheerily on a variety of subjects, portraying Winnie as the embodiment of humankind's nobler virtues: wise, just, majestic, and committed to her conviction that "this will have been a happy day."

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1/12/2012

Incident at Vichy (Broadway Theatre Archive) (1973) Review

Incident at Vichy (Broadway Theatre Archive) (1973)
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Set in a holding room Vichy, France, in 1942, this powerful play by Arthur Miller introduces nine men who have been picked up on suspicion that they are Jews or Jewish sympathizers. Waiting to be questioned are an actor, a waiter, a businessman, a psychoanalyst, a Marxist railroad worker, a gypsy, an ancient Hasid, a fourteen-year-old boy, and an Austrian prince. As they talk and begin to share bits of information, Miller examines the tendency of ordinary men to become immobilized when faced with "an atrocity...that is inconceivable," to refuse to believe that such behavior can possibly happen in a civilized world. At the same time, he also examines those others, the Nazis and their collaborators in France, who serve an ideology, not mankind, those who subordinate themselves so completely to an abstract concept that they believe "there are no persons anymore."
Directed by Stacy Keach, who also wrote the background music, the production features a talented cast, including Rene Auberjonois as the actor, Allen Garfield as the panicked and fatalistic artist, and Andrew Robinson as the German major who has second thoughts about his role. Harris Yulin shines in the very demanding and crucial role of the psychoanalyst Leduc, and his confrontation with Richard Jordan, as the Austrian prince who has failed to act when he had the chance, is heart-stopping. The external action takes place with only one set and virtually no props, focusing the audience's attention on the characters' intense psychological crises, through which Miller examines the tendency of men to believe that the world is essentially rational. Gradually, the truth about the waiting train and its destination emerges, and the sense of horror becomes palpable.
As the men, one by one, disappear from the set, the drama focuses on the psychoanalyst and the Austrian prince, one Jewish and one Christian, one of whom wants desperately to live, and the other of whom has already attempted suicide. Beautifully paced, with a very moving climax, the play is an unusually sophisticated treatment of the Nazi horrors. Miller does not see events purely in black and white, showing instead that everyone creates his own reality to keep from accepting the unthinkable. Written in 1964, while Miller was representing the New York Herald Tribune at the Frankfurt war crimes trials of officials from Auschwitz, this play is Miller's creative reaction to the atrocities he has heard first-hand--and one of his most powerful plays. Mary Whipple


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Item Name: Incident at Vichy (Broadway Theatre Archive); Studio:Kultur Video

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1/11/2012

The Journey of the Fifth Horse (Broadway Theatre Archive) (1966) Review

The Journey of the Fifth Horse (Broadway Theatre Archive)  (1966)
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Winner of an Obie Award in 1966 for his role as Zoditch in this play by Ronald Ribman, Dustin Hoffman reprises his role here in his first television appearance, an adaptation for NET Playhouse, directed by Larry Arrick. Hoffman is the neurasthenic "first reader" of a small publishing house in Petersburg, Russia, at the turn of the century. Speaking with a high-pitched, nasal whine and with posture resembling a crane--shoulders stooped, head forward, stomach protruding--Zoditch/Hoffman is "an interruption in everyone's conversation," a man who has no friends, no ability to relax, no lady-love, and no promise for the future.
When a housekeeper (fussily played by Charlotte Rae) brings him the diary of Nicolai Chulkaturin, which was left to her when he died, Zoditch at first rejects it but is ordered to read it at home. Chulkaturin (wonderfully played by Michael Tolan), a young man who has just died of tuberculosis, emerges from the pages of the diary and soon reveals that he, too, believes himself to be the equivalent of a "fifth horse," a superfluous addition to the coach of life. When, unexpectedly, Chulkaturin meets a young woman with whom he falls in love (Susan Anspach), his life changes, until a captain in the army sweeps her off her feet.
As the action moves back and forth between the lives of Zoditch and Chulkaturin, the reader observes innumerable parallels between them. In many ways Chulkaturin is what Zoditch wishes he could be--tall, handsome, and in love. Since Anspach and several minor characters plays dual roles both in Chulkaturin's story and in Zoditch's life, the idea of Chulkaturin as Zoditch's alterego expands.
Adapted from a story by Ivan Turgenev, the play offers a bleak reality and, in its conclusion, dark humor, which puts Zoditch's yearnings and false hopes into perspective. Though Hoffman won the Obie, Michael Tolan's acting is equally good--more subtle and less one-dimensional. Susan Anspach is both ingenuous and sexy in her two roles, and Catherine Goffigan as Zoditch's landlady is a scene stealer and wonderful foil for Zoditch. Beautifully produced and movingly acted, the play brings to life turn of the century Russian values and an ineffective little man who feels like the "fifth horse." Mary Whipple


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The trailblazing genius that is Dustin Hoffman is hugely apparent in this, his first starring role on television. Originally produced Off-Broadway, Dustin Hoffman recreates his Obie Award-winning portrayal of Zoditch, a lonely, minor functionary in a publishing house. "Towering performances by Dustin Hoffman and Michael Tolan." --The New York Times. With Charlotte Rae, Michael Nolan, Susan Anspach, and William H. Bassett.

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