Showing posts with label broadway theatre archive. Show all posts
Showing posts with label broadway theatre archive. Show all posts

5/24/2012

The Taming of the Shrew (1976) Review

The Taming of the Shrew (1976)
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In my almost complete collection of Shakespeare DVDs this is a unique pearl. I could not believe the other review at amazon.co.uk. After very long hesitation I purchased the region 2 encoded version with the unhelpful Netherland undertitling.
This was the effect:
On Wednesday I watched it alone, on Thursday with my friend, on the weekend with the whole family; and the next weekend with friends of the family. We had such a great fun, that for weeks we were quoting to each other from the movie!
Never before or afterwards did I see a record of this play performed in such a witty and screwball-comedy-like way - and still in a very understandable language.
If a fairy would grant me two wishes, I would have this play digitally remastered and other plays of the bard performed in this way too...

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5/22/2012

The Taming of the Shrew (Broadway Theatre Archive) (1976) Review

The Taming of the Shrew (Broadway Theatre Archive)  (1976)
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Riveting high energy interpretation of one of Shakespeare's more problematic comedies. The director's decision to present this somewhat sexist comedy as an over-the-top commedia dell'ate production was brilliant. Patruchio's use of physical violence to tame his headstrong finacee is somehow made tolerable because all the relationships in this play are embued with violence. And like characters in a Roadrunner cartoon, victims bounce back with vigor and always manage to give as good as they get. The troupe is incredibly in sync with one another, highly athletic, and incredibly gifted at reciting their iambic pentameter flawlessly while being twirled overhead or kicked in the groin. It really has to be seen to be believed. And who knew Marc Singer, the Beastmaster, could act?! In the end, he brings a subtlety to his part that leaves you wondering who's taming whom?
Harold Clurmann's interview with the director is a nice DVD extra.

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5/14/2012

Tartuffe (Broadway Theatre Archive) Review

Tartuffe (Broadway Theatre Archive)
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I have come to expect a lot from Broadway Theatre Archive. They save the best, I thought. However, this is defintely not the best version of Tartuffe that I have seen. I first saw it onstage, presented by the Trinity Square Reperatory Company in Providence, Rhode Island. The audience, including me, laughed so much we almost fell out of our seats. But, this version, unfortunately, is boring. If you want to see a really funny version, watch the BBC filmed version of the Royal Shakepeare Company's production of Tartuffe. It's a great laugh!

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4/26/2012

Eugene O'Neill's The Iceman Cometh (Broadway Theatre Archive) (1960) Review

Eugene O'Neill's The Iceman Cometh (Broadway Theatre Archive) (1960)
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The chance to see Jason Robards portray his signature role as "Hickey" makes this video well worth the price. This performance of the complete "Iceman Cometh" was originally aired on CBS in 1962, as a live two-part performance, and the video and audio quality suffer from the transferral, but what remains is an extremely well-directed version of this play, which preserves Robards in the role that first brought him acclaim. The supporting cast in generaly excellent, with standout performances from James Broderick and a very young Robert Redford. This version of the play makes an interesting contrast to the 1973 film version, directed by John Frankenheimer, which features a decent, though limted, Lee Marvin as Hickey, but which also displays two incredible actors, Robert Ryan as Larry, and Frederick March as Harry Hope, who are so wonderful in their final screen roles that they overshadow the rest of the characters, Hickey included. One can only lament the director's choice not to cast Robards, thus missing the opportunity to unite three of the greatest O'Neill interpreters in these three splendid roles. Oh well.......

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ICEMAN COMETH - DVD Movie

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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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4/22/2012

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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4/04/2012

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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3/27/2012

The Ceremony of Innocence (Broadway Theatre Archive) (1970) Review

The Ceremony of Innocence (Broadway Theatre Archive)  (1970)
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Here's another fine installment from the Broadway Theatre Archive. As usual, there are no extras on the disc, but in this case, the feature more than makes up for it.
"The Ceremony of Innocence," originally a play by Ronald Ribman, is presented here in a 1972 recording. There are a few liberties taken to adjust to the medium of television (such as red-tinted snippets edited in for effect), but nothing that takes away from the incredible drama protrayed by the cast and production crew.
Richard Kiley plays King Ethelred of England, circa the 11th Century. Ethelred is a surprisingly progressive king. He wants to bring education, law, medicine, and science to his kingdom. He even commissions a famous explorer who has plans to sail the great "Western Ocean" (the Atlantic) in search of distant lands. Ethelred knows that only peace can bring prosperity to England, but no one else seems to agree with his point of view. Even his most trusted advisor quails at the idea of giving up war for peace.
Surrounded by enemies and bitter, scheming advisors, the king's plan to make peace with the fearsome King of Denmark (appearing briefly, played by Ernest Graves), is constantly imperiled. Ultimately confining himself to a monastery seeking some kind of solace, Ethelred is haunted by the visions of violence and bloodshed that surrounds him, his family, and his kingdom. Meanwhile, the enraged Danish king is about to attack, while Ethelred's frustrated advisors demand action. Ethelred is obviously paying the price for being born centuries before his time, as one by one his dreams are sabotaged by the overwhelming and painful tide of events he is forced to face.
The photography is first class for videotape, the medium used to record the play. The lighting is excellent, as are the rough, spartan sets. Even some location footage, used where appropriate, raises the quality of the play far above a standard presentation.
Excellent drama for historical study, and to introduce younger students to this period in English history. There are a sprinkling of curse words in the play, and some minor television bloodshed, but nothing too objectionable for today's teen viewers to see.
When all is said and done, you'll be keeping this disc.

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3/22/2012

Cyrano de Bergerac (Broadway Theatre Archive) Review

Cyrano de Bergerac (Broadway Theatre Archive)
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I actually saw this version on TV back in the '70's and, at that time, I was astounded by Donat's performance. He is so natural, so believable, and so grand. Cyrano de Bergerac is my favorite play, and the director and actors have captured the beautiful spirit of Rostand's work. I have taught this play in high schools over the years and used other fine film versions as part of the class, but I always wished I could find a copy of the Donat version. Now I have. It was worth waiting for.

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3/09/2012

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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3/06/2012

Lewis Carroll's Alice in Wonderland (Broadway Theatre Archive) (1983) Review

Lewis Carroll's Alice in Wonderland (Broadway Theatre Archive) (1983)
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Fantastic television performance of the Eva LeGallienne adaptation of Lewis Carroll's ALICE IN WONDERLAND, featuring the 1982 Broadway revival staging by director Kirk Browning. Richard Addinsell's lovely score highlights the production with fine performances all around, headed by Kate Burton who gives Alice a sassy, modern sensibility. LeGallienne's version (which premiered in 1933 and was first revived in 1947) throws the stories and characters of "Wonderland" and "Looking Glass" together, creating a veritable kaleidoscope of colour and whimsy.
The cast is truly impressive including - Colleen Dewhurst's manic and imposing Red Queen; the befuddled White Queen of Maureen Stapleton; Nathan Lane plays the waterlogged Mouse as a tango-dancing lothario; Kaye Ballard as the baby-beating Duchess; Geoffrey Holder as a sinuous, seductive Cheshire Cat; and Donald O'Connor as the soft-shoe Mock Turtle.
Perhaps most poignant is Richard Burton, playing the melancholy White Knight. His scene with real-life daughter Kate is very touching, and his performance of the White Knight's bittersweet "A-Sittin' on a Gate", one of the truly great songs in Addinsell's score, is a highpoint of the whole production. The actual story of Alice is bookended by a nervous young actress about to star in her very first leading role. The saga of Alice herself provides a nice counterpoint as Lewis Carroll's heroine also must face her fears if she can ever return home.
Truly a production to savour and a rare treat for all theatre and Lewis Carroll admirers.

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From the elaborate Broadway revival of the 1932 Eva Le Gallienne/Florida Friebus production comes a whimsical retelling of the Lewis Carroll classic. In director Kirk Browning's enchanting adaptation, Alice's adventure in the land of fantasy is presented within a contemporary framework. An all-star ensemble cast--including Richard Burton and his daughter Kate--makes this a stellar version of a truly timeless tale and a great theatre treat for young and old alike.

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3/01/2012

Ten Blocks on the Camino Real (Broadway Theatre Archive) (1966) Review

Ten Blocks on the Camino Real (Broadway Theatre Archive)  (1966)
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I had never heard of this play when I say the DVD on the shelf. So I got it, took it home, and watched it. I found it to be delightful. Martin Sheen glows in the bloom of his youth, Lotte Lenya is a hoot, and the rest of the cast, while unknown to me, were admirable, especially Janet Margolin as Esmeralda.
The production dates back to 1966, in a B&W TV staging for NET - National Educational TV. I suppose that is the predicessor of today's PBS. It was campy and fun, with lots of cheesy sets typical of live TV shows of the day. That aspect alone gives it an ambience that looks back to an earlier day of less than slick TV performances of more than worthy theatrical properties. Too bad such things are not particularly marketable today. Still, thanks to DVD, one can enjoy one of a kind performances like this one that would otherwise be lost.
This performance is apparently based on an early version of the play, rather than an "excised" version of the final published text. In my edition of Tennessee Williams plays, there is commentary on the fact that he reworked the material several times after its Broadway Premier before releasing the final published version. For that reason alone, this is an interesting historical document. What's more, this version, without commercials, fits neatly into the standard one hour TV time slot, and in my opinion, holds the stage quite well.
I really enjoyed the perfornace, and recommend it to anyone who is not put off by out of date TV production standards. If you are interested in a more "official" version of the play based on the final published text, there are always books at the library or book store. Meanwhile, this DVD will provide you with a good visual image while you read.

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Martin Sheen stars as the eternal American G.I. Kilroy, a poetic soul condemned to spiritual death, in Tennessee Williams's allegorical one-act play. In a dreamlike fictitious Latin American country, a worn-out Casanova, a Camille living on memories, a Byron pitiful in his disillusioned pride, and others less famous live out a hopeless existence. Into this world comes Kilroy, an ex-boxer and perpetual fall guy, who asks so little and always gets short-changed, but never gives up hope. He is finally conned, or almost, into despairing subjection like the rest. "An allegory about people removed from time and geography..." --The New York Times. With Lotte Lenya, Tom Aldredge, Michael Baseleon, and Albert Dekker.

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2/28/2012

A Touch of the Poet (Broadway Theatre Archive) (1974) Review

A Touch of the Poet (Broadway Theatre Archive)  (1974)
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"A Touch Of The Poet" is probably the best O'Neill play you've never seen or read, and so it is fortunate that this production has been preserved by the Broadway Theatre Archive. The two leads, Roberta Maxwell and Fritz Weaver, are amazing, and Nancy Marchand is splendid as the passively adoring and long-suffering wife. The story, which is set in the era of the rise of Andrew Jackson, has a startlingly contemporary feel, evoking both the immigrant experience as well as the rise of the American industrial society. An amazing work, the only completed play in what O'Neill's planned as an eleven play cycle. Buy this, and enjoy.

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2/27/2012

Home (Broadway Theatre Archive) (1972) Review

Home (Broadway Theatre Archive)  (1972)
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Winner of the New York Critics Best Play of the Year Award in 1970, this hilariously funny but ineffably sad, five-character play by David Storey, directed by Lindsay Anderson, pairs Sir Ralph Richardson and Sir John Gielgud as two proud men who meet and talk in the garden of what appears to be some sort of assisted living facility. Well-spoken Jack (Richardson) and Harry (Gielgud), dressed in jackets and ties and carrying a cane and gloves, are clearly men of some status as they meet and make small talk--about the news, the clouds, varieties of chrysanthemums, whether Vale Evesham in England is the Garden of Eden, and the fact that their wives are not going to be visiting that day.
When they go off for a walk, two raucous and uninhibited women (brilliantly played by Mona Washbourne and Dandy Nichols) take their places in the garden, completely changing the mood. Kathleen (Washbourne) and Marjorie (Nichols) are obviously from a different background, with different accents, casual attitudes towards clothing and hygiene, bawdy humor, and a willingness to say absolutely anything. The fact that the women joke about having had shoelaces and belts removed and to being admitted involuntarily, one for the second time, ironically change our view of Jack and Harry, who they really are, and why they may be there.
When the men and the women all meet in the garden after lunch, their need to communicate, when they have so little in common, is touching. The men stay true to their class and upbringing and the women true to their own backgrounds, but all get teary at various times, and as they try to help each other, despite the fact their paths would never have crossed in "real" life, their universal need for companionship and understanding is highlighted. As the characters begin to confuse their stories, the viewer becomes aware that despite our hopes, the characters probably belong where they are.
Author David Storey, a Booker Prize winner for his novel Saville, has won innumerable awards for his plays, and this one is breath-taking. The actors are flawless, feeding off each other to make the play come alive. Small gestures and camera close-ups, especially with Richardson and Gielgud, make the drama intimate and powerfully affecting, and the final scene, accented by silent tears, is unforgettable. Productions like this are what theater is all about. Mary Whipple


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2/25/2012

The Typists (Broadway Theatre Archive) Review

The Typists (Broadway Theatre Archive)
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Saw this show years ago on TV when it was first shown. Enjoyed it then for its excellent performance by great actors. The story interesting as the characters age before your eyes throughout the show. Great actors, interesting script and a real jewel of a performance.

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2/20/2012

The Master Builder (Broadway Theatre Archive) (1960) Review

The Master Builder (Broadway Theatre Archive)  (1960)
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Produced in 1960 by David Susskind, this Broadway Theater Archive production of one of Ibsen's most famous plays focuses on an older man's fear that he will be replaced by the younger generation before he has been able to reconcile his success with his personal sacrifices. Halvard Solness (E. G. Marshall) is a Master Builder who has built much of the small town in which he lives. Arrogant, manipulative, and often paranoid, there is little he will not do to appear in control.
When Hilde Wangel (Lois Smith) suddenly knocks on his door, the younger generation arrives. Exuberant and flirtatious, Hilde reminds Halvard that exactly ten years ago, when she was the twelve-year-old daughter of a client, he called her his little princess and promised to buy her a kingdom. Ingratiating herself with Halvard, Hilde listens as he reveals his guilt about his success, his fear of godly retribution, and his simultaneous belief that he is one of the "special people" who can bring his desires to fruition through the summoning of demons, "called 'luck' by others." Regarding herself as the person who will free him from guilt, Hilde urges the acrophobic Halvard to place a wreath at the top of the tower on the house he has built for his wife-a symbolic celebration of a new kind of life through Hilde, building castles in the air.
Though Robinson and Smith portray their roles with passion, their characters are not always realistic, and the psychological grounding seems uncertain, lacking unity. Their relationship, because of differences in age, background, and personalities, is unsettling and uncomfortable for the viewer, and the actors themselves do not seem to connect in this supposed relationship. The formality of E. G. Robinson matched with the bizarre flirtatiousness of Lois Smith feels more like a dramatic conceit than the natural attraction it is supposed to be. Halvard's seemingly bloodless wife (Joanna Roos), fully aware of the growing attraction between Halvard and Hilde, vividly conveys her frustration with her life and her wayward husband, and her behavior at the end of the play is touching--filled with a kind of hopeless sadness.
Set in Halvard's house, this black and white production depends on the viewer's acceptance of the characters and their peculiar interactions, since there is virtually no change of scenery and no color to provide distractions. The play, directed by John Stix and Richard Lukin, is filled with strong emotion, but it carries a pessimistic and ambiguous message conveyed through characters who are not quite believable. Mary Whipple


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