Showing posts with label literature nobel prize winners. Show all posts
Showing posts with label literature nobel prize winners. Show all posts

5/31/2012

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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5/26/2012

Breaking the Code: Masterpiece Theatre (1997) Review

Breaking the Code: Masterpiece Theatre  (1997)
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There are probably only a handful of actors alive as good as Derek Jacobi; this account of Alan Turing's life and disgrace in the eyes of the British secret service demonstrates why he's so good. The empathy and outrage the viewer feels on behalf of the embattled mathmetician finds its equal in the awe for his intellect that the solution of the enigma ciphers merits. Much like Prick Up Your Ears, this film shows up societal prejudice and how damaging it can be in the face of true creative genius.

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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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3/04/2012

The Best of Friends Review

The Best of Friends
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John Gielgud. Wendy Hiller. Patrick McGoohan. I could stop writing now, and feel that those three actors together in one film is all you need to know.
But, I will continue.
"The Best of Friends" is a television movie produced in 1991, which revolves around the correspondence of such towering figures as George Bernard Shaw, Syndey Cockerell, and Laurentia McLachlan, played by McGoohan, Gielgud, and Hiller, respectively. The three wrote letters to one another regularly, and even visited from time to time. This production culls its dialogue from the exquisite prose of those letters, nicely bringing to life these three interesting people. They discuss their ongoing lives, their opinions, their daily activies, their loves lives, but mostly their theological beliefs. Much of the story revolves around religion, faith, and devotion. Laurentia McLachlan is a nun, having devoted her entire life to the Lord. Shaw is also a man of faith, although he can sometimes be a tad more cavalier about it than his female friend, much to her dismay. Probably the most touching scene in the entire film involves Shaw's reminiscence of his trip to Bethlehem. McLachlan asked for him to take her there in spirit, which he did most admirably. She is quite visibly moved when he returns with two stones he picked up whilst in Bethlehem, one to put in the garden of her nunnery, the other.... for herself.
It is important to note that Alvin Rakoff directed "The Best of Friends" as though it were a play. There is very little music, though the music that *is* provided by Sidney Sager is quite moving. There are maybe 4-5 sets used throughout the 80 minute production, and the actors walk freely between them, reciting their dialogue sometimes to each other, sometimes directly at the camera, and sometimes to no one in particular. This takes but a few minutes to get used to, and by that time you are drawn-in by the wonderful words of these three people, brought to life by these three treasured actors. "The Best of Friends" makes for quite an enriching viewing experience, and it is nice to see that it has been given a good DVD release.

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3/03/2012

The Forsyte Saga - The Complete Series (1969) Review

The Forsyte Saga - The Complete Series (1969)
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Possibly the greatest TV miniseries of all time, it is wonderful that it has been released with great care and pride in this marvelous DVD set.
What sets this particular adaptation apart from others, especially the recent (2002) version, is the outstanding ensemble acting and rich characterizations. For example, as Soames, compare Eric Porter's crisp, impeccable diction in this version with Damian Lewis's mushy delivery in the 2002 version. Compare the delightful, comic realization of James (Soames's father), played by John Welsh in 1969, with the indistinguishable-from-all-the-other-Forsytes character in 2002. Most compelling, compare Nyree Dawn Porter as Irene in 1969, with... well, there really is no comparison here.
Of course, visually, this version suffers compared to last year's. It's shot in black and white, mostly on stage sets. Clearly, they used very few takes (another tribute to the actors), as minor defects like coats falling off racks, cameras getting bumped, slightly muffed lines are retained. But, really, who cares when you're watching the finest combination of acting and screenwriting ever put on TV?
This DVD not only contains the entire set of 26 fifty-minute episodes, but also additional material: cast interviews, behind-the-scenes, even deleted scenes and outtakes. Altogether, a beautiful job.

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The miniseries that started it all! In 1969, a internationally-acclaimed BBC show began airing on the fledgling public broadcasting network. The Forsyte Saga, in telling the remarkable story of a nouveau riche English family, introduced America to a new kind of TV. Millions of Americans devoted the next half year of their lives to following the frank treatment of all sins, foibles and peccadilloes of the Forsytes and their circle. The passing decades can never the erase the memory of their extraordinary evenings with the Forsytes: Kenneth More as Jo, the philosophical outsider; Eric Porter as Soames, the grasping man of property; Nyree Dawn Porter as Irene, "born to be loved and to love" and in later episodes, Susan Hampshire in an Emmy-winning performance as Fleur, Soame's 'restless' daughter. The series was so popular that Masterpiece Theatre was created to meet the new demand for great literary adaptations. With 150 characters, 2000 separate costumes and over 100 sets, this sprawling yet intimate saga continues to move, provoke and entrance viewers today.

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2/06/2012

Eugene O'Neill's Beyond the Horizon (Broadway Theatre Archive) (1975) Review

Eugene O'Neill's Beyond the Horizon (Broadway Theatre Archive) (1975)
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This play seems to be about the choices we make in our lives and how they affect us and those around us in the long run. Also familiar are "the grass is always greener on the other side" scenarios as Ruth decides first that she loves Andy, then Rob, then, after marrying Rob and making his life miserable, decides that she really loved Andy after all. Typically tragic Eugene O'Neill, who does misery so desperately well.
The question arises: should we indeed sacrifice our dreams for love? Is it worth the price? And is it really love at all to expect someone to do so?
The only true love in this play was between the two brothers, who supported each other choices unconditionally and experienced the die-hard grief in death that only those who love each other truly can.Splendor in the Grass

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Eugene O'Neill's Pulitzer Prize-winning tragedy unsparingly presents the story of two brothers in love with the same girl. The tale unfolds with the girl's rejection of one brother and marriage to the other, setting the stage for discontent and disillusionment. Originally produced on Broadway in 1920, O'Neill's first full-length play captures the powerful, perilous emotional currents swirling below the surface of everyday life.

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2/01/2012

Sea Marks (Broadway Theatre Archive) (1976) Review

Sea Marks (Broadway Theatre Archive)  (1976)
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Colm Primrose, a fisherman from the wild coast of Ireland, loves his work, his boat, his fishing buddies, and the sea in all its moods. Living in a small, rural community, he has no telephone, no modern conveniences--and no wife. While at a local wedding, he sees Timothea, a young woman from Liverpool, to whom he eventually writes a letter. Their correspondence, in which he describes his life, continues for eighteen months, before she returns to the area for another wedding. Before long, she has persuaded him to visit her in Liverpool, where she works for a publisher.
Their relationship, the first ever for Colm, provides sweet romance, but the seeds of disaster are sown from the beginning, when Timothea has his letters published as "sonnets." Described by publicists as "primitive," the unschooled Colm finds himself, unexpectedly, a celebrity poet, in demand for talks to clubs. Like the proverbial fish out of water, however, Colm misses the sea and "the heads," while Timothea, who has escaped to Liverpool from rural Wales, wants never to live the primitive life again. Their love, which drives the first act of the play, becomes the conflict which drives the second act.
Gardner McKay has created a romantic drama which glorifies the life of the fisherman and his ties to the most basic elements of wind and weather. The visual contrast between the wild Irish coast in this filmed-for-television production and the seamy side of Liverpool illustrate the themes. The plot is simple--and predictable--but George Hearn manages to make Colm a real person experiencing real agonies as he tries to reconcile his first experience with love with his need to return to his roots. Veronica Castang, as the more experienced lover, plays her role with a lovely softness, which disguises her selfish side, seen in her refusal to consider leaving the city and her determination to persuade Colm to remain.
This Broadway Theatre Archive production from 1976, contains themes as relevant today as they were then--the desire for love, the need for openness to new experiences, and the beauties of the simple life vs. the city life. The attractions of a life as raw and primitive as Colm's may be less appealing today than they were in 1976, however, and the conflict is so basic that the conclusion is obvious from the beginning of the play. Still, Hearn makes Colm such an attractive character that one hopes that he will achieve happiness by finding both a lover and a continued life on the sea he loves. A well-acted romantic drama. n Mary Whipple


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Burning Bright (Broadway Theatre Archive) (1959) Review

Burning Bright (Broadway Theatre Archive) (1959)
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The Broadway Theatre Archives series is full of gems. You will find treasures hidden in this collection, especially memorable performances by many actors and actresses who never made it big in the movies, like Kim Stanley, Julie Harris, Blythe Danner, Joan Hackett. Or some legendary performances from the stage, which were luckily preserved in these TV adaptations, like Jason Robards in "The Iceman Cometh" and Lee J. Cobb in "Death of a Salesman".
Unfortunately, this adaptation of the John Steinbeck play is not one of those treasures.
The story plays like a male "Yerma" (the Garcia Lorca play in which a woman is devastated for her inability to have a child). You might be laughing already and that's the problem. Such a subject needs a very careful treatment for it to be compelling in any time and place. A desolate old guy who could never have children laments that he will die without passing on his bloodline. The concept borders on the ludicrous, but it's intriguing nonetheles.
Unfortunately, this is more ludicrous than intriguing, greatly helped by the pathetically melodramatic performance of Myron McCormick, the lead. You can not help but feeling turned off by his constant wailings and it makes it very difficult to understand what is it that his wife (Colleen Dewhurst) sees in him.
The fact that the four acts of the play take place in different settings to show us the universality of the dilemma only makes thingw worse. At the beginning we have the characters in a circus setting, on the second act in a farm, and then it all ends up in a ship, with everybody changing costumes. By the end, we have been bulldozed by the fake "universality" of this atrocious take on the tragedy of male sterility.
As for the intriguing, that's left to the great Collen Dewhurst, as the sterile man's wife, who will go to any lengths to give him a child that he believes is his. Her character reaches malignant dimensions in her quest and her performance gives hints of this, unfortunately the story is more interested in the syrupy side.
A curiosity, but not really worth it. If you want to see great theather on TV, better go check one of the rare (and spectacular) performances of Kim Stanley in "Dragon Country" or Blythe Danner in "The Eccentricities of a Nightingale"

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1/06/2012

Six Characters in Search of an Author (Broadway Theatre Archive) (1976) Review

Six Characters in Search of an Author (Broadway Theatre Archive)  (1976)
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This was a famous (and somewhat erudite) stage play meant for 1920's audiences that was a landmark work from the "Theatre of The Absurd". This DVD presents a very unusual but great version of this play, changing the situation from a stage to a Hollywood Television studio where actors are gathered to perform a rehersal. Suddenly the professionals are interrupted by six characters who claim that they are part of a work of an author who never completed their story and are seeking to have their much more interesting drama performed. (We never know whether they really exist at all) The director, (John Houseman) listens to a very convincing arguement from "The Father" (Andy Griffith)who presents his case as to why their "play" must be done and incredibly they dominate the action from this point. There are some real surprises here! Good direction by Stacey Keach. An appearance by his son James Keach as "The Son". A unique turn in making part of the drama involve interracial romance (a major step in 1976) and perhaps the biggest stunner of all, Andy Griffith as "The Father" proves that he is more than just a simple country bumpkin sheriff in a departure from his usual nice guy roles. Of course everyone gives away the era in which this was made in dress and hairstyles (1976) but it is still an unusual and intelligent adaptation of the classic absurdist play that is worth your time and investment.

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Luigi Pirandello's modern classic, starring Andy Griffith in a brilliant departure from his television persona as a country sheriff, along with Academy Award-winner John Houseman (The Paper Chase), is directed by Stacy Keach, who has transposed the play'straditional theatrical setting to a television studio. As a group of actors prepare for a rehearsal of a TV adaptation of another Pirandello play --The Rules of the Game--the television monitors in the control booth give way to an electrical interference which inexplicably replaces the images of the actors with the images of six mysterious strangers. These are the "six characters" of the title who appear in the flesh in the studio to confront the director and actors with the proposition that their story is more interesting than the play at hand. They gradually take over the stage to act out their story, each character representing a different point of view. A groundbreaking work that has exerted considerable influence on 20th-century drama. With Andy Griffith, John Houseman, Julie Adams, Beverly Todd, and James Keach.

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1/01/2012

Beckett on Film DVD Set (2003) Review

Beckett on Film DVD Set (2003)
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First let me say I've been waiting my whole adult life for this collection. I've spent 30 years trying to collect audio and video recordings of Beckett's work, and suddenly here are all the theatre peices in one beautiful package. The chance that you will ever find another film version of most of these works, or ever have a chance to see them on stage, is almost nil. If you love Waiting for Godot and Endgame, you will not regret the money spent on this. Unlike most plays and almost all movies, these are peices to be seen again and again, over a lifetime, letting the beauty and subtlety of Beckett's language slowly soak into your being.
That being said, I was disappointed with only one peice: Endgame. With Michael Gambon as one of the leads, I expected the most from this play. But I'm afraid he was badly misdirected in this. He simply enjoys his dispair too much. He enjoys being a selfish, cruel master and his "Perhaps I could go on..." speech (one of Beckett's greatest)loses all its power. Gambon delivers this with hardly a pause, rambling on with the same puckish tone as the rest of his performance. (I thought maybe I was just too used to an earlier film version directed by Beckett, so I went back to the script to check this. After almost every phrase in the speech, Beckett has written (Pause). Without these pauses to let the anguish of the words sink into our minds, the speech carries no more weight than the rest of the text. Well, probably much more than you wanted to know.)
Short Review: BUY THIS NOW! You'll be watching these films again and again as long as you own a DVD player.

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2003 PEABODY AWARD WINNER!
This acclaimed film project includes all 19 plays of Samuel Beckett, considered the most significant Irish playwright of the 20th century. Many of these outstanding filmed productions have received critical acclaim at prestigious international film festivals around the world including New York, Toronto and Venice. Beckett on Film has brought together some of the most noted directors of our day including: Atom Egoyan, Damien Hirst, Neil Jordan, Conor McPherson, Damien O'Donnell, David Mamet, Anthony Minghella, Karel Reisz and Patricia Rozema. A list of distinguished actors including exceptional performances by Michael Gambon, the late Sir John Gielgud, John Hurt, Jeremy Irons, Julianne Moore, Harold Pinter, Alan Rickman and Kirsten Scott-Thomas.
THIS 4 DVD 19 Play Set includes:Waiting for Godot (running time: 2 hours)Not I (running time: 14 minutes) Rough for Theatre I (running time: 20 minutes) Ohio Impromptu (running time: 12 minutes) Krapp's Last Tape (running time: 58 minutes) What Where (running time: 12 minutes) Footfalls (running time: 28 minutes) Come and Go (running time: 8 minutes) Act Without Words I (running time: 16 minutes) Happy Days (running time: 1 hour 19 minutes) Catastrophe (running time: 7 minutes) Rough for Theatre II (running time: 30 minutes) Breath (running time: 45 seconds) That Time (running time: 20 minutes) Endgame (running time: 1 hour 24 minutes) Act Without Words II (running time: 11 minutes) A Piece of Monologue (running time: 20 minutes) Play (running time: 16 minutes) Rockaby (running time: 14 minutes) Plus a 52 minute Documentary on the making of the Beckett on Film Project
Features*Widescreen*Dolby Digital*Color and Black & White

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12/21/2011

American Experience - Eugene O'Neill: A Documentary Film Review

American Experience - Eugene O'Neill: A Documentary Film
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Anyone can make a documentary. It's become quite formulaic. You start with a story you want to tell, have a narrator anchor your tale, illustrate with moving images or still images over which you move, layer music and sound effects to create a mood, and add a healthy dose of "talking heads" to gain intimacy and credibility.
Put together Muhammad Ali, Lloyd Price, Zaire, "Rumble in the Jungle," and George Plimpton, and you get Leon Gast's ninety-minute "When We Were Kings." Put together Babe Ruth, Billy Crystal, Ebbets Field, "Take Me Out to the Ballgame," and Bob Costas, and you get Ken Burns' eighteen-and-a-half-hour "Baseball."
Anyone could have made a documentary on Eugene O'Neill. Of course it helps to have a big brother, who plucks you from the Columbia University campus to help him fight nine episodes of "The Civil War." It helps to have already made a highly acclaimed documentary of your own on the Big Apple. It helps to have enlisted the venerable Arthur and Barbara Gelb, who know more about your subject than you can ever hope to know. It helps to have a bit of luck - to have your hand slapped by a PBS executive for stretching a two hour documentary into three, and then being told that your next project on Eugene O'Neill, which you had planned on running four hours, WILL come in at two - or more precisely, 112 minutes. And it helps to be a genius.
On Monday evening, January 23rd, some 150 invited guests filled the MGM Screening Room at 6th Avenue and 55th Street in New York City. They previewed the American Experience PBS documentary "Eugene O'Neill," which will premier on Monday, March 27, 2006. They previewed the genius of Ric Burns.
"What does it cost to be an artist? What did it cost to be Eugene O'Neill?" director Lloyd Richards asks in the opening moments of the film. "It cost Eugene O'Neill a mother, a father, a happy marriage, children. It cost the many wives that he tried to have because he didn't know how."
Burns uses Richards and his other "talking heads" to seamlessly tell his story. "When I interview them, I sit across from them and look them in the eye," Burns related at his Steeplechase office, several days after the screening. "If you don't look them in the eye, they lose interest, and you've lost them."

Burns didn't lose playwright Tony Kushner, who movingly remarks in the film, "In O'Neill, there's this absolute, sort of God-ordained mission, which is to keep searching, even if in the process he discovers that there is no God. It's a terrifying sort of mandate, but it also I think should be the mandate of all artists, and in a way, of all people." Narrator Christopher Plummer provides the anchor for playwrights Kushner and John Guare, directors Richards, Sidney Lumet and Robert Brustein, and O'Neill scholars Edward Shaughnessy and the Gelbs. They all respond to Burns' deft technique, and are transformed from "talking heads" into eloquent orators. Burns uses these heads to speak words about O'Neill. He uses a second set of heads to speak O'Neill's words. Al Pacino, Zoe Caldwell, Christopher Plummer, Robert Sean Leonard, and others strategically speak dialogue from O'Neill's plays. They "speak" O'Neill's words, as opposed to performing them, and tell Burns' story in much the same way that the playwrights and the directors and the scholars tell it. It's a brilliant juxtaposition that helps Burns keep his story moving at a cohesive, break-neck pace.
Burns starts his story in 1937, when O'Neill moves into Tao House, his California hillside home. Burns uses this point in time as a fulcrum to look backward and relate O'Neill's break with his family, and then look forward, as O'Neill reclaims his family and, as his reputation declines and illness threatens to silence him forever, wrenches from himself three of the greatest plays ever written by an American.
Burns' story could have been told over four hours, or even eighteen-and-a-half. The Gelbs would have had no problem providing the necessary substrate. But that hand-slapping PBS executive fortuitously forced them to cut and cut and cut their story to 112 minutes. Integrated with Brian Keane's magical score, a perfectly accessible tale was crafted that can be easily consumed in one sitting.
The 150 invited guests in the MGM Screening Room already knew most, if not all of Burns' story. It wasn't necessary to give the likes of Ted Mann and Ben Brantley a history lesson on O'Neill. Had Burns' documentary served only to educate, it would have been just another formulaic example of its genre. But, it did much more than educate. It forced those gathered on January 23rd to feel what it cost to be an artist, and it forced many of them to shed a tear for O'Neill and for others they had known who had paid that price. Those assembled felt the tragedy and the genius of Eugene O'Neill. And they felt the genius of Ric Burns.

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12/18/2011

John Cheever's The Sorrows of Gin (Broadway Theatre Archive) (1979) Review

John Cheever's The Sorrows of Gin (Broadway Theatre Archive)  (1979)
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With an eye for details and an ear for the hollow speech of the upper-middle-class residents of Shady Hill, Pulitzer Prize-winning playwright Wendy Wasserstein transforms John Cheever's famous short story into a realistic play about the failure to connect. Set primarily inside a suburban home, the play focuses on the lives of the Lawton family--Kip (Edward Herrmann) and Marcia (Sigourney Weaver), for whom the social whirl of cocktail parties and evening martinis has completely subsumed real life, and eight-year-old Amy (Mara Hobel), sad, lonely, and often fobbed off on the household help. The acting is outstanding, with an amazing performance by young Mara Hobel.
Although the Lawtons' household employees come and go, Amy becomes particularly fond of Rosemary, a cook who is as lonely as she is and who reads to her and gives her affection. When Rosemary returns one evening from a trip to the city, drunk, she is instantly fired, in part because she has embarrassed Amy's father in public. Amy, devastated, decides to follow a suggestion Rosemary once made to her--she pours her father's gin down the sink. When Amy continues this practice, her parents assume that the help is stealing it, and they fire a succession of employees. After her father's hot-headed confrontation with a babysitter, Amy decides to run away.
Produced for Public Television in 1979, this Jack Hofsiss-directed play depicts every aspect of the Lawtons' shallow lives. Amy's imitations of her parents' speech and their alcohol-related entertaining are duplicated when she plays with her dolls, and her mother's concern with appearances and her father's constant escape into martinis show the emptiness of their lives and the effects on Amy. Unfortunately, while this realistically depicted subject may have been fresh in the late 1970s, when the story was written, it is now stale and offers little that is new, thematically. The Lawtons are not intrinsically interesting, and their interactions with their daughter, such as they are, do not develop any real dramatic tension.
The intricacy and satire of Cheever's short story are missing here, and the pacing and careful buildup of details, which enhance the themes of Cheever's short story and leave something to the imagination, are sacrificed--everything in the play is obvious from the outset. The good acting, Wasserstein's natural-sounding dialogue, and the accuracy of the sets and costuming do not compensate for the losses that occur when this carefully constructed short story is transferred from the reader's imagination to an in-your-face revelation of family problems by people who do not learn from their experiences. Mary Whipple


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12/08/2011

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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11/21/2011

Eugene O'Neill's Mourning Becomes Electra (Broadway Theatre Archive) (1978) Review

Eugene O'Neill's Mourning Becomes Electra (Broadway Theatre Archive) (1978)
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O'Neill doesn't get much representation these days. Staging his plays isn't always practical. This is a really excellent video version of the play that was produced for Connecticut public television. The cast, including Joan Hackett, Roberta Maxwell, Bruce Davison and Jeffrey DeMunn is really excellent. They breathe such natural life into these supertragic, archetypal, and arguably over-Freudian, characters that you really understand why this is a magnificent tragedy and not just some soap opera. The settings are good and the staging takes advantage of the medium with scene transitions that wouldn't have been possible on stage, but would no doubt have gladdened O'Neill's heart, and give further power to his already lavish dramatic design.
Unfortunately, this IS produced for public television, and there is no attempt to hide the fact. The play is presented in a series of "Episodes," with "scenes from last time" and an opening of waves on cliffs that can not fail to remind viewers of the series "Dark Shadows." But the score by Maurice Jarre is perfect and evocative throughout the production. There is
also a clinching review/discussion/commentary at the end of each episode by, for some reason, Erich Segal. I avoided this like the plague.

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10/12/2011

The Patriots (Broadway Theatre Archive) Review

The Patriots (Broadway Theatre Archive)
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Here's a little-known gem from 1976.
"The Patriots" tells the tale of a struggling, post-Revolution America from Thomas Jefferson's point of view. Easily on a par with the more famous musical "1776", this serious drama outlines Jefferson's conflict with the philosphy of Alexander Hamilton (Philip LeStrange).
The performances are top notch, especially Jefferson (Robert Murch) and Washington (Ralph Clanton). Both forefathers spring to life under the steady hands of the actors who portray them. You'll be hard pressed to find a better or more memorable portrayal of these two men once you sample "The Patriots". Madison, Monroe and Hamilton also become real human beings, in place of the marble statuary we are so used to.
Also of note is the accurate depiction of the little-known danger facing the young American nation in the 1780's-90's, as forces conspire to impose a monarchy and dissolve the Constitution. Jefferson helped to stem the tide, and his role in that conflict is ably demonstrated here.
There is some minor television-acceptable cursing, but nothing kids can't handle today. Kids ought to watch this anyway, as it makes history come alive in ways that books sometimes cannot.
The transfer here is excellent, so you won't suffer the common video errors from some poorer transfers to DVD. If you like Jefferson, Revolutionary Era history, or just good theatre, this one's a keeper.

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10/02/2011

Long Day's Journey Into Night (1987) Review

Long Day's Journey Into Night (1987)
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This is a wonderful interpretation of O'Neill's transcendental autobiographical work. The cast is fine, but a less "performed" example of Long Day's Journey into Night does exist. The 1962 film by Sidney Lumet actually succeeds more as a drama and as a glimpse into a tortured reality. It is hard to explain. It's like seeing Shakespeare acted out instead of embraced and performed. This newer cast acts the story. The Lumet cast lives the story. They breathe it. They are not actors cast in a show. They are the O'Neill family. Even the filming itself becomes an active part of the Lumet experience. Is buying this version a mistake? Absolutely not. I would just simply recommend taking a look at the Lumet version before deciding.

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9/11/2011

Eugene O'Neill's A Moon for the Misbegotten (Broadway Theatre Archive) (1975) Review

Eugene O'Neill's A Moon for the Misbegotten (Broadway Theatre Archive) (1975)
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Written in 1943, it took "A Moon for the Misbegotten" over 30 years to find its place as one of the most important works in the Eugene O'Neill canon. First produced on Broadway in 1958, the play was originally dismissed as second-rate O'Neill. It took the powerhouse 1974 revival directed by Jose Quintero and starring Jason Robards, Colleen Dewhurst and Ed Flanders to finally earn O'Neill's painful reminiscence about his brother Jamie, unforgettably introduced to audiences in "Long Days Journey Into Night," the deserved accolade of "masterpiece."
The story is incidental: dirt farmers Josie and her father attempt to dupe their alcoholic landlord James Tyrone, Jr. into spending the night with Josie in the hopes of initiating a vague stab at retaliation against a scheme that Tyrone has hatched against him. But when the drunken lessor shows up for the assignation, what unfolds is a series of jolting revelations that leaves all of the characters - and the audience - emotionally spent, with only a lingering sense of compassion haunting their well-traveled spirits.
This DVD is the ABC television production of this landmark theatrical event, and admirers of great acting can only be thankful that the production was preserved on video. The performances of Jason Robards, repeating the role he created in the original Broadway production and film of "Long Day's Journey"; Ed Flanders, who received both the Tony Award for the Broadway production and the Emmy for the television presentation; and most especially Colleen Dewhurst, who is magnificent in her Tony Award-winning role as Josie, all offer such brilliantly moving performances that the memory of them will linger long after the final credits unspool.

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Theatrical sparks flew when veteran Eugene O'Neill interpreters Jason Robards and Colleen Dewhurst joined forces in the celebrated 1973 revival of O'Neill's tender semi-autobiographical drama. In a towering performance, the great Robards portrays a cynical, self-hating alcoholic actor based on O'Neill's elder brother, Jamie. The majestic Colleen Dewhurst plays the earthy, gruff daughter of his scheming Irish tenant farmer (Ed Flanders), with whom the failed actor spends a soul-baring night of guilt-ridden confessions, tenderness, and absolution. Both Dewhurst and Flanders won Tony Awards for their performances.

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