Summary
When that loses interest, she "writes" this completely silent scene, in which no action or stage business is necessary, instead: "The Venus / The Baron Doctor / The Venus / The Baron Doctor / The Venus / The Baron Doctor / The Venus / The Baron Doctor / The Venus." Its title (also repeated, through the show): "A Scene of Love."
Now here's a show to savor: A Moon for the Misbegotten at Deep Dish Theater. Still, I have to question some of the guiltier pleasures on stage. Director Tony Lea gets a surprisingly intimate, interior feel from Tom Marriott's performance as Phil, the prickly patriarch of the Hogan clan. Bravo for the imaginative and unexpected choice. But before this revelation sweeps us off our collective feet - as Marriott loves to do - isn't there still just a bit too much charm in the curmudgeon's mix? Didn't Phil inspire real terror in his leaving son, Mike? Did Eugene O'Neill really see him as this, well, light?By comparison, the buds that we expected to see slowly and awfully open on James Tyrone's metaphorical funeral wreath stayed too closed during the concluding acts on Friday night. Actor John Allore has done promising work in the recent past. Still, the audience must clearly see what changes Josie's mind - what removes the hopes of the evening's beginning and convinces her she's holding a dead man in O'Neill's rosy dawn.See the full content of this document
Extract
The Venus Vanishes
The line between witness and voyeur in a theater audience can be razor-thin. Sometimes it's nonexistent. From a conveniently darkened area we look, apparently unobserved, into a room where unstable lives are simulated. The facade of a "fourth wall" is usually erected to enhance this effect. And though our seats are generally situated literally above the action, this does not automatically confer to us the higher moral ground.
For out here in the audience, don't we have not one dirty little secret, but two?Isn't this the first: We...See the full content of this document
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