Word: acterized
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Dates: during 1960-1969
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SOME PEOPLE over at Quincy House have pulled a neat stunt this week. They have produced two one-act plays, but somehow ended up with about five-sixths of one one-acter. I guess it shows a certain amount of good old American ingenuity on their part, but it also makes for an unfortunately disturbing evening of theatre...
Unless one happens to be a voyeur, it is sexier to imagine plays with nudes than to actually see them. Sweet Eros is no exception to this rule, even though the naked girl (Sally Kirkland) in this off-Broadway one-acter by Terrence Mc-Nally is on view for almost an hour. The skin show is more abstract than erotic, and terribly sedate. The girl is bound to a chair and gagged most of the time, and initially clothed. Possibly the most exciting scene in this distinctly lethargic drama is the one in which she is undressed by her captor...
...second one-acter called Witness finds McNally in fine comic and caustic fettle. Again a gagged victim is trussed up in a chair, this time a man. His captor (Joe Ponazecki) hopes to assassinate the President of the U.S. during a motorcade, and he wants a witness to his own sanity in committing the act. The stuff of madness has been crammed into this young would-be assassin's head, principally by avid newspaper reading and televiewing. He knows all about cabinet crises in Lebanon, but he doesn't know right from wrong. He hopes to resolve...
...physical scene of this one-acter shows this lack of expertise at its fullest. Paul, the son, and three of his black friends are robbing Ed, the father, at his safe. While Paul has explained in the scene before that his father will surely open his safe and count his money at three in the morning, it's hard to believe that even super-capitalist Ed would actually get out of bed to do this. During the robbery attempt, as one of the boys tries to smash Ed on the back of the head with a bottle, the victim pulls...
Consider the plot of Tea Party, a one-acter that, along with The Basement, is being offered off-Broadway. The central figure is Sisson (David Ford), a middleaged, successful British manufacturer of bidets. A self-made man, he prizes decisiveness, precision, strength of character. A widower, he marries a genteel second wife (June Emery) and hires a miniskirted, sexually provocative secretary (Valerie French) in the same week. He invites his wife's brother (John Tillinger) into the firm. His wife becomes her brother's secretary, and the pair indulge in faintly incestuous reminiscences of days on a gracious...