Word: bamman
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...edges. Courtenay, a veteran British stage performer probably best known here for his film roles (The Loneliness of the Long Distance Runner; Dr. Zhivago), offers a Vanya of precise but wistful enunciations, interspersed with moments of careening grandeur. But the rest of the cast is weak. Gerry Bamman overacts as the bankrupt landowner Telyegin. Amanda Donohoe (formerly of L.A. Law) looks lovely as the irresistible beauty Yelena but fails to wring any pathos from her realization that in life she has "always played a minor role." As the professor, Werner Klemperer produces a small fool when we long...
...directed by him, Gerry Bamman's Or gon is pompous, adenoidal, often petulantly childish; he reveres Tartuffe in or der to assert his moral superiority over a family that has grown fractious. Harris Yulin's Tartuffe is cold and cobra-like, vengeful and vain. He has a genuine element of fervor: he endures ritual flogging, dispenses alms, even appears to heal the halt and lame. But there is nothing inspirational in him and nothing ennobling in his impact. In the opening scenes, the actors appear in clownish whiteface and lurch like robots. The playing reaches its tenderest pitch...
Presciently modern, Ibsen foresaw that collectivized man would make egocentric quests for identity and searches for self. Peer's quest for self-definition becomes a tale of tepid damnation. The suave, cynical Peer of Part II (played with acute perceptivity by Gerry Bamman) defines himself by what he does and not by what he is. And what he does is always tainted by easy accommodation and the habit of incessant compromise. He moves from trading slaves out of Charleston, S.C., and shipping pagan idols to China to reigning as a prophet in the Moroccan desert, finally ending up crowned...
...most commanding of the performers, she plays woman or man with equal ardor, courtly fixture or cottager with equal ease. Karen MacDonald's Celia matches Jones movement for movement with a perfectly synchronized body and a beautifully tuned voice. But the most ingratiating of the performances is Gerry Bamman's Jaques, a tall forest roamer in a grass toga, unfazed by even the most outrageous of Belgrader's devices, with a pouting, resonant voice that undoubtedly reminded more than one member of the audience of Tony Randall. Bored, not spiteful, puzzled rather than offended by the folly around...
...cast is superb. The two parents, Nagg (Tom Costello) and Nell (Saskia Noordhoek Hegt), are like moths whose wings have iced. They flutter feebly, not in the text's ash bins, but in a laundry hamper and a G.E. refrigerator carton. Their crippled son Hamm (Gerry Bamman) treats the universe as a sorry joke, his servant Clov (Larry Pine) as a straight man, and his fate as a glorious chance to play M.C. in death's cabaret...