Word: bitching
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Dates: during 1970-1979
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JONES has not for a decade been considered a major novelist, but the reason is no longer the race he runs with the bitch goddess. He's made his pile and is sitting on it, while continuing to practice his craft in his own idiosyncratic fashion, producing works of dubious value but vast pathological interest. Jones' mind hasn't broadened, and he's never again found a situation where the catalogue approach to literature has proved applicable. But by viewing his later works, one may see the author's progression from hard-boiled anarchist to embittered sexual contender to kind...
...course, not all of Osborne's force can be diminished, and when rich-bitch Helena enters in the Second Act as foil for Porter's venom, the performance really sparks; but her spark is as ephemeral as Ali's in the thirteenth round. The director has done everything possible to obstruct dramatic tensions. The violent actions are more uncomfortable than discomfiting, the quiet moments are languorous. Against the evening's generally ham-handed pacing, Porter's songwriting-dancing interludes seem too clever by half. The actors strive valiantly to overcome the director's schematized conception, but only John Archibald...
...someone to play Hot Lips. "I thought, you know, terrific and all that. Then I looked at it. It was about three pages long. I was hysterical. I threw the script at Bob Altman and started yelling and crying at the same time. 'You son of a bitch, how can you ask me to play a part like that, you dirty bastard, whoever you are-it's practically not even there!' 'Stop, stop!' Bob Altman says from behind the desk, where he's hiding. 'You're Hot Lips...
...pressure. There is an omnipresence about its throb and its beat, shaking the two-storied concrete bunkers the men live in, even as they sleep. It rarely ceases. "Ain't enough wind or rain, ice or fog to ever stop that son of a bitch," one crewman observes with grudging respect...
...changing effects of a long, group drunk. Drunkenness is a dimension of the play, one that changes with time, allows constant development of the characters and permits repetition and refinement of the themes. Frank McCarthy and Cathie Robinson as the middle-aged history professor George and his bitch wife Martha, and Al Ronzio and Lori Heineman as their young faculty-party acquaintances, Nick and Honey, work well under the requirements of this changing dimension. Much of the success of the Atma production of Virginia Woolf depends on the four actors' ability to alter their speech, motions, and emotions...