Word: camped
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Dates: during 1990-1999
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...coffers, still bulging with some $1.5 million for his own campaign. On Wednesday, he urged other GOP congressional candidates with fat war chests to cough it up for the Party. TIME Washington correspondent Michael Duffy reports that the money is arriving just in time, since Dole's camp already has spent its legal limit until after next month's convention. "Bill Clinton and the Democratic party are spending $2 million a week to drum up negative opinions of Dole," he said. "The fact that Dole is being outspent is one of the reasons he is behind in the polls. This...
Miserly father James (Jerome Kilty) worsens matters by denying the seriousness both of Mary's drug use andof Edmund's illness, trying to scrimp on a sanitarium for Edmund and taking out his anxieties on his elder son, the failed actor Jamie (Bill Camp). Jamie, already a depressed and cynical alcoholic, is now devastated by his mother's relapse and brother's illness, blaming his father's stubborn cheapness for both. As the day wears on, accusations, guilt and motivation for inexplicable past acts are revealed one by one, until a tragic pattern emerges, which the characters seem hopeless...
Only Jamie seems concerned with breaking this cycle, however unsteadily, and it is for this uncertain passion that the character of Jamie remains the most difficult, compelling and catalytic of the play. Bill Camp, assuredly the ART's most urgent talent, brings fine skill to his portrayal of Jamie, ferreting out each minor and irresistible motivation, each thread of resentment and desperate love for his family which subtly bombard the young man. The dynamism of Camp's performance is apparent in the variety of moods and postures his Jamie takes as he emotionally gropes for a solution to save...
...Journey" is not as obviously renegade as some of Ron Daniels' recent productions at the ART, but a director's hand does seem to weigh heavily on much of the production. The staging often reflects the utter discomfort of the characters themselves. Many scenes find the Camp and Stuhlbarg seated on a bench facing the front of the stage, but awkwardly twisted so that their backs are turned to the audience, their faces hidden in the mock-wall of the set. At numerous other times, listening characters have their backs to the audience so that their facial reactions are hidden...
...inevitably painful Irish accent. The play stands by itself, an unblinking testament to all-American dysfunction at the very site, the vacation home, where family togetherness is supposed to be at its best. Fortunately for us, this timeworn standard serves as a steady summit from which innovative actors like Camp, and occasionally Stuhlbarg, can find sure footing, then soar...