Word: despairful
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Beirut's dwellers refuse to surrender to despair...
This sensitivity, moreover, comes from a more profound realization about the nature of man--that is, I believe, the universality of sin. Yet--and this is the joy of it--he does not despair of this admittedly grim concept, but rather accepts it with an enthusiastic recklessness. He does not excuse himself from his human burden. His memoirs present several outwardly damning facts about the author. But he faces squarely such problems as occasional reliance on sleeping pills or psychiatrists because, after all, no one can be expected to lead a life of unrelieved virtue. Certainly, the faults...
...empowered himself to act in such cases. Yet, he also sensed the moment and knew that something had to be done. In those days, before Vietnam became Vietnam and denied him the greatness he wanted so badly, he seemed to sense the depth and tenor of Negro despair. Firmly rooted in Southern soil, himself, he knew of the virtual disenfranchisment of Southern Negroes. It tormented him but also drove him on. This is why he seized the moment that March day in 1965 and stood before Congress trying to put into words generations of Negro anguish in this country--becoming...
...displays a solid understanding of Behan's work, but, constantly, he falters. He interweaves the different themes and sub-plots with careful grace, but a bit too meticulously. Bundy's self-conscious style gives The Hostage an inappropriate solemnity. The frequent wisecracking of Behan's characters-their defense against despair and such horrors of the Modern Age as the H. bomb-loses all its verve as the director has his actors take long. Thoughtful pauses between too many lines. He dilutes the strength of many of the songs by having them performed like dirges. When the company joins together...
Alexandra Phillips and Alexander Pearson, as the sexually deviant couple, work well together--his neurotic calmness offset by her frantic hysteria. As Dr. Prentice tries with the determination born of despair to hide the evidence of his misdemeanor. Mrs. Prentice rushes madly from one end of the stage to the other, always one step behind. Melissa Franklin, as the hapless Geraldine Barclay, adds an Edward Gorey-like gallows humor to the play. She plays the innocent, dumb blond with evenness, never falling into the easy trap of whining or simpering...