Word: didi
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AMAZING, REALLY, BUT ONE hardly notices the difference, "pronounced our actress at intermission." But Didi is just ridiculous. His face is so flat and pasty, and I have not once seen him change expression. I suppose it's because they had him have V.D. but it's still too much. Gogo is sort of bug-eyed, and Pozzo is all right but oh, Lucky is marvelous you know, the way she moves, and that silver tear they've given...
...right. I was relieved. What Caravan has done can't harm a play that is broad and strong enough to make sexuality seem merely incidental. The graft doesn't take; the plant is healthier than ever. Jarring additions, such as Didi's case of the clap, or the segment where Pozzo and Lucky grope vainly boringly, Hairiedly for each other on the floor of the stage, are absorbed in the larger effort to deal with "the way it is on this bitch of as earth...
That, in this version of the tragicomedy, the comic elements are emphasized at the expense is due in large part to the weak performance of David Starr Klein as Didi. Excessively made up, with eyes that try to act their way out of an expressionists face, he has trouble handling Didi's normal complement of philosophical musing. His flat intonation leaves the lines faintly perplexing, as if out of place, and the tension of waiting sags...
Some experiments like Caravan's succeed, some fail, and some don't much matter-this God of falls into the last group. As much as it has been performed, explicated, and embroidered, Godot remains as sovereign and unfathomable as ever. "Godot?" said Didi, "he's a kind of acquaintance." "Nothing of the kind," replies Gogo, "we hardly know...
...less is less-and less, and less. The Age of Cool is a blight to the theater. Drama was born to be larger, more vivid and more intense than life. Beckett tells us that life is a drab, attenuated prelude to death. The vaudeville japes of the two tramps Didi and Gogo in Godot are supposedly the ways in which we all kill time before time kills...