Word: englishings
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Dates: during 1960-1969
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LIKEWISE, Indian, the better and more serious piece, runs amuck. Arnold has failed to see that Horovitz was not writing just a sharp TV script about the brutal terrorization of a non-English speaking alien lost in New York. Rather, this play is foremost a work about communication. Joey and Murph, the two violent toughs, are as lost as the Indian. They find themselves in a world where their mothers are whores, love has no relevance to them, and nothing makes any sense. They must step on a helpless creature, if only to prove to themselves that they are alive...
...stop, shivering and listening to the strange histrionics around him. When the hoods attack him, the abject terror transmitted through his eyes make him an image of helplessness almost unbearable to watch. The climax--he is left on the sidewalk, a bleeding dog barking the few words of English he can say yet does not understand ("HOW ARE YOU? YOU'RE WELCOME! THANK YOU!")--absolutely tore me apart. If only everything else in this production hadn't tore Horovitz apart, these Quincy House people might have had something great here...
Priapic Pranks. However, a rich lad's life is governed not only at home but also in a high-class English boarding school where golfing and keeping one's thoughts and actions dirt-free are more important than education. As the housemaster says, "When smuttiness comes smite it. And here we smite smut. Let there be no question about that. Our little golfers knock it for a loop...
...like the people say, consider the alternative. In the extremely informal comfort of an Eliot House main dining room spotted with wrestling mats, army blankets, cushions and chairs, the next weekends offer a free, funny, and frequently poignant update on Hasek, in the form of a rare English language production of Bertolt Brecht's Schweyk in the Second World War. An update it is, for in his telling epilogue to the production, translator Charles Sabel would have it emphasized that even for folk heroes times change...
...derives directly from its humor, as further embodied in Mr. Sabel's fine-sounding translation, which provides a good deal of sharp comic dialogue and worthy black-out lines for the vignettes of Schweyk in action. In rendering the songs which highlight many scenes, the translation achieves where many English treatments of Brecht fail; the lyrics retain a cutting edge but never overstep the limits of the playwrignt's delicate ironic sense to make the point. This discipline is another necessary element of good didactic theater...