Word: everymanic
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...Everyman is such an incredible kick, and so much color and so many ideas explode so often and so well, that a happy and enthusiastic opening-night audience quickly succumbed to the magic. And, when all ended, it was I suspect the magic that those people remembered, not exactly the play they had seen performed. Verse plays aren't noted for evoking mass gut reactions. The ambitious and verbally complex Mayer-Babe adaptation gets a little lost in the tempest nightly at Agassiz, and that's not to say that the play is weaker than its dazzling production...
...critics kept reminding me how ghastly it was to have to see a great show from a reviewer's seat, making constant mental notes and evaluations on the spot all over the place. But I resisted and refuse to be objective. I know the people who made this Everyman. I've worked with most of them and I love them: partly because I just do, but also because their summer plays keep my mind and eyes alive in the midst of still Cambridge summers...
...CRIMSON expecting to find a photo to accompany this absurd review, I discovered a note from the photographer (and this is God's truth) which I quote in its entirety: "Sorry fans--the play was so good that I forgot to load the camera." I was proud of him. Everyman's immediacy is such that you don't take pictures and write reviews, you get very much into it instead...
...neurotic God often hidden behind an American flag looks down on an illusion-ridden, somewhat desperate, party below. He is flanked by Death, dressed as an English gentleman (or perhaps the perfect butler) on his right and the best blues band in Cambridge down-stage in front of him. Everyman, rich, irreligious, and self-satisfied, is approached by Death while making love to Beauty his mistress (Tommy Lee Jones rattles off his "Death, ye comest when I had ye least in mind" as if the Vice Squad had just caught him with his pants down...
...Wong), and Good Deeds (Susan Channing in high style: a beautiful sometime cripple portrayed bitterly as a discarded lover). The action is largely set against the party, usually in silent swing upstage, and much of it is filmed by a little boy with a movie camera who rejects Everyman's plea for companionship by saying, "My life's a silver screen: lots of hand-held stuff, but no adventure flicks." When Everyman misses, it does so by picking overeasy targets to snipe at: American dream complacency, religious hypocrisy, etc. But as in Mayer's Midsummer Night's Dream the reinterpretation...