Word: fops
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Dates: during 1960-1969
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Another New York fop? Maybe. But the accent is still there (he says the hell with it, instead of the hell with it) and his off-stage manner is slow but concise, always searching for the right word: unhip, unfunny, but firm. The pudgy, chinless, spoiled-boy face creases slightly, the lower lip sucks in, and then Wolfe speaks--rephrasing himself once or twice in case you didn't get it the first time around...
...seen John Ross before, well, he was the same way. He's an engaging fop, but I've seen the character too often to tell whether he was subtly corrupting, as Paola described him, or just pretentious...
Since his first film break in Private's Progress, he has played virtually every Anglo-Saxon subspecies from crook to cad, fop to daredevil. He does most of his own stunts, trembling with fear...
...angelic wife ("I don't want happiness, I want you"), Platonov intermittently toys with a flighty young female scientist, fights off the amorous intentions of a beautiful widow, and rekindles an old college flame. Meanwhile the widow collects an entourage consisting of a lecherous old landowner, his Paris-educated fop of a son, a weasling Jewish merchant, and a brash horse thief named Ossip. Platonov's brother-in-law, a boozing doctor, and the widow's childish stepson, husband of Platonov's mistress, complete the menagerie...
...approach to Chekhov as the tipsy doctor, is the funniest figure in the play. John Lasell manages to capitalize on Platonov's absurdities without making his tragic side incongruous. And Penelope Laughton portrays the simple naivete of Platonov's wife with great subtlety. Unfortunately, the roles of the young fop and the widow's stepson are somewhat overinflated by David Bouvier and Joseph O'Sullivan. And Betsy White, as the widow, proposes sin to Platonov like a lenient mother trying to sell her children on brushing after every meal...