Word: freude
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Dates: during 1950-1959
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...Tenth Man. In a drab Mineola, L.I. synagogue full of picturesque Jews, Playwright Paddy Chayefsky mixes surrealism and Freud, demonology and farce to create a play that succeeds as theater but fails as anything deeper...
...what it juxtaposes and contrasts-chant and wisecrack, surrealism and photography, insanity and farce, demonology and Freud-The Tenth Man is telling and sharp. And Playwright Chayefsky has an equally good ear for the colloquial speech of his Jews as for their dialectical pomposities. But in spattering its theatrical vignettes with philosophic question marks, The Tenth Man takes on obligations it does not meet. Far from turning fantasy into vision, it fails to save it from sentimentality. Not only are all the play's characters uniformly nice, but exorcism seems a convenient miracle drug, and the happily vanishing young...
...tried to have all his books published on his birthday (Feb. 2). He wore a special ring to ward off blindness. He carried a picture of the 17th century Due de Joyeux (no kin) in his wallet and told people that Joyce, i.e., joy, meant the same as Freud (joy in German...
Take Me Along (music and lyrics by Bob Merrill; book by Joseph Stein & Robert Russell) sets to music Eugene O'Neill's only pleasant, nostalgic play of family life, and keeps it pleasantly nostalgic. In Ah, Wilderness! O'Neill traded tragedy for Tarkington, Freud for the Fourth of July, tom-toms for small-town brass bands. Take Me Along keeps much the same small-town look, 1910 flavor, horse-and-buggy pace. Its drinking is confined to a likable bachelor and a would-be sex-bad boy; its passion consists of the same boy's book...
...Great God Brown (by Eugene O'Neill) stems from the period in the '20s when O'Neill was making Broadway history as an experimenter, while sometimes running into trouble as a playwright. With Freud raising the blinds on the unconscious, and expressionism opening a crazy-shaped door on the unrealistic, O'Neill grew bolder in his broodings-and more confused. In The Great God Brown, his psychological quarry was the split personality, his technical gimmick the use of masks. Turning a masked face to the world, Dion Anthony (Fritz Weaver) seems Panlike, violent, blasphemous, sexually magnetic...