Word: gayness
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Dates: during 1960-1969
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...Pirandello to his list of influences: this act, as A Man's a Man shows, finally gave him the skills to shatter completely the culinary arts. The audience is now at arm's length, and the actors can themselves glide from impersonations, now assuming a new role (as Galy Gay, the soldiers' victim, is made to). then to be suddenly exposed (as is the soldiers' ruse, a fake elephant named Billy Hamph...
...intent of the plot, too, seems close to Pirandello. Galy Gay, the hero and victim, is an Irish dockworker in India (Itself another Kiplingesque amalgam: the time of the play is 1925, but Victoria has not yet relinquished the throne of England). So passive a character is Gay that the three soldiers can erase his individuality altogether--originally weak and insignificant, and a pacifist, he is made to join their machine gun unit to replace a man whose absence would expose the soldiers as temple robbers. Given the missing man's identification card, he becomes a ferocious super-hero...
...dress rehearsal. Most of he acting will no doubt improve; much must it damn well better. "All feelings must be externalized," Brecht himself osculated to his actors: but this does not necessitate the nimble marionette mannerisms that too often characterized Peter Gesell's portrayal of the unmetamorphosed Galy Gay...
...Gay blades from Pittsfield, Mass., riding past the big brick house a century ago, might have smiled to hear them singing...
...their capitals; the mother is slightly cheap and not interested. A businessman moves in and buys the mother a drink. The boy fights back by sulking. The man counters by asking him another state capital. The boy says he does not know, and is silent when his mother, quite gay now, urges him to recite. He glares at her, and petulantly she asks the porter to put him to bed. The porter chides him: "A smaht boy lahk you not knowing the capital of Alabama." The boy scowls, trying not to cry. Then: " 'Sure I know,' he said...