Word: geidt
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Dates: during 1990-1999
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...have been Shepard's cruel writing, but Ben Evett doesn't seem to know exactly who he is or why he is on stage. He has a tendency to over- or under-act, and at the wrong times. Jeremy Geidt mumbles too many of his lines, but he's playing an old, near-crazy curmudgeon, so he can be forgiven. Both Evett and Geidt fail to convey and deep understanding of their characters, and come across as flat figures on the stage...
...acting--with a few negligible exceptions--is superb. The heart of this play--Prince Hal (Bill Camp) and Sir John Falstaff (Jeremy Geidt)--beats with perfect rhythm. Mistress Quickly (Remio Airaldi), Doll Tearsheet (Maggie Rush), the Archbishop of York (Herb Downer), and Justice Shallow (William Young) are particularly memorable. Under the direction of Ron Daniels, these characters are shaped pertinently from the text. Not simply characters from Shakespeare, they are characters we interact with daily They are our friends and families; they are ourselves...
...ensemble is also extremely strong. Jeremy Geidt is wonderful as the intolerable old buffoon Davies. His characterization is completely convincing and deliciously grating...
...Jeremy Geidt as Captain Shotover provides the best of the performances. He looks--intentionally or otherwise--like Shaw himself, with beetling brows and jutting white beard. Shotover is an 88-year-old man seeking to discover "the seventh level of concentration" through rum and running away from anything that upsets him. As the self-appointed captain of the ship, he is too old and infirm to be able to save it from destruction...
...performances ranging from serviceable to superb. The sheer number of minor characters and the indistinguishability of their names does not prevent certain actors from achieving distinction: particularly wonderful were Candy Buckley as the secretary Polixena Vasilievna Toropetskaya, Margaret Gibson as the cat-hurling actress Lyudmila Silvestrovna Priakina and Jeremy Geidt as Romanus, the conductor at the Independent Theatre. Derek Smith is not a very dynamic Maksudov; although he expresses his suicidal desperation nicely, his creative anxieties and joys are only sketchily delineated. Alvin Epstein as Ivan Vasilyevich, the director of the Independent Theatre conspicuously modeled on Stanislavsky, is eminently believable...