Word: ibsens
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Paul Ronder, who directed, apparently believed that Ibsen hadn't put quite enough sex into Peer Gynt, so he added some. Early in the play, Peer is supposed to be picked up by three lascivious young ladies, all of whose desires he satisfies in the course of an evening. Ibsen leaves the actual act of intercourse to the imagination of the audience by having Peer and the vixens dance off stage together. Not so Ronder. Three young ladies, self-consciously displaying their breasts, crawled all over poor Peer, who lay at the front of the stage...
...would be absurd to talk about the play, one of Ibsen's greatest dramatic poems, since Ronder offered no interpretation of it at the Loeb. The mad scene was the only really effective one in the badly paced and chaotic production, and it is a pity that I must recommend that it be missed...
...surrealistic situation comedy; The Zoo Story, Albee's famed mano a mano between Natural and Ivy League Man, running on a double bill with Samuel Beckett's lucid monologue, Krapp's Last Tape; Hedda Gabler, another excellent production in the Fourth Street Theater's Ibsen series; In the Jungle of Cities, a mystifying but thoroughly stimulating early play by Bertolt Brecht; The Balcony, French Playwright Jean Genet's superb argument that the world is a mammoth cat house...
...moment. In Greek tragedy, that moment is the hero smiting his brow, discovering a new wrinkle in Fate's design. The Shakespearean moment, in the tragedies, is the restoration of order after individual or civil turmoil; in the comedies, it is the lover's mistaken identity. In Ibsen, it is self-doubt besetting the stolid bourgeois; in Strindberg, it is a shrill cry of female hysteria; in Shaw, it is paradoxical argument overturning a pose. Germany's late Bertolt Brecht, one of the 20th century's remarkable playwrights, has his own typical moment. In play after...
Hedda Gabler. Anne Meacham is stunning in a revival of the Ibsen classic...