Word: isenberger
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...troupe of mature actors could succeed in arousing and then sustaining the audience's attention for the 10 scenes and this group does so by making each scene equally as powerful as the others. Each actor develops his own persona, which Schnitzler has broadly classified as whore (Carolone Isenberg), soldier (Tim Banker), parlour maid (Holley Stewart), young gentleman (Benjamin Cobb), young wife (Anne Higgins), husband (Jonathan Magaril), sweet young thing (Debbie Wasser), poet (Alek Keshishian), actress (Amy Brenneman), actress (Amy Brenneman), and Count (Paul O'Brien...
...occasion for the play is a late evening visit by a new biology professor clustin Richardson, and his insipid wife Honey (Caroline Isenberg) I accept for Martha's eventual seduction of Nick, there is little real action. In a quiet evening of domesticity, four respectable, middle class people tear each other to shreds. The actions is a powerful mix of lean Pam Sartre's bleakly existential No Exit and Mad Magazine indicated Snappy Answers to Stupid Questions...
...properly sardonic and resigned, while Rabb's Martha transcends nastiness. When Rabb admits in the final lines that she is afraid of Virginia Woolf, we see a nasty and bitter woman afraid of the impending madness that led Woolf to suicide. Richardson plays a sturdy and naive Nick, while Isenberg seems to have fun with Honey's exaggerated dippiness. The scenery is basic suburban tawdry, but someone had the good sense to place a large liquor cabinet overpoweringly in the middle of the stage, so that the audience like the characters, see the action through the All-American prism...
...Olivia (Gaye Williams), is a Casablanca Bogart, white dinner jacket and all. The allusion makes his slow transition to lovesick goon particularly hilarious when he takes to staring soulfully into space, smoking cigarettes from a gold case and obliviously blowing clouds of smoke into the face of Viola (Caroline Isenberg), who, from under her disguise as his servant, gazes just as wistfully...
...characters underplay too far. Isenberg in the role of Viola leaves a bit too much to the script. Hailed by other characters as vivid, brilliant, sensitive, this Viola does little but throw up her hands in despair as she is mistaken for her brother, attacked by Toby and Aguecheek, adored and insulted, and made a pawn of. The play's grand denouement scene falls prey to this gradual slowing of pace, seeming just a bit too serene as a set of twins and two pairs of lovers are reunited...