Word: lecherousness
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...critic is an avid lecher and blurb-confectioner, the other an intellectual exegete who would ponder the "human condition" in a pile of burning rubbish. Just such rubbish is put before both men in a fatuous mystery play. In a way, Hound is a miniaturized travesty of R. and G., since the two critics cannot grasp the play they are watching any better than R. and G. could fathom Hamlet. The critics become unintentionally involved in the action and are both shot to death. Stoppard is a ' word mimic and a born parodist. But parody is parasitic and needs...
...Hollywood is a case of seductio ad absurdum. It rests on the somewhat shaky premise that a Hollywood producer would set up an afternoon rendezvous with a suburban ma tron he once dated-17 years before-in order to kill an hour in bed. There is more lacquer than lecher in Scott's peacock-of-the-walk performance, but Stapleton is properly kittenish as she downs vodka stingers until she can only feel the bites on her neck...
...collapse of friendship, the failure of understanding. In the title story, a Swiss schoolmistress in Algeria befriends a Moslem youth and tries her civilizing Christianity on him; he destroys her Christmas creche and tricks her into helping him join the F.L.N. In The Hours After Noon, a genteel French lecher, visiting an archaeological camp, gestures toward a Moroccan girl and ends up behind a boulder with a wire around his neck. In The Garden, a wife puts a potion in her husband's food because she thinks he has been hiding treasure in the garden; when the poison fails...
David Cornell is perfect as the braggart general -- very big and very bass. James Lardner, as the young love interest, has little poise and less animation, but he delivers a strong lyric. Leland Moss plays the part of the funny old lecher Senex as if he were not supposed to be old, lecherous, or funny. As Senex's wife, Gladys Smith has the right looks and voice, but she is a weak comedienne...
...power of his cast's performance overcome the limits of his theatre, but he overshot his mark. His Andrew Undershaft, the devilish millionaire, should be a calm, self-assured, and enchanting British man of business. With Ronald Bishop as Undershaft, Criss creates a tasteless cross between an absent-minded lecher and a greasy, loudmouthed American tycoon. Undershaft should be civilized; Criss makes him vulgar. He should be easy, going; but in this version he thunders every other word as if the fires of hell had engulfed the theatres on Washington Street and were reaching eagerly for the Charles. He should...