Word: lesbian
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Dates: during 1950-1959
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...many theatrical and offbeat friends. Like Holly, Bonnie says: "I just love cats. The cat thing corresponds, and all the hair-washing and a lot of little things hither and yon." One bit of Hollyana to which Bonnie makes no claim: "I've never, absolutely never, had a Lesbian roommate...
...Exit deals in despair--the existentialist brand of despair which employs an infanticide, a lesbian, and a coward as its protagonists; a despair which isn't any more tragic than it is didactic, and yet is great art. The dilemma of the common death sentence, hackneyed at the hands of philosophy professors, is moving as the instrument of good acting and directing...
Third creature in Sartre's drawing room "hell of other people" is Nadine Duwez as the postal clerk lesbian. She stumbles in her lines occasionally, and sometimes shouts too much, but she prowls Director Hesse's "arena" with greater confidence than the other two; her motions are perfect; and the great portion of her dialogue is excellent...
...playwright makes each the torturer of the other two, and yet they are absolutely dependent upon one another. The journalist must win the respect of the Lesbian because she is the only courageous person left to him and thus his "salvation." She desires the love of the flutter-brained coquette who being devotedly hetero-sexual, will not yield. This woman's vanity demands the Lesbian as a mirror because there are no mirrors in hell. The coquette, in turn, asks love of the journalist, who only wants to prove to himself that he is not a coward, yet he cannot...
...highly subtle relationships into really powerful theatre. Perhaps the best acting is done by John Heffernan who indeed seems ideal for his role with features and a manner that spell out the intelligent, and yet vulnerable decadence that Sartre had in mind. Rigmore Christiansen does equally well as the Lesbian, matching Heffernan's force at every point. Jane Cronin seems less remarkable than the other two, largely because her role as the "love-object" is more passive. And as a bellboy in Hell, Richard Galvin provides the suitable mixture of insolence and irony...