Word: lonesco
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...deepest resources of the imagination. No one else's emblems of the irrational at the core of man-not Jean Genet's black white Negroes, not Samuel Beckett's ashcans, not even Jerzy Grotowski's Holy Auschwitz-are quicker or more deadly than Eugene lonesco's best: when he bothers to aim, he can knock the cigarette from one's lips at 40 paces. As Death and the nun came together onstage in Dusseldorf in the world premiere of lonesco's The Triumph of Death, applause spattered through the theater...
Poignant Atrocity. The morbid embrace is but one flash in a carnival of images on the single Lenten theme with which lonesco and Director Karl Heinz Stroux hold the audience alternately uneasy and tittering for two unbroken hours. Death, along with madness, is the heartland of the absurd today, recalling how, three and four centuries ago, the dance of death, along with the ship of fools, was the obsession of so much European painting and writing. For The Triumph of Death, lonesco reaches not only to Albert Camus, but also back to the Bruegel painting that bears the same title...
...leading the University in total enrollment for the second year is Humanities 7. Taught by William Alfred, professor of English and author of the Broadway play Hogan's Goat, the course contrasts British and American plays of the last 20 years with those of Sartre, Beckett, lonesco and some early Greek playwrights. Hum 7 dropped from a high of 945 students last year to 736 for this term, though it is still easily in the lead...
HUNGER AND THIRST is a new play by Eugene lonesco in its U.S. première at the Berkshire Theater Festival, Stockbridge, Mass. (July 16-26). A complex work in three episodes that traces a man's lifelong search for joy and truth, it is also a spectacular that includes music by Richard Peaslee (Marat/Sade), elements of choreography by Julie Arenal (Hair), monumental sets by William Pitkin and a cast of 35, including James Patterson, Ruth Ford, William Prince and Virginia Kiser. Ionesco is in residence to give Director Arthur Storch the benefit of his own interpretation...
This is followed by an inquisitorial barrage of absurd personal questions that might have been dreamed up in a collaboration between Kafka and lonesco. After this humiliation, Coco turns on his impassive tormentor in a tirade that is pitiful but disruptive, the only flaw -and a slight one-in an otherwise memorable production. Giving an enormously resourceful performance, James Coco is a kind of vulnerable pixy. He can bare every scar on his psyche and yet coyly tease a line the way a hairdresser teases a curl...