Word: mcewan
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...PRIVATE EAR and THE PUBLIC EYE, by Peter Shaffer, are clever, stylish, airy and bittersweet. These two one-acters explore the moods of love, antic and frantic. The players-Barry Foster, Geraldine McEwan, Brian Bedford and Moray Watson -are attuned like a fine string quartet...
...husband and wife, Moray Watson and Geraldine McEwan strike precise discords. Barry Foster's vibrant Cristoforou is a more remarkable and indefinable creation, a Pan in spiv's clothing sounding pipes of pleasure that carry a lingering echo from ancient pagan groves...
...called "inner beauty" that is symbolized for him in a reproduction of Botticelli's Venus over his bed. With fear and trembling, plus a savvy pal's coaching, he has invited to his scrubby flat what he thinks is a feminine moonlight sonata. Enter the girl (Geraldine McEwan), a sniffly, scratchy, giggly chick with the inner beauty of a beer can. She is not smitten with Benjamin Britten. The pal gets Tchaik's girl without half trying. Brian Bedford gives love's labor lost a touchingly bewildered pathos, but despite its technical adroitness, The Private...
Except for Foster in The Public Eye, the acting is uniformly good. Geraldine McEwan (Doreen and the accountant's wife) helps both plays during slow moments with her sense of timing and expressive face. The fault is not with the actors or director; there is simply not a great deal they can do to improve the disastrous Private Ear and the abortive Public...
...style is the capstone of this play and these players in the Sheridan classic. In the 20th century theater, John Gielgud's English ranks above the king's. In the rest of the all-star cast, Ralph Richardson is a gem-crusty Sir Peter Teazle and Geraldine McEwan is a minx of rare merit as Lady Teazle...