Word: nephew
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Dates: during 1990-1999
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Diderot's spiked dialogue helps, of course, but it is largely Geidt's dry voice and haughty demeanor which keep us interested. He's a John Houseman of the 18th Century, able to deflate the ego of Rameau's nephew without having to look him in the face. The philosopher also has a knack for preempting our own views of Rameau's nephew, "I believe you have brought the art of debasement to new heights," he declares, "I think I liked you better as a musician than as a moralist...
...Rameau's nephew, the material failure who wears his cynicism on his ragged sleeve, Tony Shalhoub is a masterpiece of spite. He rants and raves against the evils of his society but can't escape his hunger for those rich possessions which he claims to disdain. Shalhoub knows how to milk a good joke, but he occasionally drifts into tedium by repeating the same gag or mannerism...
...audience is marvelous; Shalhoub clutches one audience member's legs and tries desperately to unload a bust of his uncle which bursts into song whenever it emerges from his pocket. Several of Shalhoub's extended monologues (one consists entirely of coughing) are excellent, and despite his external unpleasantness, the nephew's position is sympathetic. After all, most people have tried at some time or another to pretend that money doesn't matter, only to discover its vital importance when confronted with the need for sustenance and clothing...
...Rameau's nephew really wants to have his cake and spit...
Unfortunately, moments of annoyance abound in Rameau's Nephew, and most of them arise because of the American Repertory Theatre's obsessive need to demonstrate its technical prowess. But such moments cannot detract from the skillfull direction, inspired acting, and sharp dialogue which characterize Rameau's Nephew. It's an engaging bit of satire, one which decisively proves the wisdom of Bob Dylan's old adage that "Money doesn't talk, it swears...