Word: nick
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Dates: during 1980-1989
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...occasion for the play is a late evening visit by a new biology professor clustin Richardson, and his insipid wife Honey (Caroline Isenberg) I accept for Martha's eventual seduction of Nick, there is little real action. In a quiet evening of domesticity, four respectable, middle class people tear each other to shreds. The actions is a powerful mix of lean Pam Sartre's bleakly existential No Exit and Mad Magazine indicated Snappy Answers to Stupid Questions...
Most simply the viewer joins in Nick and Honey's initial reaction of wanting to leave and not intrude upon Martha and George's venomous attacks on each other. Yet as George and Martha succeed in drawing their visitors into their vitriolic waltz, the audience is also drawn...
...deeper level, it is hard to miss Albee's a indictment not of any one couple but of Western Society generally. The names George" and "Martha with their definite tone of American, cast aspersions on our first presidential couple. Albee admitted during an interview once that Nick is intended to suggest Nikita Krushchev, and Albee wastes no opportunity to refer to Nick as the proponent of a vast, homogenizing science, as George constantly asks him if he is involved in work with chromosomes and eugenics. In the climatic confrontation between George and Martha. Albee destroys a whole world of little...
...George is properly sardonic and resigned, while Rabb's Martha transcends nastiness. When Rabb admits in the final lines that she is afraid of Virginia Woolf, we see a nasty and bitter woman afraid of the impending madness that led Woolf to suicide. Richardson plays a sturdy and naive Nick, while Isenberg seems to have fun with Honey's exaggerated dippiness. The scenery is basic suburban tawdry, but someone had the good sense to place a large liquor cabinet overpoweringly in the middle of the stage, so that the audience like the characters, see the action through the All-American...
...become fairly random collections of ill-assorted tracks. Albert Goldman's 1981 biographical pillaging gut-shot the King on the first page and left him to bleed for 590 more. Jerry Lee, still touring, still recording, still hellacious, has lucked into a much better deal. Two years ago, Nick Tosches wrote a definitive rock biography, Hellfire, that plunged right to the glowing white heart of Lewis' Pentecostal furies and set down forever all of Jerry Lee's unassuaged demons. Now come these records, 209 cuts in all, and each a great ball of fire...