Word: one-act
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Terry by Terry consists of two one-act plays: Terry Won't Talk and Terry Rex. Word of mouth has already decreed that Terry Won't Talk is the superior play; I would disagree, and add that Terry Rex, the second play in performance, is the heart of Leib's drama, and the first an essential gloss on it. Terry Rex presents Terry (Robertson Dean), the young author of Terry Won't Talk, (which is being performed "downtown"). Terry is tortured by his inability to write, a block he tries to dissolve through both hallucinations induced by lack of sleep...
These ideas are not meant to be taken altogether seriously; Leib's artistry in creating a fine one-act play, and the softpedalled wryness of the pretentious program notes (including quotes from Kafka, Steiner, and Beckett, as well as Wittgenstein) only enhance the subtlety of what amounts to an elaborate parody of an absurdist drama. This is not to say that Leib does not believe in an absurdist view of the universe--he clearly does. He just doesn't believe in writing a play about it. His focus is not on the ideas themselves, which are, as Terry should...
...Consequently, he is not an easy guy to work with. He wants to examine all aspects of a line before he commits himself to going with it." They met in 1966 when Hoffman, then an unknown, was doing three of Schisgal's one-act plays in Stockbridge, Mass. The author liked to take early-morning walks, and every day when he left his hotel, Hoffman would be waiting for him. "He'd have the script and a million questions to ask: 'What's your thought here? What's your thought there?' I had never...
Meryl had auditioned in New York occasionally while still at Yale. When she moved to the city, directors scrambled to use her. Her first professional appearance was at Lincoln Center in Joseph Papp's production of Trelawney of the Wells. Next she played in a program of two one-act plays and did the seemingly impossible: she became both a slovenly, bovine Southerner in Tennessee Williams' Twenty Seven Wagons Full of Cotton and a thin, sexy secretary in Arthur Miller's A Memory of Two Mondays. Says Director Arvin Brown: "The audience didn't realize that...
FROM HIS HEREDITY experiments in the 19th century, Gregor Mendel concluded that smooth, green peas are dominant over wrinkled yellow ones, implying that three peas in a pod are not necessarily alike. The Currier House Fishbowl productions of three one-act plays support that basic tenet of biology...