Word: pinter
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Dates: during 1970-1979
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...Butler, perhaps, carrying Scarlett O'Hara up the stairway of Tara. Instead, for most of his career he has been the antihero, borne along, as he puts it, "on the new wave of English writers -kitchen sinks and psychology." He was the funny but menacing brother in Harold Pinter's play and movie The Caretaker, the father who half mocks his helpless, brain-damaged child in the filmed version of A Day in the Life of Joe Egg, and the attractive cad in Nothing But the Best and Georgy Girl...
Coward is a word wizard, but his subtlest gift is inflection, and he was master of the pause before Pinter was born. This sometimes defeats actors, but not the impeccably polished trio in this show. Roderick Cook, who devised and directed this production, has just the right air of bemused fatigue. He and his companions, Barbara Cason and Jamie Ross, sing and deliver their lines with sly, artful perfection. They help to make Oh Coward! the most marvelous party in town...
...Fiedler, Aaron in Titus Andronicus and Othello represent "the paranoia about blacks which Shakespeare shared with the pit," that is, the commoners in the audience. Now Shakespeare and his audience could have spent a lifetime without seeing a black. Only in Hitch cock or Pinter can one develop paranoia over an unseen "stranger." In Othello, black and white are not racist, but imagistic counters. It is Othello who is white in his innocent gullibility and Iago who is black in his "motiveless malignity." Both men are complementary halves, like day and night...
City Lights, another Chaplin classic (the one with the fight scene). Also, The Go-Between, Losey-Pinter decadence again but this time there's a story and some good acting. HARVARD SQUARE THEATER. City: 3, 6:25, 9:55. Go-Between...
...Casey offered his view of the source of this sense of degradation: "It was Artaud-the latest trumpeter of the Primaqueeri-or one of his brethren, who gave us a picture of a beautiful girl, naked, with a malignant tarantula spider between her lovely thighs." In Harold Pinter's work, the temptress/tarantula becomes the slut/ mother. The theme is developed with the greatest finesse in The Homecoming. Ruth and her husband Teddy come home to England to visit Teddy's widowed father, his two brothers and an uncle, who all live under the same roof. Ruth is enigmatically...