Word: pinter
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...Fraser, 58. British Member of Parliament; and Lady Antonia Fraser, 43, bestselling author (Mary Queen of Scots Cromwell: The Lord Protector); after 20 years of marriage, six children; in London. Eraser's suit for divorce was not contested by Lady Antonia, who has been living with Playwright Harold Pinter for more than a year. Pinter's wife. Actress Vivien Merchant, named her Ladyship corespondent in a suit in 1975, but has since decided not to press for a divorce...
...Slight Ache, Gregory Farrell's Edward--fists clenched, temper detonating predictably--is rarely more than a caricature, a man who lost his mind long before the late-summer afternoon when he decides to confront "the figure at the end of the garden." The audience is deprived of Pinter's fascinating study of the way the man's personality disintegrates when threatened by a powerful negative force in the Matchseller. Barbara Borzumato, on the other hand, plays a disarmingly uncomplicated Flora. Her real, repressed self surfaces in the course of her positive reaction to the forces that destroy her husband. Borzumato...
...Dwarfs, Mark Creatura's hyperactive portrayal of Len makes a farce out of the man's search for identity, obscuring Pinter's statements on the problems of self-identification and the perception of external realities. Len's passage through mental collapse and into maturity often seems crazed and unreal. And although his two friends are effectively played by Steven Naifeli and Christopher Chase, the production fails to express the dynamically changing relationship between the three men. It also fails to illuminate Len's intriguing responses, emphasized at each turning point in the relationship by the invasion of the dwarfs into...
BOTH PLAYS are plagued by similar tendencies, the casts rushing headlong against Pinter's rigorously controlled pace. It is as though even the performers cannot bear the strain and tension that are essential to the drama. Moments of dramatic explosion are lost in the relentless hurry of these productions. Since the tempo remains unvaried, characters and relationships aren't allowed to develop and the evening tends towards monotony...
Fascinating as Pinter's radio plays are, the Adams House production suffers from the strains of translation into theater and fails to make up for it by exploiting the visual opportunities afforded by the stage. Ultimately, the internal turmoil of two unconvincing main characters simply loses its relevance. At first it's funny, then just plain dull. Either way, it's not what Pinter intended...