Word: shaw
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...mediocrity that plagues "Arms and the Man" lingers in the mind long after the show. George Bernard Shaw's uninteresting play and the actors' lack of skill dashed the production's chances for success. With tedious dialogue and a predictable story line, the viewer spends a lot of time wondering when the performance will...
...addition to character problems, several difficulties in the production derived from Shaw's writing. The intertwining of relationships seemed to come straight from the scenes of daytime television, complete with fleeting sexual advances and enigmatic pairings. Shaw's attempt to blend comedy with suspense, along with the ambiguous acting techniques of the performance, resulted in weak transitions between undeveloped comic sequences and scenes meant to stir up emotions. Raina could be talking about her undying love and Bluntschli would be laughing at her at the same time. The combinations rarely made sense...
Throughout the performance, both the plot and characterization stood out as naive. Bluntschli being referred to as the "chocolate creme" soldier was immature and Louka's girlish innocence didn't quite fit her character. The childhood regression seemed inappropriate for the subject at hand. Possibly Shaw was trying to contrast adolescent naivete with the harsh reality of the late 19th century war setting, but the concepts repelled each other more than making a statement...
...gather hundreds of thousands of men under the guise of atonement and yet hardly receive a ripple of criticism from across the political landscape. All this chatter about separating the message from the messenger is outrageous and disgusting. There is no separating the message this man brings. LUCI SHAW Colonia, New Jersey...
...FAIR LADY: Playwright George Bernard Shaw's clearheaded comedy Pygmalion (1913) ends with Eliza Doolittle leaving her mentor Henry Higgins to pursue a life of her own. To stymie efforts to tag on a happy ending, Shaw went so far as to write an afterword in which he married off Eliza to the foppish Freddy Hill. But Shaw's efforts were in vain: the wildly popular musical version, staged in 1956, six years after his death, ends with the unmistakably romantic reconciliation that audiences had secretly been hoping for for half a century...