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Dates: during 1950-1959
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Time, conceding it to be "an effort of a sort and size rare in today's U.S. theatre," opined that it "has an often stunning theatricality, notably in the first half," but that the second half "rather lacks a strong pulse" and ends on a note that is "unsatisfying... because it lacks dramatic truth...
...Said he, "It is, in the kindest of all possible considerations, a big windy non-drama about God, Satan, and Job retold rather in the manner of such movies as Since You Went Away and The Best Years of Our Lives," and "written in what is also a sort of Hollywood verse." His reaction to the production, furthermore, was only lukewarm. Henry Hewes (Saturday Review) dismissed J.B. as "just an inconclusive effort...
...Aronson has added to the play's cosmic atmosphere by suspending in the air a sort of armillary sphere fitted with small spotlights, which Tharon Musser has exploited ingeniously in her extraordinary lighting. The set, furthermore, has to be able to undergo drastic physical upheaval in mid-scene, in the tradition of Wilder's Skin of Our Teeth...
...Constant fear: that the conditions at the top of the world, which confuse both magnetic and gyro compasses, would doom Nautilus to a game of "longitude roulette," in which the directionless ship might wander aimlessly around the Arctic Ocean without finding either of the two water exits-like a sort of latter-day Flying Dutchman. This fear was banished on the historic '58 voyage by the installation of a complex inertial navigator...
Dash of the Child. Miles loses Audrey to a false, flashy friend, the sort of chap who is capable not only of swindling pals out of money but of cheating Truth itself -he sort of fiddles with a scientific experiment to make it come out the way he wanted. Disappointed in love and in his career, Miles loses faith; crystals are not enough...