Word: strassner
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Dates: during 1970-1979
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EVEN IF NAYLOR is coping as he was directed, Anne Strassner as Beatriz sometimes slips into reciting when acting poetry. Strassner is a Beatriz without innocence, more a Coppelia than a New Eve with her shoulders drooping and her tinge of petulance. She is as at her best at the end as she gulps from a silver vial that is supposed to redeem her poisonous blood--even though it seems to contradict her intent in the preceding speech...
...other actors skillfully fill in the details of Buchner's sketchy minor roles. Leo-Pierre Roy plays the parts of captain, sergeant, innkeeper, and pawnkeeper with equal comic grace. Christopher Agee is the model of a fiery young drum major interested only in getting his way, and Ann Strassner is especially good as Katey, the accomodating barmaid, trying to keep everyone happy while having a good time herself. But paradoxically it is Bonnie Ann DeLorme as the victimizing doctor who offers the most fully developed characterization. DeLorme's visible self-hatred as she forces Woyzeck to live on peas...
Christina Monet's Ruth is the boniest of the three. She relies heavily on screeching to get across her tight, erratic personality, and ends up overacting. In contrast, Anne Strassner as Tillie disastrously underplays her role. Tillie is the quiet, strong independent force who, in the end, holds the burden of keeping the family together. Strassner is quiet and shy, and outwardly the right combination of fear and genius. But she does not give off the strength or the sense of vocation that Tillie has and that, ultimately, saves...
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