Word: temin
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Dates: during 1960-1969
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...actors have worked for consistent characterizations instead of trying for startling effects. Although neither Gustav, the former husband (Marc Temin), nor Adolph (Henry Goldstein) is precisely defined at the first, by the end of the play I felt I knew them...
...production's balance, I think, was Gustav. He manipulated Adolph so easily, the transparency of his ploys seemed vulgar. At first I was bothered by his voice--Temin has adopted what sounds like a Texas accent, and at times his are the tones of a small-time politician. But had he been more suave and mysterious, as Strindberg specialists may argue he should have been, the play might easily have seemed foolish. The ordinariness and obviousness are what makes the whole situation so sordid...
Goldstein played Adolph to fit Temin's interpretation perfectly. He was so serious, so dependent, so blind, that Gustav's control remained absolutely believable. He was pitiful, but never utterly ridiculous. And in his long speech to Tekla, he communicated his frustration so passionately as to show what a man he had once been...
Without Miss Allen, however, production would have been a bit flat, for Temin and Goldstein never build to any very intense moment. But as soon as Tekla enters, everything becomes clear: Adolf's anguish, Gustav's talk about guilt...
Also elected: Werner L. Gundersheimer, at Paris, history; Roald Hoffmann, at the GSAS, chemical physics; Eric Martin '58, at the Graduate School of Design, theatre architecture; and Peter Temin, at M.I.T., economics...