Word: three
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Dates: during 1970-1979
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...into period three, Sorrenti made good on another power play chance, flicking a quick wristshot past Williams...
...three said the letter's only impact is symbolic. Young added, however, that because the Carter administration pays a great deal of attention to its image, the letter may encourage Carter to take further action...
...main problem with this play is that all three of the characters are so consistently loco that we become dulled by it. There should be a doorman or a maid or something--someone to set off the shrieking and flyings ashtrays. That, or a tauter script. After the play's rambling dialogues, its climactic scene in which Scooper leaves his blind mother talking to a wheelchair while he and Dierdre run off (to Doubleday?) leaves you cold...
Within the confines of this problematic script, the three actors do not perform poorly. Richard Kavanaugh (Scooper) thrives on the satirical scenes, timing his funniest lines well, and delivering them in a booming baritone that reverbrates about the small theatre. He wears a sardonic frown that embodies his contempt for the culture he lives in. But he acts out his irrational moments less convincingly. The abrupt transition from penthouse humor to breakdown is ungraceful because he tries to express his disorder by physical rampaging rather than verbal interpretation. And the baritone he exploited earlier is over-exercised; like the play...
April Shawhan (Dierdre) is most convincing in her dissolution. Its cause is twofold; a redoubtable father, and a unwieldy imagination. She's pretty but tarnished, a potential alcoholic perhaps, whose zest for discovery is insatiable. Of the three, she best expresses the frailty that foreruns her breakdown. When it comes, it's not an abrupt transition, but rather the natural product of a life of disorder. She alone seems to have grappled with all this before the play's action began...