Word: woman
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Dates: during 1950-1959
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...must add or subtract one or two decibels from the continuous spiel of college theatre people, if you seek something akin to the ring of truth (that is). Whether you add or subtract largely depends on which way the warm wind blows; when a number of The Good Woman's company quit in desperation last week, the breeze ran swift and hot. My abacus lost track utterly, trying to keep count amid such blustery meteorology and all. You sometimes wonder why such a modest little show as this one should involve these higher mathematics and unsettling climatics...
...Good Woman is a preposterous "parable" that demonstrates you can't reconcile good and evil. The flame of goodness, however flickering, never expires. Yet evil is everywhere; so pervasive is evil that it lurks in goodness itself--in the blundering unwittingness of goodness. Specifically, Bertolt Brecht has written the story of an angelic prostitute (you never meet any other kind, on the stage, at least) who finds the wordly threats to her integrity so great she must mask herself as a loud-mouthed male. Thus better equipped to operate amid the avarice and lecheries of people, she can more effectively...
...thing about The Good Woman is that it is a joke, a big, bizarre, stylish joke. The HDC seems to forget to laugh at times, but its confusing and spontaneous telling of the joke never bores and for this we are thankful...
Abdullah tiptoed through the drawing room to make sure that his small charge was safely asleep. As he opened the bedroom door, a light flashed on and Abdullah found himself face to face not with the little prince but with a woman. Shouting, "Fein sidi! Fein sidi!" (Where is my master?), Abdullah leaped on the Begum, tried to choke the truth from...
Considering what he was up against, it is no reflection on director Otto Ashermann that he was unable to create the paradoxical air of consistent and genuine artificiality that this sort of comedy demands. Dee French as the richest woman in the world and Judy O'Keeffe as her ward, Felicity, comes close to catching the requisite style. The rest of the actors make it clear that in its casting, as in its choice of plays, the Poets' Theatre must perforce be content to do what it can and not what it might wish...