Word: krapp
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...original version of Krapp's Last Tape, one of those Beckett masterpieces which do not number accessibility among their many virtues, the audience did essentially that--sat in the dark--while the 69-year-old Krapp listened to his own voice on a tape. The audience listened to him listen to himself, replay himself, and tape his reactions to the replays. Mercifully, by skillful use of some impressive high-tech equipment, director Adam Cherson has somewhat embellished the purity of this experience. In this new version, Krapp (David Gullette) sits facing a hidden video monitor, and his reproduced image faces...
DIED. Patrick Magee, 58, Irish actor who gave broguish voice to Samuel Beckett's muse (Krapp 's Last Tape and several other Beckett plays were written with him in mind) and a 1966 Tony winner for his Marquis de Sade in the Royal Shakespeare Company's New York City production of Marat/Sade; of a heart attack; in London. Magee supported his stage art by playing film heavies, most recently a Colonel Blimpish Olympic Committee member in 1981's Chariots of Fire...
...master of the interior monologue. But drama breathes only in dialogue. Hamlet is not babbling to himself in the four great inebriant soliloquies; he is addressing questions to his tormented soul, his troubled mind, his impotent will, and the sultry air resonates. In his one-character play, Krapp's Last Tape, Beckett took some notice of this problem. Between his senile musings and avid munching on a banana, Krapp turns on a tape recorder that relates all the romantic ardor and wistful yearnings of an earlier self. Thus, a kind of dialogue, and a very poignant one, is established...
...Robeson--2 and 8:00 Chile, Chiie--7 and 9:30 Sleuth--5 and 9:00 Twelfth Night--8:00 The Reason We Eat--6:30 and 9:30 Outside the Door--8:00 The Indian Wants The Bronx--8 and 10:00 The Outcast--8 and 10:00 Krapp's Last Tape and I Stopped and Turned--Caravan Theatre and 8:30 Forbidden Fruits...
...years, this book uncovers Beckett's development from a crisp but somewhat pedantic short-fiction writer ("Dante and the Lobster"), through his experimentation with the novel form (large sections of Molloy and The Unnamable), and finally into the most popularly successful phase of his art, drama (Waiting for Godot, Krapp's Last Tape...