Word: krieger
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Dates: during 1970-1979
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Number one Martha Roberts, finishing unbeaten in match play. glossed over Kathy Lynch, 6-1, 6-4. Meg Meyer turned on the steam after dropping her first set, outlasting Dede Krieger...
...insanity, murder and rape. But the characters are dead in this chamber piece; we see only their heads atop individual funeral urns. The theme of emptiness runs through both of these plays, which seem to be devoid of images but which, like the publicity poster, are enormously suggestive. Nancy Krieger has skillfully realized the implicit imagery of Beckett's plays in an intellectually engaging if emotionally sterile production she directs and designs...
...Krieger interprets Play, the chamber piece, like music, setting the three characters to a metronome, and accompanying them with music. Lisa Claudy, Richard Blumenfeld, and Kate Heller speak their lines of complex rhythmic patterns with technical precision. In private existential hells, they are incapable of extinguishing their consciousnesses. "How the mind works," says the wife. "Silence and darkness were all I craved. Well, I get a certain amount of both. They being...
Just as silence and darkness are one for the woman, so too sound and light are one for Krieger. Beckett's original stage directions call for one spotlight hung low in front to swing over the faces. Krieger has moved the spotlight according to her own design. She places it high behind the actors to play on the backs of their heads, on and off like the metronome. Since the stage is otherwise dark, the actors' faces cannot be seen. They appear only in outline, like the images of film negatives; or through their partially transparent urns like...
...other two. Even if slightly bored, one can realize intellectually that the slowdown might be intentional: sonorously and endlessly, consciousness endures. But in that case, the final line of the play is screamed unnecessarily. To be intellectually satisfying, the play needs no punctuation. And because of the nature of Krieger's production, the screaming has no emotional impact, either. It is the metronome continuing to beat on and off after the stage has cleared which gives Play its horror-house creepiness...