Word: scripting
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Dates: during 1990-1999
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Mamet, like Philip Roth, justifies his oververbalization within the script. Ruth declares to Nick in the third act of the play: "You're so fucking corny." Writing off Nick and Ruth as corny characters may redeem many corny lines that are obviously unnatural. "We put on clothes, we can not make out what we look like...It's very lonely and we all get desperate to be warm. We have to find our lovers when it's warm...
...work about a marriage riddled by alcoholism, unfounded allegations of homosexuality and failure to meet high expectations, is a modern American classic. Ted Caplow's production does not disappoint--indeed, this is an admittedly traditional production marked by solid acting and fine direction. Caplow stays true to the script and opts for the alternate ending which Williams wrote for the original Broadway production...
Williams's powerful script requires strong performances from the main characters. And Peterson and Javerbaum rise to the occasion. Peterson gives an urgent performance that moves the audience to feel her need for love and attention from Brick. In scenes with her sister-in-law Mae (Heather Hughes), Peterson displays just the right amount of spite and hatred, while still retaining her Southern manners...
Although some of the problem stems from Williams's script, the minor characters in this production still do not receive adequate attention. Gooper, Brick's older brother and a successful Memphis lawyer, is played tepidly by John Rosetti. As Mae, Hughes exhibits enough shrewishness to make her dislikable, but not enough to make her detestable...
Finally, Poreba's Big Mama is completely dominated by Big Daddy. Williams's script calls for a short, stout woman to play Big Mama, a necessity to counteract Big Daddy's imposing size. Poreba is miscast as Big Mama and cannot make her own presence felt on the stage...