To be truly effective black humor must have us laughing at something we fear, regret, or at the very least recognize.
“If you’ll excuse me for being cheeky, it’s a collaboration between the players on stage and Beckett’s works.”
Alvin Epstein’s recollections about his decades as a stage performer have been gathered in the form of tales abut what happened behind the scenes,.
Lisa Dwan’s performance of these Beckett pieces in a totally darkened theater is powerful and, in the case of Not I, deliciously revelatory.
“When we turn so crass and commercial that we have lost our way, Samuel Beckett will be rediscovered as the way back.”
So many of the truly gifted actors of the British stage and screen of the 1960s ‘kitchen sink’ dramas are rapidly leaving us. One of the best, Billie Whitelaw, departed this week.
Brooke Adams portrays Winnie as the ultimate smiley face; her husband, Tony Shalhoub, is little more than another prop weathering her on-going babble.
“With Cream I and Ginger could play free jazz as a rhythm section, while Eric played the Ornette Coleman role. However, we didn’t tell Eric that!”
Have we been missing a major poet while we celebrated a great dramatist and the most influential fiction writer of the second half of the twentieth century?
Echo’s Bones is a fascinating immersion, somewhat inept in its means, but sincere and gravely serious, in a subject that Samuel Beckett made increasingly his own.