MACHINAL TREADWELL PDF

The Answer 3-act, 6-character play set in an apartment in New York City. The subject matter of the play is war and domestic matters and several of the characters in the play represent military personnel [5] The Eye of the Beholder one-act, previously titled Mrs. Occupations listed for this character play include: journalist, miner, servant, homemaker, criminal, laborer, and musician. The story is loosely based on the murder trial of Ruth Snyder.

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American Airlines Theater, W. Hall had such a vibrantly blooming stage presence that the idea of her as a passive natural-born victim sounded absurd. Hall must struggle to hold her own against an overbearing co-star. And even if the Young Woman is clearly headed for extinction from the first scene, Ms. So the contest between star and scenery ends in a draw.

Treadwell was a prolific and successful playwright and journalist. I was introduced to it by a revelatory production at the Public Theater, directed by a young Michael Greif. Its plot was inspired by the story of Ruth Snyder , a Long Island housewife who murdered her husband and died in the electric chair at Sing Sing.

For the record, Ms. Living in the city with her harridan of a mother Suzanne Bertish , and working as an untalented stenographer, she marries her small-minded, smothering boss a miscast Michael Cumpsty. After all, what are her choices?

All the while she longs for an abstract and impossible freedom. When she falls into bed with a romantically rough-hewed man a fine Morgan Spector, in a part originated by Clark Gable , she believes that liberty awaits her, if she can only unshackle herself. The first scene is a stunner. It portrays a moving subway car, eerily transected by bars of light and crammed with interchangeable bodies in shades of gray. In their midst, Ms.

Her wide-open features signal pain and panic, which will prove to be her habitual expression. There is no chance this exotic, bruisable flower will endure. That first vision establishes the counterpoint that runs throughout all that follows. Every design detail — like the immense, sickly colored curtains that cover windows — seems to confirm and mock her feelings of confinement.

Of the large cast, only the estimable Mr. Try as he might to conceal it, though, Mr. Spector is just right in the scenes he shares with Ms. Hall, and his low-key spontaneity makes sense.

In his arms, life for her briefly seems real instead of a nightmare. But for these enchanted glimpses to exert their full force, we need more rigorously stylized and synchronized performances elsewhere. The ensemble acting is so diffuse and varied that scenes that should be achingly suspenseful, like the climactic trial, often sag.

That slackness has the unfortunate side effect of making Ms. Hall to take us through the twisting corridors of derangement.

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When the curtain lifts and the lights go on, the workers murmur to themselves as they go about their business. They remark that this is the third time that week that Helen has been delayed. When she finally appears, Helen tells them she had to get off the subway because she felt trapped. Her colleagues ignore her troubles, moving on to tell her that the boss, George H.

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American Airlines Theater, W. Hall had such a vibrantly blooming stage presence that the idea of her as a passive natural-born victim sounded absurd. Hall must struggle to hold her own against an overbearing co-star. And even if the Young Woman is clearly headed for extinction from the first scene, Ms. So the contest between star and scenery ends in a draw. Treadwell was a prolific and successful playwright and journalist.

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