The first act of Aidan Mathews' Exit/Entrance features a not particularly likeable old couple; the second act features a not particularly likeable young couple. They may or may not be the same couple. Much of the dialogue is elliptical. The wives want honest conversation; the husbands do not. Since both husbands are self-centered, manipulative, and condescending, it is unclear why their wives love them. Mathews seems to be attempting something along the Beckett-Albee line, but he lacks their wit, intelligence, and ability to be compelling. Linda Thorson rises above the material with a subtle performance that gives her character dimension; the other three performers fail to inflate their cardboard characters.
Tuesday, September 14, 2010
Exit/Entrance
The first act of Aidan Mathews' Exit/Entrance features a not particularly likeable old couple; the second act features a not particularly likeable young couple. They may or may not be the same couple. Much of the dialogue is elliptical. The wives want honest conversation; the husbands do not. Since both husbands are self-centered, manipulative, and condescending, it is unclear why their wives love them. Mathews seems to be attempting something along the Beckett-Albee line, but he lacks their wit, intelligence, and ability to be compelling. Linda Thorson rises above the material with a subtle performance that gives her character dimension; the other three performers fail to inflate their cardboard characters.
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