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Show 1 Hie Daily Utah Chronicle, November jfoe's Delicate Balance" sneers at society Jacqueline Bunnell, playing the offspring of such a bizJrretS circumstance as that of Tobias and Agnes, deserves special praise for competence rare in a student, succeeding in a convincing interpretation of a complex mlo I - Albee has a penchant for drawing a few very powerful characters into a relationship of considerable duress, for prolonged periods of time. This type of theater is exhausting for actors and audience. ine of Edward Albee's tStice," at Pione, '.Iheater last night was p Erector David Jones ,L boasted a good set, iandamagnificent seating script scorches i conce, searing the of twentieth-century man 1 to look at himself, having tcede his mundane method J jed emotion which serve, i to stifle, to emasculate the J, of feeling inherent in faints the fmger at the -Win which the unknowns of I the same mysteries that have considered by every Oration since the origin of the Jfc are veiled by man's iious effort. We bear the 0 of conformity, never onfionting the inexplicable, warding it off. We never size the full potential of our ie, simply because it's too inning. His Albee says in a play not as ily realistic as "Who's Afraid :! Virginia Woolf?", not as tairely symbolic as "Tiny lit," and not as satirically mature as "The American Dream." This play displays an tewith craft well in hand, ; impassion well in head. The humor was especially i :le in the character of Claire, played by Marilyn Holt. Marilyn Holt renders this alcoholic bawd believable with an unhackneyed interpretation of the role. Claire says anything she feels, to the discomfort and annoyance of those around her. She tells how, for kicks, she went into a department store and informed a matronly saleslady that she'd like to see the stock of topless bathing suits! Claire's inebriated abandon is modified for us, however, in the character of Tobias. Veteran Richard Erdman, plays an almost unbelievablyGhiselin-esque Tobias, the perfect diluent for the too-strong solution presented in the corker Claire. Tobias's spirit recognizes the vitality absent from human existence, and implores life's disruptive forces to remain. This is a subtle trick of Tobias's conscience on his conscious, and Erdman handles it with admirable artistry, conveying somehow even the unthought considerations of a free-agent soul, unbound by convention and fear. As Tobias's wife Agnes, Gail Hickman is the maintainer of the delicate balance. She is the emotional leveler, reducing all feeling to a medium comfortable to her and her friends. Although this actress dropped the ball when she should have carried it at the play's beginning. By failing to make her opening lines heard, she picked up almost immediately and did well the rest of the night. |