Mass Appeal
Booth Theater
NYC
Director: Geraldine Fitzgerald
So, what's so interesting about a play
that spoofs Catholicism? Well, if the
star is Milo O'Shea and the director is
Geraldine Fitzgerald the answer is
plenty. Mass AppeaJ has only two per
formers. . . . O'Shea as a successful
Catholic priest and Michael O'Keefe
as a young, idealistic priesthood 'aspi
rant. Although a "script for two" seems
little to create a Broadway play on,
writer Bill Evans has developed a wit
ty, attention-holding story that is both
funny and poignant.
Basically, the story begins with Fa
ther Tim Farley (Milo O'Shea) taking
in young Mark Dolson (Michael
O'Keefe as sort of a protege of the
priesthood. Father Farley, long jaded
by the materialistic trappings that
come with having a large, well-to-do
congregation, drives a Mercedes and
intermittently drinks burgundy in his
study. On the other hand, Mark Dolson
is seriously committed and competely
non-materialistic.
The two opposing personalities and
perspectives are the focus of the play's
conflict. The skill in reaching this con
flict's resolution is largely due to Ger
aldine Fitzgerald's direction. As in
Long Day's Journey Into Night which
she directed at the Public Theater (see
National Scene June 1981) Ms. Fitzger
ald demonstrates an ability to get the
audience involved with and even care
about what happens to the characters.
And when Father Farley's arrogant fa
cade is stripped away he conveys a
human vulnerability that is readily un
derstood by all. Milo O'Shea' perform
ance is among the most gripping of any
leading role this season.
Mass Appeal is a play with meaning
that transcends religious preference. It
makes a valid statement about contem
porary attitudes and with its creative
presentation Mass Appeal is a testa
ment to the saying "less is more".
Camejot
Winter Garden
NYC
Director: Frank Dunlop
Camelot, which was first staged by
Moss Hart and subsequently was done
on film is back on Broadway starring
Richard Harris as King Arthur. This
production is just as lavish and fanci
ful as in the past. With the Desmond
Heeley set and costume design the
proper mood is created. Naturally, all
of those same delightful songs are
done as great effort is put forth to
recapture this play's magic.
However, to recapture anything can
be an extremely elusive pursuit and
there are components of this produc
tion that did not completely come
together. Unfortunately, an outstand
ing play is missing an outstanding cast,
Richard Harris has flashing moments
of brilliance which he may have re
tained from his Golden Globe winning
performance in the film. But he dis
plays (as do most of the cast) periods of
low energy which debilitates Camel
ot's overall impact.
With so much to work with, one
wonders why the cast does not gener
ate more enthusiasm. But this emotion
seems to rise and subside creating a
vague unevenness. Richard Muenz
(Sir Lancelot) and Barrie Ingham (King
Pellinore) give the most consistant per
formances. But if one does not expect
great acting and can appreciate Ca
meJot's technical skill and its music
you may find this play entertaining.
West Side Waltz
Barrymore Theater
NYC
Director: Noel Willman
Katherine Hepburn waltzes back to
Broadway in this production as anoth
er entry in this season's "year of the
star" sweepstakes. However, in her
role as a 70-ish, retired concert pianist
Ms. Hepburn fares better than most. I
must confess that with Ms. Hepburn it
has always been difficult for me to
determine when she was acting from
when she is playing herself. Quite
frankly, I still don't know. The Hep
burn mistique is just as undefinable for
me as it has always been. But whatever
she is doing in West Side Waltz Kate
Hepburn is thoroughly enjoyable.
Throughout the play she is witty, iras
cible, sensitive and independent wrap
ping these emotions in a regal charm
that has become her trademark.
Dorothy Loudon, who co-stars, is
equally effective as Ms. Hepburn's
loyal companion. Ms. Loudon paints a
crystal clear protrait of how insecurity
and loneliness can have a drastic im
pact on us all. She brings such reality
to her role that Loudon is certain to
receive a Tony nomination.
The three remaining performers Re
gina Baff, David Margulies and Don
Howard all turn in good performances.
In fact, the high calibre acting in West
Side Waltz is its strongest suit.
The plot of West Side Waltz is inter
esting but far from powerful. The play
seems more a vehicle for the talents of
its players. Howevgr, in this rare case
the actor's performances shine far
above the " script and it
works.
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MiJo O'Shea and Michael O'Keefe in "Mass Appeal"
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