Piese de Jules Feiffer

A Bad Friend
Set in Brooklyn during the 1950s, the play brings us into the household of Shelly and Naomi Wallach, a middle-aged couple who are as fervently opposed to McCarthyism, anti-Semitism and exploitation of the working class as they are passionately committed to the Rosenbergs, civil rights and Stalin. Their independent-minded teenage daughter, Rose, squirms under the weight of her parents' oppressive Marxist principles. "Maybe I'm only a liberal," Rose says, which provokes a stern lecture from her mother; and as the antagonism between the rigidly ideological Shelly and her questioning, rebellious daughter grows, it becomes increasingly clear that politics is personal and that developing your own beliefs comes at a price.
Anthony Rose
Once a renowned Broadway playwright, but now a disenchanted screenwriter, Anthony Rose has taken to traveling around the country visiting regional theatre groups who are producing his famous comedy success,
Carnal Knowledge
Childhood buddies and then college roommates, Sandy and Jonathan seem more concerned with mysteries of women than with their respective studies in medicine and law. Sandy has been dating Susan, and as he reports on his "progress" to date the intrigued Jonathan decides to find out for himself just how available Susan might be. Although he never tells his friend, he is the first to succeed with her; but while Susan is strongly attracted to Jonathan it is Sandy she decides to marry—a rejection that is deeply disturbing to Jonathan and which sets a pattern he follows for the rest of his life. Choosing sex over love, while failing to realize his need for both, Jonathan embarks on a long and varied series of liaisons that, to Sandy, seem to embody a sexual freedom and excitement that far outstrips what married life can provide. Eventually his marriage to Susan founders, and he emulates his friend by seeking fulfillment in a series of affairs. But, like Jonathan, he also finds that fantasies are no substitute for stable commitment, and that while chasing money and women may seem enough when you are very young it can become shallow and even pitiful as you grow older. Told in a series of brief, fast-paced scenes, filled with the sharp, satiric dialogue for which the author is so justly famous, the play, in the end, moves from biting humor to poignant self-realization as Sandy and Jonathan become aware that what they really need and want they have never found—and that their long and tumultuous odyssey, for all its indulgent excesses, has left them both feeling empty and embittered.
Crawling Arnold
Barry and Grace Enterprise, a couple in their seventies, have two sons; one a thriving two-year-old and the other Arnold, a young man in his thirties who crawls on all fours, insists on a lemon peel in his martini, and is forever misplacing his coloring book. The Enterprises also have a lavish air raid shelter complete with a library of old "Our Gang" movies and four years' worth of "Readers Digest" back copies; plus a rather snippy black maid whose feelings have been ruffled by their offer of a separate-but-equal shelter for her. As for Arnold, the Enterprises' concern about him has led to a consultation with Miss Sympathy, a pert, young psychiatric social worker who comes by to do what she can to help straighten him out—and up. She and Arnold are hitting it off rather well when the alert sounds for an air raid drill, and it's down to the shelter for everyone—except that Millie, the maid, has already locked herself in, and the "white imperialists" out. So Miss Sympathy joins Arnold on the floor (an accepted crisis position) and their increasingly intimate confessions continue to an off-stage obligato by the senior Enterprises. Arnold admits that he has rediscovered the forgotten value of being naughty, and Miss Sympathy concedes that she finds him overpoweringly attractive but what if the all-clear should sound? But it won't. It's broken. That's what Arnold did that was naughty today.
Elliot Loves
Elliot has been dating Joanna for the last six weeks when the curtain rises on his brilliant monologue which in a nutshell captures sex and love in the '90s. Elliot describes that gap between the sexes with shape and substance—the gap that people talk over, go to movies over, drink, go to parties and make love over. That gap is revealed when Elliot brings Joanna to meet his friends. Joanna, not quite ready for this, bolts in front of the elevator that is to take them to this dinner party. The party, dampened, happens anyway and in the course of it, much is revealed about the relationships of these four life-long friends. In the middle of all of this, Joanna arrives and causes a sensation much to Elliot's displeasure. The final scene in the play is a reconciliation in which Joanna and Elliot move across the "gap" to tentatively touch each other with honesty—and with love.
Grown Ups
An affluent New York Family, with a self-pitying protagonist, spiralling into emotional chaos
Hold Me!
Blending together a series of sketches, skits and vignettes, this delightful revue peoples the stage with the engaging and all-too-human characters made famous through the author's renowned cartoons. The theme is the plight of today's city dweller, and the hang-ups, personality difficulties, identity crises and assorted mishaps which beset those trapped in what may begin as urban confusion but all too often ends as urban anguish. Staged with the utmost simplicity, and with each performer assuming a variety of roles, the play abounds in warmth and humor, and in the sad/funny truths that, in the final essence, are the very stuff of life.
The Dicks
Ed the hotel detective is not pleased with his new partner. He doesn't want to peep through keyholes or take candid photographs of guests in their rooms and he doesn't know the difference between dames and broads.

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Biografie Jules Feiffer 

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Jules Feiffer

Jules Feiffer s-a nascut la data de 1929 in , SUA.

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