Simply Streep is your premiere source on Meryl Streep's work on film, television and in the theatre - a career that has won her three Academy Awards and the praise to be one of the world's greatest working actresses. Created in 1999, we have built an extensive collection to discover Miss Streep's work through an archive of press articles, photos and video clips. Enjoy your stay.
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Shaft of Love
March 28, 1975 | Yale Repertory Theatre
The New York Times wrote about the premiere: Despite his comic aspirations, the playwright ends as his own guilty victim. The play is pleasant and homey, almost like watching two hours of soaps and laughing at the silly lines. It is more homage than indictment. At yesterday’s matinee, the audience sat, comforted by memories, reassured, vocally and accurately predicting tag lines. As one woman said, “It’s so . . . typical.” And it is. The play is plot—a web of tangled relationships. Occasionally and deftly, the playwright pushes sentiment past absurdity, as when a nurse regrets, “Illness is a terrible thing—there’s so much of it at the hospital.” But this is no mad Mel Brooks assault on a genre. There is none of the comic hysteria of the recent Yale literary spoof, “The Idiot’s Karamazov.” The problem, of course, is how to parody self‐parody. The playwright’s answer is to write it almost straight, offer us smiles of recognition, and let the comment come from the actors. As in the last panel of a comic strip, or a Roy Lichtenstein picture, Kate McGregorStewart ends scenes with a bright, wide‐eyed stare, freezing a tear or a cackle. Blackout. Besides Miss McGregor‐Stewart, Meryl Streep, Jerome Dempsey, Elizabeth Parrish and Charles Levin are particularly adept at this italicized style of comic performance.