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Theater Review: Brooklyn’s Master Tapeheads (New York Magazine)
Two Irish voices, one old, one young, both living life in stereo: Realities
proceed on dual, dueling tracks. In the acclaimed production of _Krapp's Last
Tape_ that's now wynded its way to the Brooklyn Academy of Music, the great
John Hurt -- in what is, amazingly, his New York stage debut -- sits mostly
motionless, downstage center, at a desk in a pool of light. He savors
carefully selected words ("Spooooool...") as he slips into the relaxed-fit
skin of Krapp, Samuel Beckett's "dream-devoured man," a saturnine writer in
his sixties who's approaching pure and absolute stasis: Time seems to slow as
he revisits "that stupid bastard I took myself for 30 years ago" via a stack
of reel-to-reels recorded in his salad days.
Meanwhile, a few subway stops away at St. Ann's Warehouse, Cillian Murphy
tumbles through Enda Walsh's hell-for-leather _misterman_ at ramming speed:
He's Thomas, 33, childlike and living rough in an abandoned warehouse at the
mad peak of his Jesus Year. Thomas is dangerously aflame with Christ-love and
sexual repression, and he, too, is reviewing a former life via tape recorder.
But where Krapp sits almost motionless, skeptically regarding his youthful
arrogance, Thomas sprints ...
New York Magazine
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