University of Virginia Library

Struggling Actress

The most notable lapse lay in
Marion Eisenberg's portrayal of
Joan. Admittedly, she was struggling
with a nearly impossible part.
Yet one can wish that the charm
which she displayed in many of
her facial expressions had replaced
the fixed mock-angelic smile she
assumed for the rest of the time.
One can wish that she had attempted
boyishness with movements
which were powerful rather
than with the hesitant bouncing
around that she often affected.

The rest of the characters, who
have not had the misfortune to
have been adored, are well-written
and were, with certain exceptions,
well-played. Michael Grigsby
evoked the strident, devil-ridden
Promoter without any of the overacting
which could so easily have
crept in, as did Wesley Simpers
as the Inquisitor whose enemy is
man. C. Linwood Duncan on
several occasions stole the trial
scene from an anemic Joan with
his portrayal of Cauchon, the man
who can be kind because he has
known compromise. Robin Mason
was a charming, exceptionally real,
Dauphin.

The exceptions were the
Dauphin's mistress, played by
Martha Villmoare, and the Little
Queen, played by Tina Sheppard.
Miss Sheppard merely copied Miss
Villmoare's indifferent acting,
when her character was supposed
to have been a contrast. To steal
a political slogan, one could say
that the poor Dauphin was
confronted with an echo, not a
choice.

For all that one may intellectualize
over Anouilh's rendering of
the story of Joan, the fact remains
that it is equally as important
for a member of an
audience to communicate with the
ideas of the author as for him to
reinforce his own philosophies.

Too often audiences seem to
feel that they can come to a play,
relax on the back of their collective
spines, and be entertained.
But a play that is based on illusions-as
most are, in varying
degrees-requires of its audience
that it participate in them.

Any actor is aware that he
must never break character, or
stare into the audience, or do anything
which would break the
tenuous rapport between those
individuals and the reality of the
play. In this particular case it
is equally important that the
audience not break faith.

Certainly, a few hours' willing
suspension of disbelief, even if
one must intellectualize afterwards,
are the least one can give to the
little maid of Domremy.