Full cast recording of a theatrical play read by Julian Sands, Kirsten Potter, Morgan Shepherd and Judy Geeson. London in the 1950s. A mysterious house, home to a family that has seen better days, will not yield its secrets. And a love affair turns to tradgedy. Greene, one of the foremost writers of the 20th century, based the play on his own passionate but doomed affairs, and his conflicted view of Catholicism.
Henry Graham Greene was an English writer and journalist regarded by many as one of the leading novelists of the 20th century. Combining literary acclaim with widespread popularity, Greene acquired a reputation early in his lifetime as a major writer, both of serious Catholic novels, and of thrillers (or "entertainments" as he termed them). He was shortlisted for the Nobel Prize in Literature several times. Through 67 years of writing, which included over 25 novels, he explored the conflicting moral and political issues of the modern world. The Power and the Glory won the 1941 Hawthornden Prize and The Heart of the Matter won the 1948 James Tait Black Memorial Prize and was shortlisted for the Best of the James Tait Black. Greene was awarded the 1968 Shakespeare Prize and the 1981 Jerusalem Prize. Several of his stories have been filmed, some more than once, and he collaborated with filmmaker Carol Reed on The Fallen Idol (1948) and The Third Man (1949). He converted to Catholicism in 1926 after meeting his future wife, Vivienne Dayrell-Browning. Later in life he took to calling himself a "Catholic agnostic". He died in 1991, aged 86, of leukemia, and was buried in Corseaux cemetery in Switzerland. William Golding called Greene "the ultimate chronicler of twentieth-century man's consciousness and anxiety".
Since I had just re-read The Quiet American and The Comedians by Graham Greene, both of which feature an anguished "agnostic Catholic" guy in a doomed affair, I though what the heck, let me have another, a 1953 play by Greene, featuring Julian Sands as the psychologist stand-in for Greene. It's not one of his best works, and so many of his works were trying to work out his guilt over multiple affairs Greene had himself had.
The popular 欧宝娱乐 reads, statistically, are about sex and romance, but my assumption is that they are not about guilt, but about passion. And they are, well, fun? It's not as if Greene's treatment of fidelity /adultery is completely joyless, but let's say he is not the poster boy for the Free Love generation. He is not a walking advertisement for "Love the One You're With" (Crosby, Stills, Nash and Young). Greene, who suffered lifelong from depression and probably bipolar disorder, would not get a pass from his wife Vivian for all of us affairs, and Greene is good here to depict her as tortured and hysterical to be the victim of his lust for a 20 year old when they (the psychologist and his wife) are in their forties.
It's well-written, but it is not Ibsen or Arthur Miller calibre, whereas his novels are among the best ever.
Greene might have made a name for himself in the theater if he had devoted more of his energies here. This play is odd, witty, fairly well constructed, and tragic.
Graham Greene is one of my favorite authors. The play comes as a surprise and is different from what I knew...novels like The Power and the Glory, Our Man in Havana... The themes are familiar though. Religion, love, duty, infidelity are at the center of the plot. Rose Pemberton is twenty years old and in love with Michael Dennis, who is older, much older f we are to listen to the woman's aunts. He is a psychologist, played by Julian Sands, in the production that I listened to. The problem is that Michael Dennis is married. And not only that, but Catholicism, with its strict doctrine on marriage makes a way out of the conundrum almost impossible. Divorce is not allowed by the Catholic Church, so what are the options?
The lovers would just have to give each other up. The estranged wife comes on stage, announced by one of the aunts. The latter tries to lie and separate Rose from the philandering husband. She tells him that she will not be available. Then she tries to convince her niece that the man she loves had gone for a long time.
Michael Dennis is torn between his passion and his duty. He does not want his wife to suffer, although he understands that she gets hysterical for little reason. It looks like with or without this affair, the woman would be unhappy and make scenes.
There is a terrible surprise. I obviously cannot say what happens. But the excruciating pain is felt all around- maybe- except that the unexpected personage takes decisive and ultimate action.
Enough said about this.
At the end of the play, there is a very illuminating interview with Greene's official biographer.
Graham Greene had quite a few lovers, in conflict with his Catholic faith. Anita Bjork was one of them and she was a gorgeous Swedish actress. Graham Greene had tried to commit suicide and he was a very strange man, from what his biographer says.
Part of his books are astonishing, some included on the scholars' lists of best works of fiction.
Es la primer obra de teatro que leo del autor, me dio risa, ternura para que al final fuera tr谩gico. El cuarto en que se vive hace referencia a una casa en d贸nde viven tres ancianos: Teresa, la mayor, Jaime, el sacerdote inv谩lido; hermano del medio y Elena, la menor. Vivir谩 con ellos su sobrina Rosa, una joven que no conoci贸 a su padre y perdi贸 su madre por una enfermedad, por lo que sus tutores pasan a ser estos hermanos y Miguel, un abogado que se encarga del testamento de la difunta, aunque est茅 煤ltimo se convertir谩 en el amante de la misma, a pesar que se encuentra casado. Hay un secreto escondido en el t铆tulo de la obra que solo se desvelar脿 y para eso leala, ya que no al spoiler.
This was the first of the plays by Graham Greene that I have read 鈥� and I must say, I liked it a lot. I would love to see it performed, even today, 67 years after it was published. It kept me intrigued throughout, and surprised me at the end. The theological (Catholic) angst of the plot, mixed with the flat-out weird sisters makes a good, even spooky, tale. If you know a little about Greene鈥檚 personal life, you鈥檒l probably recognize this as what appears to be another open story about his own life. It鈥檚 pretty clear that he鈥檚 not trying to hide anything when he dedicates this book to 鈥淐atherine with love鈥� (his wife鈥檚 name was Vivien).
This a short play published in 1954 with a handful of characters that takes place almost exclusively in, yes, the living room. Except for impossibly naive, painfully young Rose, everyone is harboring secrets and lies, following their fates with nary a glimmer of hope among them. There is a lot of sadness jammed into the two short acts, not a lot happens, no one is especially likable, and yet I never thought to stop reading because there is Greene's writing and that is enough.
Perhaps religion helps us to understand ourselves and how we interact with each other the way we do. Love. Faith. Death. How and when do we hide the parts of being human out of fear for feelings? Aren't feelings one of the attributes of being that make us human?
This book was lots of fun because Graham Greene is one of my favourite authors but I鈥檝e been running out of his books. This one is a play, and it takes its title from the fact that a family lives in a house where they board up the bedrooms when people die.
Such a good play, you can read it in one seating and end up with an existencial crises. Every character is flawed, but not evil. Together they represent the defective core of the human being.
This audio version of the play was well done. The play is short, with the fear of death as an interesting theme throughout. There is a tension between the justice of God and the mercy of God. Sad that so many would agree with the thought from the play that we aren't supposed to experience any pain. What a horrid world it would be without any pain since pain is so redemptive.
Se trata de la primera obra de teatro del escritor, por otro lado famoso por sus novelas, donde el tema del catolicismo aparece como referente. La acci贸n se centra en Rose y sus dos t铆as ancianas, que viven con el hermano de las t铆as, James, un cura cat贸lico inv谩lido.
This was a very unusual play. I'm glad I read it and will always remember the message of the book. Graham Greene's books tend to be less about entertaining the reader and more about delivering a message.
I hate this play so much. The female characters are caricatures, from the innocent virgin to the grasping wife who is rightfully angry at her cheating husband who the audience is supposed to sympathize with in that 鈥渟hallow stand-in for the author鈥� way.
This doesn't seem to be a particularly notable work in the Graham Greene oeuvre, but I was really impressed by it! The central staging idea, of a house with most of its rooms boarded up by death or the fear of death, works as an elegant symbol for both of the dueling ideologies in the work: psychology and theology. To the Freudian, the closed rooms are repressed areas of the subconscious. For the Christian, to paraphrase Bede, the human condition is like a swallow flying swiftly into the front door of a great hall and then out the other side, coming out of the dark night, existing for an instant in the warmth and light, and then passing out again into darkness. The "living" room, like life itself, is pressed in and overshadowed by all the closed rooms that are explicitly equated with death. They represent the realms which, to a Catholic, are the most substantive part of the metaphorical "house," yet are accessible only by death.
I didn't think it was that good. A professor in 40's takes up with 19-year-old orphan, the daughter of a recently departed friend. Her crazy extended family and his depressed wife disapprove. Either the lovers can be happy by making a group of unhappy people even more unhappy, or they can also become unhappy. Which will it be?
Sands' delivery is exceptionally flat.
The afterword, an interview with Greene's biographer, Norman Sherry, is quite good.
Such a strange nest of premises, on a strange premises. The uncle is my favorite character, even if the uncle-father in this is just one of the many strange folk in this strange house.
The interview after this in the LA Theatreworks version was very good.
I don't know whether to give this three stars or four. I think the story was good, so the play is probably good, but the performance I listened to was quite stilted and self conscious. I would have preferred it as a novel.
Lively and at times amusing production of this rather odd book by Graham Greene, rather enjoyable. The best part was the bonus material at the end (keep listening!) with his official biographer, Norman Sherry.