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Play Review
and pose, even as she ever so delicately imitates an individual with an artificial leg. While we are watching Sarah because she is famous for the achievements of an acting career, we are informed, through her conversations with Pitou, of the influence of her mother, her sister, the convent she was schooled in, her agent, her son, and an apparently very unsatisfactory, but loved, husband. He died a drug addict.
One of Sarah Bernhardt’s feats was to portray Hamlet late in her career and, in Saturday’s performance of “Memoir,” we were treated to one soliloquy, movingly spoken. Bernhardt was known for her voice and Madigan Ryan has practiced a range of speaking to do the actress justice.
In fact, a criticism I have of the author is that he did not include one or two more scenes or passages from plays Bernhardt played in. To have done so would have graced us with more poetry and would have given a better balance to the portrayal of Bernhardt as an actress as well as a life force. Time for this could have been taken from other, less effective, repetitive scenes.
Richard Fink measures up as a worthy foil for uncontrolled Sarah, who asserts herself to frighten and command those around her. He has a nervous tick, sees through her, can impersonate another person as successfully as she can, and, in a scene in which Bernhardt persuades him to recount a near love affair, he is funny
Sm MEMOIR, p.B-7
92.3%