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- THEATER, Page 100Candy Box
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- By WILLIAM A. HENRY III
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- ON BORROWED TIME
- By Paul Osborn
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- A handful of actors have enough box-office clout to get
- produced pretty much any show they want to appear in. One is
- George C. Scott, who last came to Broadway in 1986 as an aging,
- derelict Huck Finn in an unpopular bit of myth debunking called
- The Boys in Autumn. Now Scott is back as a quintessential foxy
- grandpa, all harmless cuss words and mock-fierce benevolence,
- in a sentimental 1938 comedy-drama about an old man's battle of
- wits with death, personified as the prissy bureaucrat Mr. Brink.
- Scott's new role may be at the opposite end of the emotional
- spectrum from his last, but it prompts the same question: Why
- this play?
-
- One answer: On Borrowed Time, which Scott also directed
- (moving its era from the edgy late 1930s to the innocent-seeming
- years before World War I), is a splendid vehicle for the winsome
- tricks of a veteran cast. Teresa Wright, whose 1942 Oscar for
- Mrs. Miniver makes Scott's 1970 award for Patton seem recent,
- flutters and flusters as the grandmother. Bette Henritze
- whinnies and hectors as an interfering aunt. Conrad Bain
- wheedles and soothes as the family doctor. In Scott's wiliest
- staging, he, Bain, and George DiCenzo test whether death has
- been suspended by circling around a poisoned housefly like
- slow-motion Marx Brothers. No one gets more laughs than Nathan
- Lane as Mr. Brink, slowly igniting as his timetable is thwarted.
-
- The inescapable problem is the play's candy-box
- presentation of mortal agony as a peaceful, painless passing
- into a warm yellow light, followed by a resumption for eternity
- of one's former games and rituals. Save for about three minutes
- of medical candor, this is a vapid insult to anyone struggling
- with the real problem of mortality. Perhaps Scott, 64, finds
- this inanity reassuring. But what a pity to waste his gifts on
- piffle.
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