Hear my tiny cry!
Saw In a Dark, Dark House and agree, as many reviewers maintain, that it’s one of Neil Labute’s better offerings. Faint praise, if we’ve ever heard it. And, yes, I also went to admire Ron Livingston’s eyebrows. This, at least, was richly rewarded. A surprise was the vocal choice Frederick Weller made and that Carolyn Cantor seem to have approved, to flatten and compress his not inconsiderable tones into a clipped and nasal intonation. Clearly it helps Weller get a handle on his character, but it also takes its toll on his expressive abilities.
Is a limited range worth the greater authenticity it might afford? Thoughts?