INTERVIEW

by van Itallie, Jean Claude

As Norman Nadel describes: “Four masked, smiling interviewers interview a scrubwoman, a house painter, a banker and a lady’s maid. It is commonplace and familiar enough, except that suddenly, the most innocent statements are foreboding. As the interviews progress, we are stung by the intensity and viciousness of the contest. The questioners are trying to destroy the dignity of the four clients, and the latter fight to hold their self-respect. It is never resolved. Abruptly the scene changes—a street, a subway, a psychiatrist’s office, a confessional—but throughout, this compelling involvement continues. And the sense of familiarity continues as well. We are not seeing something new, except in the bizarre design of the play itself, but we are recognizing something which has been before us all the time. Therein lies the shock effect of AMERICA HURRAH and its power, as well. None of it is happening to others; it is happening to us—or rather, it is recalling things that have happened to us. We are thrust into awareness. The insulation burns off, and we have no choice but to perceive.”