I had fond memories of this "HBO Theater" presentation with Katharine Ross and Stacy Keach, a videotaped live presentation of the play on which the 1967 film was based. I can recall seeing this first before I ever saw the film, and for years I felt the film didn't live up to this version. Even though it's slightly static, seeing as the entire play is confined to just one set, the interaction between the characters was a lot more tense, especially the final act where Ross must confront the psychotic Keach.
Ross's character is Suzy Hendrix, blind but far from helpless. Her husband, Sam, encourages her to do things on her own, but she thinks he wants her to be the "champion blind woman". Her independence is put to the test when three shady characters invade the basement apartment that Suzy and Sam share in the East Village. They are looking for a doll that contains a cache of illegal drugs that have just been smuggled into the country. By chance, Sam has picked up the doll at the airport and has it in his possession, but the trio of villains can't find the doll themselves, so they must concoct an elaborate scheme to get Suzy to give it to them without letting on who they really are or why they want it.
Now having seen this again for the first time in over 20 years, I have to say it's a mixed bag. The "live" element of the play helps build some tension, but the acting overall is erratic. The supporting players, such as Joshua Bryant and Robin Gammell, are cartoonish in some places. Ross is very likable and vulnerable, yet she keeps her eyes wide with "blindness" and winds up looking zombified instead of terrified. Keach's performance in particular remains memorable. Alan Arkin played the part as a hood with a thick New York accent in the 1967 film; Keach's interpretation is quite different. His Roat is effeminate and mincing. Instead of being in control, he seems desperate and about to snap, launching into a delirious tirade at the climax and, for some inexplicable reason, suddenly applying cosmetics while tormenting Suzy until she gives him what he wants.
Natalie May plays the young girl Gloria, and her role is a little more significant here than in the movie. She holds her own with the adults very well, and if she's a little stilted, she successfully conveys a sense of adventure in what she's doing. I also like the set a lot here, it looks a lot like a real apartment might look in Greenwich Village.
This version of "Wait Until Dark" seems lost to the ages. The story itself is dated, and it seems unlikely that this kind of scheme would really unfold the way it does in the play; I'm not sure how you could set this story in modern times, since Caller ID has all but wrecked the prospect of making anonymous phone calls. Still, it is very entertaining.
Ross's character is Suzy Hendrix, blind but far from helpless. Her husband, Sam, encourages her to do things on her own, but she thinks he wants her to be the "champion blind woman". Her independence is put to the test when three shady characters invade the basement apartment that Suzy and Sam share in the East Village. They are looking for a doll that contains a cache of illegal drugs that have just been smuggled into the country. By chance, Sam has picked up the doll at the airport and has it in his possession, but the trio of villains can't find the doll themselves, so they must concoct an elaborate scheme to get Suzy to give it to them without letting on who they really are or why they want it.
Now having seen this again for the first time in over 20 years, I have to say it's a mixed bag. The "live" element of the play helps build some tension, but the acting overall is erratic. The supporting players, such as Joshua Bryant and Robin Gammell, are cartoonish in some places. Ross is very likable and vulnerable, yet she keeps her eyes wide with "blindness" and winds up looking zombified instead of terrified. Keach's performance in particular remains memorable. Alan Arkin played the part as a hood with a thick New York accent in the 1967 film; Keach's interpretation is quite different. His Roat is effeminate and mincing. Instead of being in control, he seems desperate and about to snap, launching into a delirious tirade at the climax and, for some inexplicable reason, suddenly applying cosmetics while tormenting Suzy until she gives him what he wants.
Natalie May plays the young girl Gloria, and her role is a little more significant here than in the movie. She holds her own with the adults very well, and if she's a little stilted, she successfully conveys a sense of adventure in what she's doing. I also like the set a lot here, it looks a lot like a real apartment might look in Greenwich Village.
This version of "Wait Until Dark" seems lost to the ages. The story itself is dated, and it seems unlikely that this kind of scheme would really unfold the way it does in the play; I'm not sure how you could set this story in modern times, since Caller ID has all but wrecked the prospect of making anonymous phone calls. Still, it is very entertaining.