BELLAMY ON BROADWAY

British "The Knack' Is Dreadful (S) export

By PETER BELLAMY

too utterly funny for words,

NEW YORK It may be but the reverse is true. The nasty to knock "The Knack," noisy shouting and running but this English play adds up about on stage much of the to an over-all unfunny, squal-time suggests a playground id, bloody bore. for village idiots.

As presented at the offTHE GREATEST moments Broadway New Theater, this of audience laughter turn on widely praised effort at comthe way the talented young edy by Ann Jellicoe is a kind lady of the cast screams the of sophomoric male bull ses-word "rape." Another pinsion on sex and the fine arts nacle of hilarity comes when of seduction. Much of its conone of the actors asks: "Are versation is childish and point-you homosexual" and another less and some is like dirty answers: "No, but thanks just words written on sidewalks. the same."

References to the nursing "The Knack" might get habits of the female kangaroo away with it as a spoofing and an impersonation of a farce like "Oh Dad, Poor lion and his trainer apparentDad, Mamma's Hung You in ly are supposed to be just too, the Closet, and I'm Feelin′′

So Sad," but it takes itself too seriously. Moreover, its English flavor apparently isn't for export. The audience the night I saw it didn't find it very funny either.

"The Knack" is set in the present against the background of an old, shabby London flat.

One of its four characters is a handsome, arrogant, sadistic young man who loves to boast of his amours and girlswapping. For financial considerations he offers to teach a slavering young innocent his own guttersnipe tactics toward nitwit females.

THIRD MALE of the cast, and the only well-adjusted one, expresses contempt for the Casanova and sympathy for the deluded, shy man who thinks the number of willing females in his life will be the mark of his masculinity..

.

The only woman in the cast is a lower-class, strident, hys-, terical girl with the makings of a slut. When the Don Juan tries to take advantage of this psychopath, she turns the tables on all of them.

The cast is a good one. Brian Murray as the sex maniac is purposefully ultra irritating and otherwise displays all of the repellent theatrical aspects of Marlon Brando.

SAM WATERSON is more to be pitied than censured as the would-be great lover. Alexandra Berlin draws most of the laughter as the girl whose eyes burn brightly with the fires of lunacy. Her inane giggling, adenidal voice and roof-raising shouts are most effective.

Why a man of Mike Nichols' proved ability would direct this show except as a challenge is difficult to imagine. The director of "Luv" and "Barefoot in the Park" has added no stars to his crown with "The Knack," although it must be admitted it would be even duller without his feeling for action and stage business.

"

"The Knack" lasts less than two hours, praise be.