Actors Examined

From Stage to Printed Page

By Peter Bellamy

so much on histrionic ability as on a kind of radiance and a bag of tricks, much to the detriment of her leading

A devastatingly cruel, accurate and hilarious portrait of one of the most flamboyant American actresses of the century is to be found within the pages of David Weiss' new novel, Justin Moyan (Morrow, $5.95). Knowing this tempestuous personality as I do, it will not be difficult to imagine her black rage and steaming profanity when she reads the chapter devoted to her. Its description of her exhibitionism and her sexually devouring attitude towards younger leading men fits her to a T.

But there is nothing she can do about it. Her name isn't mentioned (it doesn't have to be) and no woman in her right mind would bring a libel suit even to associate herself remotely with such a character.

THIS NOVEL about people of the stage would be even more interesting if Weiss dared supply a key to the identities of all of the real life characters whom he has fictionalized.

They include a famed homosexual playwright, two internationally known homosexual actors and a celebrated actress. The latter has ascended the heights not

men.

There is also what appears to be a thinly veiled portrait of the Actors Studio, and its director, Lee Strassberg, who is treated gently and with respect. The central character affects the boorish, bare-chested acting style of Marlon Brando plus his amorous proclivities. There are also hints of John Barrymore and Richard Burton in him.

JUSTIN MOYAN is a young man who goes to New York, makes good on Broadway after the usual struggles and then goes Hollywood. He is both lovable and loathsome. His own ultra-sensitivity is balanced by a brutal lack of consideration for his family and the female playwright whose heart he breaks.

Weiss excells at charac-

terization and anybody who has ever had much to do with the theater has known people like his. As the for-

mer editor for David 0, Selznick he has a deeply perceptive knowledge of his subjects. His analysis of the egocentric, jaded actor and his isolation and insecurity has depth.

His having Justin Moyan play "Hamlet" at the end of the book is fitting, because his actor is as world weary and lacking in faith as was ever the Melancholy Dane.

Most of the writing is excellent and some brilliant, but Weiss could stand a copyreader. I found the first chapter and other minute portions of the book on the trite and childish side.