question in the universe has seemed worth his attention. So who cares?
I have not discussed the plot of Inadmissible Evidence, because it does not have one. There is not a vestige of one. The premise of the evening’s entertainment is that an exploration of the hero’s personality, his opinions, and his considerable unpopularity among those who know him well, is the single existing matter of any real interest. Nicol Williamson rants and roars endlessly in this central role, surrounded by various characters whose function is to expose, bit by bit, the personality I have tried to convey in these paragraphs. They all tell him that they despise him. It is rather embarrassing to watch the play.




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