Two people in love can, and inevitably will, be each other's heaven and hell. So argues Arnold Wesker in his latest play, The Four Seasons, which opened, off-Broadway last week. Love buds in spring rain, blossoms in summer ardor, withers and stales in autumnal tiffs and recriminations, and turns to icy death in a winter of unfeeling. The play is intimate and perceptive, though it lacks dramatic vigor. The language that might have lifted it to poetry is too often absent. Yet the playwright's intent is aspiring and his subject compels attention.
Wesker's two lovers—symbolically named Adam (Paul Roebling)...
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