kˈeɪɚ sədʒˈɛstᵻd ðæt pɹˈaɪɚz stˈeɪdʒ pɜːsˈoʊnə, mˈoːɹ ˈeɪbəl tə wˈɜːk ˈɔf ɪmˈiːdɪət ˈɔːdiəns fˈiːdbæk, wˈɜːkt bˈɛɾɚ ðɐn hɪz fˈɪlm pɜːsˈoʊnə, wɪð wˈɪtʃ hiː "mˈʌstɚz ˈoʊnli ɐn ˈʌŋktʃuːəs swˈiːtnəs".
Kehr suggested that Pryor's stage persona, more able to work off immediate audience feedback, worked better than his film persona, with which he "musters only an unctuous sweetness".