Word: adler
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Following a pattern she began in Hollywood in the 1930s. Hepburn is always one of the first on stage, works the hardest and the longest without a break, and is among the last to leave. "She's Man Mountain Dean," says Jerry Adler, production stage manager. "She leaves us younger folks for dead at the end of the day." When she's not in a scene, she perches on a staircase munching things-packets of meat and cheese and fruit she has brought from home-listening and watching the onstage action over and over...
...doubt, self-confidence, self-satisfaction and self-recollection. Previn has played a schmalzy Loewe to Lerner's Lerner. As for Hepburn's voice, Previn thinks she's got it. "There's been an enormous improvement just since I heard her last summer," he says. As Adler sees it, "She's like Rex Harrison, only she out-Rexes Rex: you never quite know when the singing stops and the talking begins." It's probably just as well; who else but Hepburn could make a rhyme of the first stanza of her opening song...
...example, two members of the gang, masquerading as the crew of an armored car, wheeled up to Schwegmann Bros. Grant supermarket, picked up $186,000 in cash, gave the manager a receipt and disappeared. Eight days later, burglars chopped through the roof of the Coleman E. Adler & Sons jewelry firm and dropped into the store to spend hours burning open the main vault with acetylene torches. They left with $1,000,000 worth of jewels...
Moving cautiously, Giarrusso charged the gang with only 26 burglaries-for a total of $19,000. But informers connected the police gang with more than 20 other jobs, including the armored car and Adler robberies and thefts in which guests at French Quarter hotels lost $300,000 in jewels and furs. One of the bandits' advantages, of course, was that they were so well equipped. They evidently used a police traffic-survey helicopter as an overhead lookout to scout escape routes. A warning was flashed by walkie-talkie to the thieves on the ground if any honest cops approached...
Grappling with Goethe. What they saw was a flawed masterpiece. Composers from Berlioz to Richard Adler and Jerry Ross have grappled with the Faust legend-the extent of their genius measurable by the magnitude of their failure. Boito, at least, approaches Goethe as an equal, his Prologue and Epilogue conjuring up infinities of space, time and the magnitude of Heaven...