Word: atkinsons
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...jockey when today's veteran best-Eddie Arcaro and Ted Atkinson-were wearing diapers. He raced to victory on horses with such names as Man o' War, Zev, Flying Ebony, Gallant Fox. and he won the Kentucky Derby three times, the Belmont Stakes five times. In a time of purses far smaller than today's, he brought home more than $3,000,000 worth. In the age of sport known as golden, Jockey Earl Sande was the best in his business...
...role of Gilbert Miller's production of Gigi, a sophisticated Gallic story of a 16-year-old French tomboy who dreams of bourgeois marriage while her female relatives train her to become a rich man's mistress. Next day the New York Times's Critic Brooks Atkinson wrote: "Miss Hepburn is the one fresh element in the performance. She is an actress; and, as Gigi, she develops a full-length character from artless gaucheries in the first act to a stirring emotional climax in the last scene. [She] is spontaneous, lucid and captivating." The rest...
...Guthrie, from London's Old Vic. Wrote Author Nicholas (The Cruel Sea) Monsarrat, a guest critic for the Ottawa Citizen: "You can rate [it] with . . . the Passion Play at Oberammergau or with the yearly season of plays at Stratford on Avon." The New York Times's Brooks Atkinson called the festival "a genuine contribution to Shakespeare...
...Shakespeare plain, you have to see him on a platform stage," said Brooks Atkinson, venerable drama critic of the venerable New York Times, last week after watching the production of seven Shakespearean plays at the Theater Festival of Ohio's Antioch College. The plays were all minor (e.g., Coriolanus, Troilus and Cressida, Timon of Athens), the actors were hardly more than adequate, the productions unfinished. But even so, the performances on Antioch's open-air platform stage were, in Atkinson's opinion, proof that "the sort of marshmallow Shakespeare represented by the Katharine Hepburn As You Like...
...Atkinson was not urging a return to the primitive conditions of the Globe Theater ("It would be sentimental buncombe not to use the advantages that have accrued to us"). But he insists that "it is the essence of Shakespeare that today fascinates audiences, who, for the first time, are getting through the polite surface of 19th century showmanship into the heart of the dramas." Convinced that the whole theory of the proscenium arch that has dominated the English-speaking stage since the Restoration is beginning to crumble, Atkinson urges that "not only Shakespeare but modern playwriting needs the poetic freedom...