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Only Alfred Drake, as Gaston's uncle, is an unalloyed delight though Agnes Moorehead as Gigi's worldly aunt is tartly amusing. As an inveterate and accomplished boulevardier with a mischievously saucy eye for maid or matron, Drake is a shameless charmer with voice that is pure gold. The score-much of it reprised from the film-is far and away the best part of the show. As for the negligible choreography, it seems rather like a course in ballroom deportment except for one cancan number, and anyone who can work up much excitement over the cancan...

Author: /time Magazine | Title: The Theater: For the Geritol Set | 11/26/1973 | See Source »

...show. Molly obviously hoped to capitalize on the large Jewish theatergoing audience in the New York area by offering that audience homey ethnic humor. While ethnic humor is indestructible, it goes through varying phases. The cozy gemütlich atmosphere that originally made Molly Goldberg a household charmer is simply not in the air we breathe now. The current vogue in Jewish humor is pinpointed in the astringent, highly self-conscious comic imagination of a Philip Roth. Better they should have made Portnoy's Complaint into a musical, though nostalgia...

Author: /time Magazine | Title: The Theater: Yoo-Hoo, Boo-Hoo | 11/19/1973 | See Source »

...reigning Agnellis are as dissimilar in style as an 850 Sport Spider and a 128 family sedan. The 51-year-old Gianni, jet-setting celebrity and voluble charmer, is characteristically energetic and impatient. By contrast, Umberto so detests partygoing that friends say his marriage to Antonella Piaggio, whose family makes Vespa motor scooters, broke up three years ago partly because of her active social life. To relax, Umberto spends weekends sailing off the Sardinian coast, where he keeps a home, often with Girl Friend Allegra Caracciolo di Castagneto, a first cousin of Gianni's wife...

Author: /time Magazine | Title: ITALY: The Other Agnelli | 2/5/1973 | See Source »

...devil, Edward Mulhare is an urbane charmer, and Paul Henreid's Commendatore and Agnes Moore-head's Dona Ana are all that could be asked. In the title role, Ricardo Montalban is superb, no libertine at all, but Shaw incarnate, with his puritan passion for exposing hypocrisy and cant. If all our minds are freer of the pollution of smug platitudes, it is because Shaw, with his Jovian laughter, helped to clear them. -T.E.Kalem

Author: /time Magazine | Title: The Theater: Classics Revisited | 1/29/1973 | See Source »

...Juan is a classic example, and the story, as Moliere tells it, is not substantially different from Mozart's Don Giovanni, though distinctly less glorious as a work of art. Don Juan is a great seducer, charmer, liar and baneful curse to his father (Bill Moor), but he is something of more disturbing grandeur than that. He is a rebel on the scale of Lucifer. He defies God by challenging the order of things, by being as great an amoralist as one presumes God to be a moralist. He scoffs at fidelity, truth and honor as the manacles...

Author: /time Magazine | Title: Theater: Vox Populi, Vox Dei | 12/25/1972 | See Source »

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