Word: clive
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Dates: during 1920-1929
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...Clive Bell, distinguished English critic and pontiff of modernism, declares cubism is in decline. It has served its purpose of freeing art from conventional restraints, and is in danger of becoming itself a mere convention...
...been seen on the Copley stage, or perhaps any Boston stage, this season, His shy pride, his innocent reminiscing, have the assurance of the genuine "literary lion." The role is a difficult one, for it involves a double pose-but there, again, we are dangerously near the "truth." Mr. Clive has become a meticulous Boswell to this poet, and has taken on the very mannerisms of a Vietorian "social secretary." As his wife, Miss Belmore shows just enough motherly affection. Mr. Tearle and the young people are as Milne meant them to be, which is the right way. Miss Newcombe...
...approached by a wooden bridge from Dartmouth Street to the Box Office, presented "Pygmalion" last evening to an enthusiastic audience. There was a slight smell of fresh paint about everything except the performance, which gave promise of a brilliant season. Two of the principal roles were acted by Mr. Clive and Mr. Wingfield, who had done them almost as well before. Miss Willard played Eliza Dolittle with originality and grace. She was not able to make her flower-girl accent sufficiently distinct, except in the first scene, and this was perhaps the only serious flaw in her interpretation. Miss Willard...
...cast have "come across" with uncanny cleverness. Miss Willard as Dolly shows 100 percent improvement over her last year's powers. Each phrase and gesture counted; she was consistently trivial, consistently lovable, like Dulcy, in her ingenious sympathy for her friend and her naive discomfort over her bills. Mr. Clive was a bit slow in falling into the husband's character, but when he reached the famous quarrel scene he was at his best, and between them they held the audience laugh-bound with trivial turns of mood for a quarter of an hour. It was a satisfaction to have...
Much of the entertainment which the play affords is due to the high quality of its presentation. There are lines-not a few of them of whose Victorian conventionality one would be painfully aware were it not for the skill of rendering. Mr. Clive's curtain speech, "She sha'n't, she sha'n't, she sha'n't", at the end of Act Two is an excellent example. Without exception however, the cast rendered their parts well. Miss Cleveland was occasionally unconvincing and Mr. Turner's Romeo-like sobbing under the stress of grief was a bit absurd...