Word: cordelia
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...final torment, Lear cradles the lifeless body of his heart's love, Cordelia, uttering the desolate fivefold "Never" over the daughter whom he will never see alive again. By that time, the odyssey of suffering is complete, and Cobb has elevated Lear's pain into a kingship of the spirit...
...Director Gerald Freedman. Philip Bosco's Kent is a beautifully modulated performance with a Gielgud-like delivery of the Shakespearean line. Rene Auberjonois as the Fool is a supple mime of wisdom and Stephen Elliott's Gloucester is a man of probity incarnate, woefully abused. Barbette Tweed's Cordelia is appropriately sweet and good; Patricia Elliott as Regan and Marilyn Lightstone as Goneril are properly serpentine. Only Stacy Keach disappoints, by failing into smirky stage-villain mannerisms as Gloucester's bastard son Edmund. His performance misses the point of Shakespeare's transcendent vision which makes earthly villainy pale before...
...guests with show-off fisticuffs, show-off opera arias, show-off opinions. Singer Tommy Steele as the young family butler does his frenetic best with body English and music-hall mugging to get things off dead center, and Lesley Ann Warren does her maidenly best as Daughter Cordelia having a romance with Angier Duke (John Davidson). But the only bright spots in this Philadelphia story are provided by the English elegance of Gladys Cooper and Greer Garson in their pre-World War I costumes, and the American elegance of a really dazzling collection of vintage cars...
This reasoning proved fallacious for Playwright Kyle Crichton, who had a 1956 Broadway flop with The Happiest Millionaire, which was based on the Philadelphia childhood reminiscences of Cordelia Drexel Biddle. The formula fails again in Walt Disney's movie musical. The main trouble this time is that Fred MacMurray's impersonation of Colonel Anthony J. Drexel Biddle is eccentric but not lovable. He is, in fact, a boor...
Christopher Lloyd supplied his own rigidity in tone and movement in the role of Albany. Cynthia Bebout's Cordelia and Laurence Hugo's Gloucester were competent but would have done well to listen to Carnovsky's use of his voice. Both maintained a clear resonant stage voice even when supposedly in the throes of despair and physical pain...