Word: cowardly
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Dates: during 1950-1959
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...moment of truth for these characters sadly shatters the mythic mood of the play. When the bandit is revealed as a braggart, the samurai as a snuffling coward and his wife as a trollop, the Kanins' script, unlike the film, fumbles away the Swiftian savagery of Akutagawa for something close to farce. What Akutagawa intended as the subtle shadow play of appearance and reality becomes, in the wigmaker's summing up, little more than an optical illusion: "Truth is a firefly...
Lord Beaverbrook holds other grudges against Mountbatten. He blames him for planning the ill-starred World War II raid on Dieppe, in which 3,369 of Beaver-brook's fellow Canadians were casualties. But the feeling goes deeper. Noel Coward's wartime movie In Which We Serve was built around his friend Mountbatten's own heroism as commander of the destroyer Kelly. Beaverbrook blames Mountbatten for not getting Coward to delete a shot of drowning sailors, in which a copy of the Daily Express floats by, with its famed 1939 headline: THERE WILL BE NO WAR THIS...
...sassiest fancy talkers in the business. C. & C. give slick and witty readings to a selection of retreads -On a Slow Boat to China, You Came a Long Way from St. Louis-and introduce a punchy, potential hit named Calcutta. One of the most intriguing vocal entertainments since Noel Coward had his famous chat with Mary Martin...
...very first night that she appeared Downstairs this month, one of Tammy's fancier fans followed her cautiously into her dank basement dressing room and asked modestly, "Would you mind reading a script of mine?" The wraith maintained her poise in the face of Noel Coward, managed to say: "I'd like to." A couple of days later, after a ten-minute reading, the cleft-chinned Lorelei of the West Fifties was signed for the lead in Coward's new comedy, Look After Lulu, due to open in late February...
...came not to bury Coward. Thanks to speedy an sometimes very thoughtful direction by Duane Murner, who is also producer, the show moves rapidly and without any awkward pauses at all. This is no small accomplishment because there are some stretches in the script devoid of "wit," and, because the character are so transparent, there is little to hold interest in these long stretches. Quickly coming to mind, for instance, is a drunk scene in the second act, very lengthy indeed, that served only to aggravate the already parched throats of those in the crowd...