Word: dears
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Dates: during 1950-1959
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...reason for its choice-that "the worldwide Anglican Communion [is] the exemplary ecumenical church"-is not wholly convincing. If what TIME means is that the Anglican Communion embraces extremes in doctrine, polity and politics, that is a fact . . . On the other hand, if TIME is echoing the claim, so dear to many Anglicans, that the Anglican Communion has a providentially destined role as the focal point of Christian Unity-a "bridge-church" which shall ultimately unite traditional Catholicism, whether Roman or Eastern, and the varieties of Protestantism-this whole contention requires "existential" scrutiny...
Tasteless and labored, Dear Charles has just enough helpful lines and situations to serve Tallulah as a vehicle. If never the least bit Parisian, she is frequently lively. There are those sudden moments when her voice comes up like thunder, or she freezes with raffish hauteur, or has the charm of something caged and carnivorous. There are doubtless nobler ways of being unmistakable and unforgettable, but in a world where few people ever manage to be either, Actress Bankhead remain almost incessantly both...
...Dear Charles (adapted by Alan Melville from a comedy by Marc-Gilbert Sauvajon and Frederick Jackson) brougt Tallulah Bankhead back to Broadway after five years-and itself back after ten. A 1944 flop called Slightly Scandalous, was adapted into a Paris hit, then (as Dear Charles) into a London...
...Dear Charles (by Marc-Gilbert Sauva-jon and Frederick Jackson, adapted by Alan Melville), starring Tallulah Bankhead, a "comedy which proves conclusively that good manners are good morals," opens in mid-September. A British play imported by Producers Richard Aldrich and Richard Myers, the show tried out with some success on the straw-hat circuits this summer...
...Dear Phoebe (Fri. 9:30 p.m., NBCTV) has Peter Lawford pretending to be the editor of an advice-to-the-lovelorn column. Most viewers can take it from there, as the expected foils march onstage in the expected order. There is the fiery girl reporter (Marcia Henderson), who "meets cute" with Lawford as both try to enter the same swinging door; the hardboiled, conscienceless managing editor (Charles Lane); the brash but dumb copy boy (Joe Corey). Faced with all these predictable characters and situations, Lawford still manages to infuse some wit and awareness into the stereotyped proceedings. But what little...