Word: eberhardt
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Married. Claude Dauphin, 51, urbane French stage and screen actor (The Happy Time, Innocents in Paris); and Norma Eberhardt, 25, TV actress widely renowned for her unusual heterochromatic (one blue, one brown) eyes; he for the third time, she for the first; in Oakhurst...
...Isabella Eberhardt, who died in 1904 aged only 27, was born in Geneva, the illegitimate daughter of an illegitimate mother. Of Russo-Jewish stock, Isabelle had manly ambitions from childhood. Shortly after the family had settled in North Africa, her mother died. From that time, Isabelle's life was in the desert. She was accepted by the Arabs as a man, earned a reputation as a war correspondent, and became so knowledgeable that the great Marshal Lyautey (who was reputed to be her lover) said: "No one knows Africa as she does." Another eyewitness says...
That was Editor Nannen's story. What were the British going to do about it? Last week they opened the doors of Werl and liberated another war criminal, former Colonel General Eberhardt von Mackensen, whom they had sentenced to death only six years before. Mackensen had transmitted the orders to the SS for the infamous Ardeatine caves massacre of 335 Italian hostages. Mackensen's boss in Italy, Field Marshal Albert Kesselring, also sentenced to die for the Ardeatine massacre, were already out, released to secure medical treatment. So was Field Marshal Fritz Erich von Manstein, who drew...
...Eberhardt composes his lines so that everyone but Ransome speaks in precise uncontracted English. While the effect is slightly strained, I think it adds to the general effect. Most of the performers handle the conversation well, but Robert Brooks, who has a part both in the cocktail party and the flashback speaks as though he were reciting a Shakespearean soliloquy. The other actors especially Neil Powell as Ransome manage to hold their balance, although there were a few muffs in Wednesday's performance. Excellent direction by Jewanne Tufts and Frank Cassidy make the most of the dramatic transitions...
This suggests perhaps that the Poets need not wrap themselves in musty cloaks of symbolism and obscure verbiage to place their audiences since Eberhardt's social drama and Miss Lurie's fantacy were both successful for the Poet's' Theater and entertaining for its spectators...