Word: genteelism
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...that in 1960 was selected as Broadway's best, Playwright Hellman returns to the Southern scene of her greatest triumph (The Little Foxes) and to the theme that has attached her deepest energies: the fateful antinomy of power and love. Her leading lady (Geraldine Page) is a gabby genteel old maid, one of those wispy little women who flutter through the literature of the South like a flock of steel butterflies. She lives in a rotting ancestral manse, she graciously permits her spinster sister (Wendy Hiller) to wait on her hand and foot, she justifies her gistless existence...
...love for each other who at the same time hate each other for their inherent differences. The theme is basically the "love-hatred" relationship described by Strindberg, who greatly influenced O'Neill at the time he was writing the play. The characters are O'Neill's parents: a genteel, sheltered girl and a worldly, yet uncouth Irish actor...
...three days London's genteel West End looked like a battlefield. Near Buckingham Palace, squads of police grappled with leather-jacketed toughs, while chauffeured Bentleys delicately inched their way through. Wild-eyed girls with straggly black hair and blue-jeaned boys with golden tresses were frog-walked into paddy wagons. Some 200 people were jailed. Taking advantage of the chaos, a six-man gang waylaid the Dowager Duchess of Northumberland, sped off in a white Jaguar with her jewels, worth $200,000. Most shocking of all, for the first time in her eleven-year reign, Queen Elizabeth...
...Mistress Quickly (now Pistol's wife), Betty Bendyk is too genteel and her accent is faulty. She does better doubling later as the French queen. Of the other French, Patrick Hines is authentically wild and insane as King Charles, but Douglas Watson's Dauphin is confusingly drawn. Josef Sommer's Montjoy is unusually well-spoken. Princess Katharine (Patricia Peardon) and her attendant Alice (Anne Draper) are delightful in their famous lesson and wooing scenes...
Schlamme's trained voice seems a bit too genteel to audiences accustomed to the guitar-bound school of folk singers-they tend to write her off as a lady Richard Dyer-Bennet. But in her Weill program, her emotional command over her audiences is unshakable. The nervous laughter that always greets such songs as Seerauber-Jenny and Barbara's Song dies in the throat under the weight of her sad eyes. "It's easy for me to feel like a rejected woman," she says, "and I think I can make it clear that...