Word: giraudoux
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...maintenance-of law and order "in the last resort," i.e., against the European terrorists of the S.A.O., who have already decreed Fouchet's death. A strapping, six-foot athlete with a cannonball serve in tennis and a fondness for quoting the plays of Jean (The Madwoman of Chaillot) Giraudoux, Fouchet has a reputation for plain speaking and personal honesty. He escaped when France fell, served as a Free French paratrooper. He has been a dedicated Gaullist ever since, worked for Le Grand Charles as propagandist, diplomat, watchdog in the National Assembly, and for the past eight months as chairman...
Vancouver, B.C., Queen Elizabeth Theater: The International Festival presents the North American premiere of Giraudoux's Men, Women and Angels, with Uta Hagen...
...built it into one of the country's most durable stock houses by the traditional method-milking Broadway cows turned out to pasture (this season: Under the Yum-Yum Tree, The Pleasure of His Company, etc.). But he has also mixed in Wilde, Williams, Sherwood, and Giraudoux, giving the Kennebunkport Playhouse a high reputation among actors, critics, and the sober side of his audiences. Performers are fond of returning there, including Tallulah Bankhead, Henry Morgan, Russell Nype, and Currier's own sister, Singer Jane Morgan...
...energy on his titles, had something left over for the plays themselves. Oh Dad, Poor Dad, described in undergraduate fashion by the playwright himself as "a pseudoclassical tragifarce in a bastard French tradition." shows influences in every scene-from strong, cynical gusts of Jean Anouilh, Marcel Ayme and Jean Giraudoux down to weak, cynical undertones of Elizabeth Taylor: "He's dead. Listen to me. I'm alive." It is a spoof of everything from waltzing toreadors to Tennessee Williams; and like the characters of Williams' The Rose Tattoo, Kopit's people are named with florid symbolism...
...affecting rendition in Agassiz under the direction of John D. Hancock '61--with laudable work in each of its four roles by Mary Graydon, Kathryn Humphreys '60, Joel Crothers '62, and Peter G. Gesell '61. There followed, under John C. Beck '60, an adequate if unexciting traversal of Giraudoux's Tiger at the Gates at Pi Eta. In the spring, Agassiz housed the group's intriguingly staged production of a poor dramatization of Voltaire's Candide. Back at Pi Eta, director Hancock had not sufficiently gelled his production of O'Casey's The Plough and the Stars by the opening...