Word: hoydens
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...George Axelrod's play, and the movie he wrote in collaboration with Director Billy Wilder, concerns a middle-aged Manhattan husband who spends the summer in the city while his wife and son are enjoying the Maine breezes. Into his enforced celibacy comes the girl upstairs, an uninhibited hoyden from Denver who powerfully blends naiveté with sex-she dunks potato chips in champagne, begs for "more sugar" in her martini, artlessly boasts of posing in the nude, feels that it is all right to do "anything," with Ewell since there is no danger of his wanting to marry...
Despite its gallop, the case is excellent. Audrey Hepburn justifies her notices, playing Gigi with a vibrant warmth. With remarkable beauty and a purr in her voice, she is completely captivating as a spirited hoyden or a demure young lady...
...Pritchett calls him "the chameleon among contemporary novelists. Put him down in any environment or any class, rich, middling or poor, English, Irish or foreign, and he changes color and becomes whatever his subject is, from an English cook to an African delinquent, from a ten-year-old Irish hoyden to an English army wife or an evangelical lawyer. The assimilation is quick, delectable, sometimes profound. Many novelists have a wide range of characters, but it is often merely a range of conscientious guesses; Mr.Cary goes further and becomes the person...
...star: blonde Soprano Virginia Haskins, of Manhattan's City Opera. Wearing a Grecian gown slit nearly to the hip, she romped through the score with lyric grace, fine acting and plenty of thigh. Menotti's brassy Amelia, with the Met's Eleanor Steber, kept up the hoyden theme. Soprano Steber's rich, gusty voice was just right for the girl who has made up her mind to go to the dance, though Steber's acting proved to be more in the statuesque old Met tradition than in Central City's nimble one. The customers...
...Love's Last Shift.* Otherwise Vanbrugh wrote with small sense of purpose and merely to entertain. The play tells two barely contiguous stories: one-the frilly, mannered tale of Loveless' backsliding-is pure Restoration bawdry; the other-the lusty courtship of a panting, pent-up hoyden-is timeless low comedy. Morally, also, the play faces two ways. It seems utterly callous where Loveless sins with his wife's cousin and house guest; it seems all but Victorian when Loveless' wife not only resists seduction but reduces her would-be seducer to shame...