Word: ibsens
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Idler's best efforts were its two 1951-52 productions: Ibsen's A Doll's House and Clare Booth Luce's The Women. But Idler was destined to inhabit the level of mediocrity: it rarely produced a poor show, but it never produced a really excellent...
...intercontinental fun and games; his father, the Aga Khan, sternly opposed another movie-actress marriage after Aly's divorce from Rita Hayworth. With her need for stability unmet. Gene's anxiety grew worse. In New York she walked out on a TV commitment to play Nora in Ibsen's A Doll's House, the part of a woman squashed by the strictures of society and an overbearing husband. The anxiety had reached the point of making her really sick, soon led to a critical emotional breakdown...
...picture-lined office, he made a remarkable confession: "I'm just beginning to grow up, to get maturity. In the last few years. everything I'd done up to 60 or so has seemed very childish." Reminded of a youthfully immature shaft at Chekhov ("I like my Ibsen straight"). Eliot grinned: "That doesn't make sense to me now." As for the once admired A.E. Housman. he now dismisses him as a youthful "phase" but still approvingly quotes the couplet Housman wrote in his sleep...
...music, third year Greek, history and theory of music, movie production. Extracurricular activities: recording sessions, rehearsals for his limp but likable TV show, ukulele concerts for his wife-who is his own age-and four daughters. He averaged six hours of sleep a night while working at Columbia, studied Ibsen on transcontinental flights, still managed to look buttercup-fresh in two movies made last year (he was Hollywood's third biggest dollar draw). Singer-Scholar Boone racked up an A-minus average, missed Phi Beta Kappa only because he took too many technical courses...
...Temperamentally, the pair usurp each other's sex roles. Toni is sensitive, day-dreamy, putty-willed. An internee, he longs to escape to Britain, but rarely makes a real move to get there. Swiss Catherine is the fully emancipated "New Woman" who was born in the inkwells of Ibsen and Shaw. She is a self-possessed, self-sufficient artist; it takes a critical panning of her paintings to make her cry. Catherine takes Toni's love as one of her rights, and he diffidently accepts her favors as an unhoped-for privilege...