Word: juliet
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Dates: during 2000-2009
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...wound up concentrating in English and picking up theater for the first time. (His official biography points out that he studied at Harvard at the same time as Natalie Portman ’03, as well as listing credits in student productions of Romeo and Juliet, Julius Caesar, Ba’al, Galileo, and readings of his own work.) During college, Sandvoss acquired an agent in New York and did some commercials while an undergrad. By graduation, he’d openly acknowledged his desire to act for a living, and eventually switched allegiances to Los Angeles...
...German, Spanish, Italian, French and Ethiopian blood in my veins" (his great-grandfather wedded the Princess of Ethiopia). He spoke six languages, and a few others of his own comic invention. With gifts too wide-ranging to be contained in one art form, he wrote hit plays (Romanoff and Juliet) and books of nonfiction and short stories. He could be an excellent film director (Billy Budd) and a serious Shakespearean (King Lear at Stratford, Ont.). He won Supporting Actor Oscars for Spartacus and Topkapi, and earned his greatest movie renown as Agatha Christie's Hercule Poirot, as in the film...
...Zeffirelli stuffed his cast with stars of varying aptness: Laurence Olivier rolling his eyes as Nicodemus, Rod Steiger spuming as Pilate, Ernest Borgnine in the John Wayne role. Olivia Hussey, less than a decade after Zeffirelli's "Romeo and Juliet," is Jesus' mother (another movie where the actors playing the son is older, here by seven years, than the actress playing his mother). Anne Bancroft is Magdalene - the casting director must have mixed up the two Marys...
...crudely putting exposition and argument in the mouths of its characters. The friendship between Father Xavier and Ghani is well rendered and has the ring of truth. Vatikiotis' writing style is polished and evocative, despite occasional patches of purple that could have been pruned. The novel's Romeo-and-Juliet subplot is sugary and painfully predictable, with lovemaking scenes that the judges of the Bad Sex in Fiction Award could take under consideration...
...through the streets, but that doesn’t mean it isn’t fascinating to watch the Jets and the Sharks physicalize their confidence and tension by leaping and twirling. Jerome Robbins’ choreography isn’t the only reason to watch this Romeo and Juliet update. There’s also a masterful set of songs here, written by Leonard Bernstein ’39 and a young Stephen Sondheim. This is one of the few musicals where each song is better than the one that came before it—and in a musical...