Word: kates
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Dates: during 1970-1979
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...overage Hollywood monuments as its stars-Katharine Hepburn and John Wayne. Though they have been around the movie business for nearly half a century, the stars had never acted together before joining the cast of Rooster Cogburn. TIME Correspondent Leo Janos was on hand to watch Duke and Kate. His report...
...branch of the Communist Party as a teen-age worker in a textile plant, then climbed through a series of party posts. Closely allied with Nikita Khrushchev, she became Minister of Culture in 1960 and the most powerful woman in the Soviet Union. As Culture Minister, "Baba Katya" (Grannie Kate) sponsored an upsurge of artistic exchange with the West, but shifted after Patron Khrushchev's ouster to a policy of harsh repression (notably against Alexander Solzhenitsyn...
MICHAEL MARTORANO, as Deeley, holds up well through the skirmishes of the first act, succumbing as Anna woos Kate just before the curtain. But he crumbles early in the second act, just after he has dealt Anna a setback in their battle of mutual degradation. Deeley's heavy emphasis on second meanings and his lumbering, wounded desperation rob his words, his weapons, of the strength they had held in the first act. The veneer of civility, too, skillfully maintained in Act I, becomes a travesty earlier than it should...
...Eden Lee Murray, dominates the action through most of the last half of the play, with too much ease. Murray is particularly effective in her adroit modulation between pregnant verbal aggression and ostensibly pleasant urbanity. But the thoroughness with which she overcomes Deeley's attacks leaves us unprepared for Kate's final rejection of Anna...
...rather jarring effect of this rejection arises also from Bonnie Brewster's interesting but somewhat inconsistent interpretation of Kate. Pinter carefully prepares Kate's withdrawal from the tangled demands of her relationships, as the play unfolds. But Brewster's development of this side of Kate is hampered by an excess of vitality. Her surprising tenseness at the beginning of the play, while dramatically provocative, undercuts the numbed aloofness that is a necessary counter-balance to the prevailing tensions. Kate's shower in the second act cleanses her of the sordid jealousy displayed by the others, and leads...