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...report this week's story (see Music). FOR his first TIME cover, Vienna Born Artist Henry Koerner whose life and works are well known to TIME-readers, went to a Boston theater and painted Julie Harris in six sittings in her dressing room between rehearsals for The Lark. At first he was "very scared," Koerner said. "But when I saw her, I knew she would be a very good subject." His final picture de lighted him. "It's the only job I've done I can be really proud of," said. "I had complete freedom...

Author: /time Magazine | Title: Publisher's Letter, Nov. 28, 1955 | 11/28/1955 | See Source »

Giant Abstraction. Julie would be the last to agree with the Barrymore boast -but the dare was exciting. Last week on Broadway she took it. She opened as Joan of Arc in Lillian Hellman's adaptation of The Lark from the French of Jean Anouilh. Her previous roles, no matter how complex, had kept within the limits of "colloquial drama." She had played people of life size in a theater of the norm, and she had only to cut herself to make her characters bleed. Joan, however, was not merely a human being, into whose feelings an actress...

Author: /time Magazine | Title: The Theater: A Fiery Particle | 11/28/1955 | See Source »

...Great Mountain. To Julie, this was Joan; but to Anouilh, Joan was "the lark" -a spirit of "unbodied joy" that sings down out of unseen height upon the desperate world and lifts the human heart up to its hope. Julie set grimly to work, 15 hours a day, to reconcile these opposites in her performance. At the first run-through she had such power that a critical audience of theatrical professionals was sobbing unashamedly at the final line. At the Boston opening the critics cried "tremendous," but one of them fairly noted that she was sometimes "a little childish." Under...

Author: /time Magazine | Title: The Theater: A Fiery Particle | 11/28/1955 | See Source »

...World technique is not confined to acting in The Lark. Jo Miclziner's light-settings provide a pervarding modernistic tone. Although the effects are flashy, they are never offensive. In lieu of sets, Mr. Mielziner may have as many as three clashing colors splashed on stage at one time, but he never distracts attention from the players. Leonard Bernstein's incidental choral music, of which much is modal, seems equally impressive...

Author: By Gavin R. W. scott, | Title: The Lark | 10/31/1955 | See Source »

...That was a nice day," Joan concludes, recalling the Dauphin's coronation. Inspired writing, acting, graphic art and music have been combined magnificently to make The Lark not only a nice, but a thoroughly refreshing day for the American theater...

Author: By Gavin R. W. scott, | Title: The Lark | 10/31/1955 | See Source »

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