Word: lear
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Dates: during 1980-1989
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...securities. Moreover, said the brokerage houses, they would manage the accounts so that customers would get large income tax deductions. Among the 88 investors enticed into laying out at least $600,000 apiece in cash and notes to one of the firms were Actor Sidney Poitier, Television Producer Norman Lear and Composer Henry Mancini...
Although unaware that they were claiming questionable deductions, the Sentinel customers benefited mightily from their investments. Lear, who created such TV hits as All in the Family, Good Times and The Jeffersons, deducted $1.8 million on his 1980 federal return. Poitier wrote off $657,184 the same year. The largest amount claimed by an individual, some $3.5 million, was taken by George Scharffenberger, chairman of City Investing, a New York-based financial concern. Said he: "There's still a trial to be held, and they deny the charges very vigorously. We'll have to wait...
Other customers, however, were shaken by the charges. Said Lear: "I was stunned to learn of the indictment. This investment was highly recommended by my financial advisers as part of ongoing investment and tax-planning activities. It was considered both good and proper and involved several prudent investors. I hope we weren't mistaken...
...Land (1975) and in the films The Heiress (1950) and Long Day's Journey into Night (1962), Richardson found his ideal role: as the haughty burgher whose tragic flaw lies in realizing too late that he is not quite a tragic figure. Though he never played Lear, the Shakespearean role that might have been written for him, Richardson found that doddering majesty as the politician in Storey's Early Days (1980). Wily but too innocent, flirting with senility, raging at the dying sun of empire, Sir Ralph painted an indelible image of a civilization's decline...
...economy out of necessity was clever and even provocative, but in the real world it appears cheap, lazy and negligent. Besides, we have seen most of it before in Sellars' past shows. The attempt at surreal miasma falls short of what he has done in productions such as King Lear, and too many techniques remain unexplained: on stage, for instance, the stage manager and light board at down left and down right. Why? Brechtian alienation? To indicate controlling forces like puppeteers? Sellars lets us neither know nor care...