Word: lilliane
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...probably got a bigger box-office boost by losing than by joining the 16 prizewinners. Bed & Booze. The jurors, though, were loudly upset. "Farce," cried Critic John Mason Brown. "We've had enough," said Yale Drama Professor J. W. Gassner, who recalled that when he and Brown recommended Lillian Hellman's Toys in the Attic in 1960, it was jettisoned for the musical Fiorello! Both jurors quit. Apparently, the play's preoccupation with bed and booze proved too much for some of the 14 Advisory Board members. "I thought it was a filthy play," said Chicago Tribune...
Uncle Sam stands to become principal beneficiary of a $43,954,062 estate left by Mrs. Lillian Timken, widow of a co-founder of the Timken Roller Bearing Co. Sequestered among art treasures in her Fifth Avenue apartment until she died in 1959 at the age of 78, the wealthy recluse gave her paintings (among them a Goya, two Rembrandts, two Titians and a Rubens) to three U.S. museums, intended her principal assets (stocks and bonds) for her heirs. But she failed to set up the proper trusts and other tax-reducing gimmicks, and so an appraisal filed in Manhattan...
...True to Be Good, by George Bernard Shaw. This gallimaufry of tired Shavianisms on the religious temper, the military mind, and the desperate plight of the idle rich is a theatrical sleeping pill. A full cast of stars-Glynis Johns, Robert Preston, David Wayne, Cyril Ritchard, Eileen Heckart, Lillian Gish, Cedric Hardwicke, Ray Middleton-try to wake the play...
...True to Be Good, by George Bernard Shaw, is substandard G.B.S., full of mildewed seventyish garrulities on religion, militarism and the idle rich. A full cast of stars-Glynis Johns, Robert Preston, David Wayne, Cyril Ritchard, Eileen Heckart, Lillian Gish, Cedric Hardwicke, Ray Middleton-rushes about filling the dramatic vacuum...
...satirist, Lillian Hellman can still be cuttingly observant despite the familiarity of her targets, but she lacks the moral suasion of satire that comes from being half in love with what one loathes, cherishing the sinner while hating the sin. Her transparent disgust with her characters and all their works is contagious. Technically, she borrows from Edward Albee and the theater of the absurd, but the wobbly tone of her play shows that craft will not close a gap between generations. Lillian Hellman is still an arrested child of the '30s, and of its idée fixe that...