Word: lincolnization
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Dates: during 1960-1969
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KING LEAR. In the finest performance of his career. Lee J. Cobb plays an almost unplayable role with consummate skill, in fusing his portrayal of the foolish, suffering old man with an all-involving humanity. Director Gerald Freedman elicits beautifully modulated acting from the Lincoln Center Repertory Company...
...your very perceptive Essay, "The Difficult Art of Losing," you overlooked perhaps the sweetest sour grape ever uttered: On March 9, 1832, Abraham Lincoln said, "If the good people, in their wisdom, shall see fit to keep me in the background, I have been too familiar with disappointments to be very much chagrined...
...authorizes up to $900,000 for the expenses of the changeover and allows the President to make available extensive facilities, including office space, for his successor's advance party. Johnson went beyond the letter of the law by letting Nixon use his new, heavily armored, $175,000 Lincoln limousine, though he has yet to try it out himself...
...revival of King Lear that is by far the best work that the Lincoln Center Repertory Theater has ever offered, Lee J. Cobb gives the finest performance of a lengthy and distinguished acting career. A graduate of the militantly proletarian Group Theater of the late '30s, he was the quintessential Willy Loman in Broadway's first production of Death of a Salesman. Conventionally cast as a Hollywood heavy in many of his countless films (among them: Thieves' Highway, On the Waterfront), he almost invariably brought glimmerings of insight to even the most routine parts...
Quite apart from Cobb's impressive achievement, the Lincoln Center King Lear is distinguished by a supporting cast that truly supports. A rarity in the past, the players' acting rapport is a tribute to the skill of Director Gerald Freedman. Philip Bosco's Kent is a beautifully modulated performance with a Gielgud-like delivery of the Shakespearean line. Rene Auberjonois as the Fool is a supple mime of wisdom and Stephen Elliott's Gloucester is a man of probity incarnate, woefully abused. Barbette Tweed's Cordelia is appropriately sweet and good; Patricia Elliott as Regan and Marilyn Lightstone as Goneril...