Word: loved
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Dates: during 1970-1979
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...Carter is an enigma to many voters, he is nonetheless in many ways just the kind of President that could have been expected. While he inspires neither love nor hate, he is open, unassuming and accessible. He is willing to talk to people, and he listens to what they have to say. He is not ruthless or vindictive. If he does not forgive his enemies all their transgressions, he does not try to punish them either-a forbearance very few Presidents have shown. While others may have lost confidence in him, he appears to remain serenely confident in himself...
That night as she is in bed, making love rather absentmindedly to her live husband, an oaf who performs his marital duties like a man trying to park a bread van, the lecherous specter reappears to watch. The pharmacist can't see him, but Dona Flor can. Her consternation is splendid. As she rolls her eyes at him in anger and embarrassment, he sits cross-legged atop a large wardrobe chest beating time with his hands on his naked thighs and laughing like a demon...
...volatile hatred of her former husband. After all, she is a beautiful, hip woman in New York and there are many, many eager men on the prowl. She accepts it, after an intermittent period of abstination, and considers it an adventure. We watch her fall into lust, fall into love and yet bounce out of it all without dependence of the comfortable pattern of her former marriage. She comes through with a renewed sense of self-worth and an awareness of her own needs...
...that the company is on vacation, Havergal has found the time to direct at the Loeb, and to do a recent Regent's Lectureship on Drama at the University of California at Santa Barbara, where he lectured on theater management ("I love the Barnum and Bailey part of it all," he says), and conducted a directing workshop. "I was particularly keen to come here and work with students on a production," Havergal says, "because I haven't done any work with them since I left college [Oxford...
...with his servant Figaro's intended bride. In the first play the servant had an alliance with the master; here he plots against his master. That was a revolutionary thing to do in France in 1784. And the audience's attitude during the first play is that we love the Count as a young buck chasing after the girls, but he becomes a villain in the second half because of the same qualities that made him a hero in the first--only now he's married. The play ends with a pithy interchange on the nature of love and marriage...