Word: mame
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Equally important is the attitudinal change. The dictionary once defined a spinster as an unmarried woman above a certain age: 30. If you passed that milestone without a partner, your best hope was to be seen as an eccentric Auntie Mame; your worst fear was to grow old like Miss Havisham, locked in her cavernous mansion, bitter after being ditched at the altar. Not anymore. "We've ended the spinster era," says Philadelphia psychotherapist Diana Adile Kirschner, who has made single women a focus of her practice. "Women used to tell me about isolation, living alone, low level of activity...
...Like Patrick Dennis? Auntie Mame, Phyllis voraciously acquired acquaintances of all sorts and species, invited them into the salon that was her life, and made them feel at home. She adopted them, as Mame did her young nephew, and led them up the staircase of her indestructible optimism. My wife Mary and I were about 20 years younger than Phyllis, but she ran us ragged on our visits to California or hers to New York. She introduced us to a boat-load of celebrities whom she had known forever. We?re stargazers enough to have been dazzled to meet...
DIED. JEROME LAWRENCE, 88, writer and director, who co-authored 39 stage plays, including Auntie Mame, Inherit the Wind and The Night Thoreau Spent in Jail, with his late writing partner of almost 50 years, Robert E. Lee; in Malibu, Calif. Twelve of the duo's plays made it to Broadway. While serving in World War II, the two helped found the Armed Forces Radio Service...
...DIED. JEROME LAWRENCE, 88, co-author of dozens of plays including The Night Thoreau Spent in Jail and Auntie Mame; in Malibu, California. Lawrence and Robert E. Lee, his collaborator for more than 50 years, often used history as a vehicle for commentary on controversial current events. Inherit the Wind focused on the 1925 "Monkey Trial" of John Thomas Scopes, a teacher accused of teaching evolution, but it was really about intolerance in the McCarthy era. The 1955 play "was written because we were indignant, appalled at thought control in the mid-'50s," Lawrence told the Los Angeles Times...
...standard for the one-woman stage memoir, Arthur's look back at her career would be a lame specimen of the genre. Instead of a freestyle skate, Arthur settles for the compulsory short program: a once-over-lightly reprise of her hits from stage (Fiddler on the Roof, Mame) and TV (Maude, The Golden Girls); a funny anecdote about each of the famous people she's worked with (Lotte Lenya, Tallulah Bankhead); and stilted "extemporaneous" banter with her pianist, Billy Goldenberg. The audience leaves to the accompaniment of the theme song from Maude but learns virtually nothing about...