Word: nestors
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Just as physicians were building a fire under FDA to speed approval of one new drug (see above], a doctor on the agency's own staff raked it over the coals for having approved too many drugs too fast. Pediatrician John O. Nestor, 50, joined FDA's New Drug Division two years ago because he thought it was underestimating the hazards to infants and children of drugs that might be safe enough for adults. Dr. Nestor was so disillusioned by what he saw of FDA's operations that last week he appeared before Senator Hubert Humphrey...
...Cressida. But what ho? There, on a camp stool, sat mighty Agamemnon, stroking his beard, smoking a ten-inch cigar, wearing the uniform of a Union general and looking for all the world like an actor dressed up to play Ulysses S. Grant. There too was doddering old Nestor, also wearing the blue, with binoculars around his neck. Menelaus wore pince-nez, and they all used the spittoon and the likker jug. The Trojan War had turned into the U.S. Civil War, and before the play was over, muskets banged, cannon boomed, and that old states-righter, Hector, lost...
William Larsen's Nestor is a tiresome Polonius gone even more senile. And Thayer David gives a masterly portrait of Ajax as a bloated, redfaced, blusterer who stammers over his plosives--all brawn and no brain...
...characters are played with more enterprise than others. Daniel Seltzer's independent, personable Ulysses, Robert Thurman's willowy, boyish Troilus, William Fitz-Hugh's dim-witted Ajax with his fatuous pride, Alvarez Bulos' slippery Pandarus with oily speech and manners, David Stone's manly Hector, Travis Linn's pious Nestor, Jean Weston's over-wrought, unkempt Cassandra--all have individuality in one degree or another...
...barrel and its milk of human kindness inside Pernod bottles, Irma La Douce endows its harmless story with a nice tingle of iniquity, even a certain mixture of sweetness and bite. Now and then the gags and goings-on go sour, or the story droops: Nestor-Oscar, for example, outwears its welcome. But under Peter Brook's brilliant direction, most of Irma moves remarkably fast, with the advisable speed of things outside the law and people on the lam-or it kicks its heels with Parisian verve and pertness. Marguerite Monnot's score has a gay street-music...