Word: nicoll
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Dates: during 1970-1979
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...also the most mesmeric anti-hero to grip the Anglo-American stage since Bill Maitland in John Osborne's Inadmissible Evidence. The irony is that such anti-heroes require heroic performances from the actors who play them. Nicol Williamson erupted volcanically in Inadmissible, and Alan Bates (TIME, Nov. 6) is a flood tide of brilliance in Butley. The two plays and the two characters have a good deal in common. One feels that if Maitland and Butley could harness their energy and alter the direction of their venomous wit, they could put their lives straight in no time...
Donald Pleasence, as an Israeli security operative, wants Bruce to inform on his friend. Bruce's fellow university students, who appear to be mixing archaeology with target practice in the desert, want him to use Raschid to ar range a palaver with the Arabs. Nicol Williamson, as one of Bruce's teachers, warns him of the dangers of involvement. Whether Williamson encourages his students' books-and-bullets curriculum or merely abides it is never clear...
...lipstick, Consuelo set aside some best dresses, and at 18, Luciana was shuttled from Rome to London to have her nose fixed (the working model was a cross between Vivien Leigh's and Consuelo's). Six months later, she changed her name as well by marrying Prince Nicoló Pignatelli Aragona Cortes; the union was "a disaster" from which she emerged, 15 years later, with two children, one title and "a shattered...
...English at their pleasures," observes an Irish Liverpudlian in The Reckoning. Sorrier still it is to see the dislocated Hibernians at theirs. For the ancients, there is the public house where they undergo the peculiar process Yeats called "withering into truth." For the film's protagonist, Michael Marler (Nicol Williamson), there is London pyramid climbing-ascending corporate strata by using the bow-and-scrape to superiors and the knee-in-groin against competitors...
...undoubtedly look back on the '50s, '60s and emerging 70s as a golden age of British acting. The mature actors-Olivier, Scofield, Gielgud, Richardson and Redgrave -ripened from talent to mastery to greatness. Like dynastic sires, they have inspired an exciting group of young successors-Albert Finney, Nicol Williamson, Ian McClellan, Tom Courtenay -actors less attuned to the niceties of craft, but ablaze with Elizabethan intensity. In Home, the U.S. debut of an extremely evocative new British playwright, David Storey, there is an opportunity to view a feat of artistry by Richardson and Gielgud that becomes legendary before...