Word: peevishly
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...career with a dazzling portrait of a dowager, whom she plays both in full command of her gilded domain and at the breaking point of senile decay. Marian Seldes, who won a 1967 Tony Award in Albee's A Delicate Balance, has never been better as a protective but peevish nurse- companion in the first act and the dowager herself in the second, which is a fantasy conversation among embodiments of the same woman at three stages of life. Jordan Baker, who plays a young lawyer and then the dowager at a callow 26, looks gorgeous but hasn...
Dirty Dawg, with its thrusting rhythms and rich harmonies, flirts with -- but stops short of -- the gangsta rap misogyny of Snoop Doggy Dogg. Jordan Knight sounds more peevish than menacing when he sings, "I gave you all that I can/ Till I caught you swinging with another man/ But this time you strayed too far/ Now you come begging like...
...comparing one artwork with another -- namely, that there are differences of intensity, articulateness, radiance, between works of art; that some speak more convincingly than others; and that this is not a political matter. Fifteen minutes in any room of this sublime exhibition is enough to blow such stale and peevish trivia away. Matisse did much, at the beginning of this century, to dispel the mustiness of academic art. At its end, he may still do the same to the mingy products of end-game academic modernism...
Hypatia is engaged to Bentley "Bunny" Summerhays (Derek Smith), an upper-class fop who describes himself as "all brains, and no more body than is absolutely necessary." Derek Smith's humorous characterization of Bunny as a peevish, bespectacled cream-puff bears out this description. But, as Hypatia confides to her mother (Bronia Stefan Wheeler), she doesn't love him, and can't see how anyone could; she simply can't find anyone better. Besides, she adds, marrying for love is too risky. Mrs. Tarleton comments that finding a likable husband was easier for her because she grew up poor...
...Broadway last week mutes both of these satiric elements. The Rivetti brothers, as played by Jake Weber, in no way call to mind the U.S. style of mafiosi. And in the pivotal role of Jack, Brian Murray is a tower of Jell-O, reeking of insincerity from his entry, peevish rather than apocalyptic in uprooting family scandal. Director Lynne Meadow, who vastly improved on Ayckbourn's staging of his best play, Woman in Mind, here reduces a cry of outrage to an amiable snigger. The haunting final image, of the adolescent daughter frozen in narcotic guilt, becomes a mere echo...