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...Darcy Pulliam pleasantly surprised this reviewer in her role as Lady Windermere. Though her first act work was somewhat stiffer and more wooden than hoped for from this Loeb veteran, she redeemed her rather shaky start thenceforth...

Author: By David Blomquist, | Title: Propriety for the Prim and Proper | 8/17/1973 | See Source »

...Darcy Pulliam's Tessa and Kathryn Karrassik's Gianetta Are full-voiced and saucy young wives. Pulliam handles each line with a timing that's fine, Dropping each so the greatest mirth thrives...

Author: By Deborah A. Coleman, | Title: For Venice and Rhyme, A Magnificent Time | 4/28/1973 | See Source »

...inadequacies of Night School, however, are the fault of Pinter, not of the Loeb's cast, which is largely distinguished. Cynthia Whitman, playing the ambiguous character of Sally, is a standout, as are Katherine Wenger and Darcy Pulliam, the two doting aunts who together have some of the funniest lines in all of Pinter's works...

Author: By Merrick Garland, | Title: Pinter in Progression | 3/8/1973 | See Source »

...David Gullette's swaggering Captain seems too much a continental officer to have to resort to such declasse words as "bullshit." But on his own time Gallette never falters and strikes matches with such extraordinary virtuosity it is surprising he has such a difficult time with his cigar. Darcy Pulliam does nearly as well as Alice and perhaps it was only an echo from the medieval decor that gave some of her speeches the worn and familiar tone of Hollywood Tudor melodrama. At times also Martin Andrucki was more awkward and wooden than the Kurt he portrayed...

Author: By Whit Stillman, | Title: Marriage on the Rocks | 2/12/1972 | See Source »

...Darcy Pulliam (as Emilia) has an especially well-reigned sense of the power of servants in Shakespearean plays. With much of Iago's ability for skillful management of others (but with none of his strange twist of heart) she soothes Desdemona and chaperones her to bed with the kind of understated stage-presence that suggests a well-concealed understanding of how her mistress is to be handled. And Marie Kohler's Desdemona is more dutifully opposed than passively resigned to Othello's creeping suspicion--a refreshing variation on the usually-wilting Desdemona...

Author: By Bill Beckett, | Title: Othello | 11/13/1971 | See Source »

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