Word: raged
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Dates: during 1950-1959
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With nuns all the rage this season, Playhouse 90's Four Women in Black put Helen Hayes through some listless paces as a saintly pioneer in Arizona, but she was largely overborne by Apaches, mesas of filmed cacti and a soporific script. On G.E. Theater's The Bitter Choice, Anne Baxter was hopelessly involved-and tearily terrible-as an Army nurse whose deliberate anger was supposed to scalpel through a G.I.'s shell of apathy. As Social Lioness Dolly Madison trying to make a Washington comeback, a bespectacled and bewigged Bette Davis had her moments on Ford...
...subtle nor wise nor delicate nor beautiful nor revealing. It is both entertaining (because it is full of sex), and moving (because it is full of people). The people are not real, but they are infuriating. By the end of the story you are likely to be in a rage--perhaps at Miss Bingham, possibly at yourself, probably at the characters. But something will have happened, and that, for me, distinguishes her work from the rest of the issue. Perhaps I like it because she writes about Cambridge and uses the old familiar techniques with punctuation and grammar and "realistic...
...their parents to the Mayor. And Public Opinion is feeling confused, because it too likes to feel liberal, and is all for academic freedom and dislikes the nasty word "censorship." But the Public considers a Communist off-limits for liberalism; Mill did not know any Communists. So the students rage and the Public turns the other cheek, and the college deans reluctantly earn their city paychecks by kissing the right side of the Public cheek...
...town, a fellow-model persuades her to accompany her on a little "trip." She is seduced by a high-ranking Fascist official who loves her but is married. Overcome, with guilt, she shortly finds out that her supposed fiance is likewise married and in mixed guilt and rage, takes the easiest course. At length our fair heroine falls in love with a customer, a well-educated anti-Fascist and she is to bear him a child. This affair ends in bleak and bloody despair. She wanders off into the darkness, saying that she will devote her life to her child...
Until the final departure of Serebriakov and Elena, the one real act in the play is Uncle Vanya's overflow of rage at Serebriakov because the overweeningly self-assertive professor has stifled his life. Vanya shoots Serebriakov twice, once on stage at close range. He misses. Thus the tensions between the principals, their coordinated emotions, and their interdependent sadness are vital. And this is a dimension of Chekhov that the Adams actors rarely create...