Word: richelieu
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...believably evil in "The Hand That Rocks the Cradle," for some reason makes us feel like we are watching her rehearse her "Musketeer" lines for the first time (and may be we are!). As she holds a knife in her hand at waist height, she melodramatically purrs to Richelieu, "With a flick of my wrist I could change your religion." And we don't laugh. Poor Rebecca...
...tastes became more refined, sensuous dining did the trick. Richelieu (the 18th century duke, not, thank heaven, the Cardinal) gave elegant little suppers for his friends and their mistresses, all of whom dined in the buff. Madame de Pompadour got interesting results with truffles. Brillat-Savarin, the French jurist and gastronome, found that the truffle "makes women more amiable and men more amorous." Rabelais, on the other hand, got his kicks from marzipan...
...offer from Lyndon Johnson to run the space program, which Hesburgh declined, commenting that a priest with poverty vows should not be running a $6 billion agency. He also rejected a Nixon proposal to head up the poverty program. "I never wanted to be a sort of Cardinal Richelieu," he commented of these Government offers. However, he has sat as chairman of the Rockefeller Foundation and as a board member of the Chase Manhattan Bank. And his deep feelings against racism led him to serve as chairman of Nixon's Civil Rights Commission until his political independence led Nixon...
While at Harvard, Howard has performed in three ART productions: "Sweet Table At The Richelieu," "Alcestis" and "End of The World With Symposium To Follow." The latter play is Howard's most demanding role, he says. The actor's character, Michael Trent, is featured in every scene of the two-hour drama, where he teeters on the brink of a nervous breakdown. Both "Sweet Table" and "End of The World" are currently playing...
...faults aside, the A.R.T. should be proud of this production and proud also that their season of six shows includes three by living American playwrights. Sweet Table at the Richelieu is a surreal tea-time, a peculiar mediation on memory and decay that owes as much to Milan Kundera as it does to Chekhov. It is not quite the "penetrating tale of nobility and charlatanism... guaranteed to keep you engrossed, hypnotised--and dazzled by rich language and seductive images" that the A.R.T. brochure touts. It is, however, a generally intelligent skillful, and well-written piece of theater, and that...