Word: rigg
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Last spring in London, John Dexter directed Rex Harrison and, as the sisters, Diana Rigg and Rosemary Harris in a production so dazzlingly elegant that the final, abrupt catastrophe seemed a nightmare from which the descending curtain would deliver the audience. Now Harrison, a strangely serene fatalist of a patriarch, has come to Broadway in Anthony Page's more earthbound revival. These are not Olympians playing at mortal games but overage children playing blindman's buff as the apocalypse closes in on them. Still, they are Shaw's creatures, and in this splendid, savory play they...
...grip of mortality shortening every Olivier breath, each gesture can seem heroic, each line he utters a precious gift from the depleting stock of his time. But there are reasons beyond enlightened sentimentality to treasure this Lear. To support him Olivier has assembled an actors' aristocracy: Diana Rigg and Dorothy Tutin as Lear's treacherous daughters Regan and Goneril, Colin Blakely as the faithful Kent, John Hurt as Lear's Fool, Leo McKern as old Gloucester, David Threlfall (Smike in the R.S.C.'s Nicholas Nickleby) as Gloucester's loving son Edgar. Olivier has pruned...
...much to promote the works of the white-bearded comedic master as Rex Harrison. He starred in the 1941 film version of Major Barbara, then played Henry Higgins in My Fair Lady, the musical adaptation of Pygmalion. Now Harrison is again setting the Shavian standard, this time with Diana Rigg, 44, and a thoroughly splendid cast in a production of Heartbreak House, which opened triumphantly at the Haymarket Theater in London's West End last week. For his role as the 88-year-old Captain Shotover, Harrison, only 75, managed to age himself by growing...
MARRIED. Diana Rigg, 43, alluring British actress (Broadway's Jumpers and The Misanthrope) who also played TV's Emma Peel in The Avengers; and Archie Stirling, 40, Scottish businessman; both for the second time; in New York City...
Ruth has done a one-night stand with Wagner in a London hotel and develops a fierce unrequited crush on Milne. She is, it seems, a romantic manquée who cannot recoup in sex what she has lost in love. While Rigg delivers all of Ruth's crisp-edged lines with hilarious asperity the feminine vulnerability of the role eludes her until she hears that Milne ha been machine-gunned to death. Then she rages in grief, waving a newspaper and asking what page in it was worth that price...