Word: ruth
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Dates: during 1970-1979
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...Ruth Hubbard, professor of Biology, who teaches courses on women's issues, questioned the administration's policy of keeping the cases strictly confidential if a woman student wants to talk. Keeping the case under wraps, she argues, protects only the Faculty. "Enough students have been hurt because Faculty members have stood up for each other," Hubbard says. To protect students, Hubbard believes "publicity and expose" are most effective. Disciplinary action, although sometimes necessary, is not as important as publicizing the cases because "spotlighting will eliminate the vast majority of the cases," Hubbard says...
...magnet of the evening is Maggie Smith as Carson's wife Ruth. She seems to have slithered out of a Noel Coward comedy. Sophisticated, weary of it all, and restless, Ruth is given to brisk interior monologues, like "Help!" or "Watch it Tallulah!" Stoppard has given her a tasty collation of epigrams, and her delivery is succulent. Of her one-night London stand with Wagner, she notes that "hotel rooms constitute a separate moral universe." She develops a sensual fantasy crush on Milne and is heart-wrenchingly crushed when he is killed. Seductively comic, and amusingly seductive, Smith must...
...complicated, somewhat contrived, but quite a lot of fun, especially when Ruth tries to elicit some kind of emotional reaction from the impassive Tom--whom she loathes--by telling him of her desire to roll around in the grass at his feet wearing only her glasses. The mild-mannered vet, more concerned with cats than women, remains stoic...
...Follette, as Tom's would-be temptress and Norman's oft-eschewed wife Ruth, achieves a balance of incisiveness and insightfulness that makes her character whole and believable. Although she seems to seethe with an underlying intensity, La Follette at times stifles her portrayal, as she does in act two, scene one of "Round and Round the Garden," when she converses with Sarah so quietly that some of her words are lost to the back rows...
...Follette is sometimes too subdued, Jerauld is all too often not subtle enough. She plays the prim, proper and meddlesome Sarah with a repertoire of grandiose and stereotypical gestures and inflections. Except for her garden conversation with Ruth, most of Jerauld's performance is forced and contrived. Prum, on the other hand, turns in a controlled, clearly delineated and uniformly excellent portrayal of Sarah's husband...