Word: sirs
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Dates: during 1980-1989
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...author also mixes the actual with the fantastic when he concocts a cabal called "Penelope." Its conspirators are a strange admixture of the notorious and celebrated, including Perfumer François Côty, Sir Alan Paisley, Field Marshal Von Ribbentrop, third in the Nazi hierarchy, and Hugh Selwyn himself. Mauberley's assignment: to persuade Wallis to prop up the Duke as a figurehead who will "rule" a United Europe controlled by fascists from England and Germany. Ribbentrop dangles a glittering prize before the duchess: "Your Royal Highness perhaps does not understand that there are crowns that have never...
Williams finds a poignance in Garp which is appropriately reflected in the other characters as well. The hero becomes "Sir Scum" and creates frantic medieval battles for his sons on the front lawn. He is constantly staring at the kids in awe. "I will never write anything that lovely." Garp tells his wife Helen (Mary Beth Hurt) after tucking sons Duncan and Walt into bed. Helen provides a steady and more serious influence throughout, and Roberta Muldoon (John Lithgow), the tight end-turned-transsexual effectively becomes the best friend a Garp could ever have. Even the puzzling Jenny Fields (Glenn...
...publicity lately for his female role in the upcoming film Pearlie, but for originality, Lithgow scoops him. In a story about families overly concerned with their own self-preservation, it is Roberta--the social pariah--who is the most consistent source of spirit when danger arises. Roberta also plays "Sir Scum"; she hurdles shrubbery with Garp in a comic pursuit of reckless drivers, outpacing and protecting her friend. In the eerie feminist funeral for Garp's slain mother, where the protagonist must attend in drag, Roberta runs interference for Garp when he is unmasked. Roberta's is the first shoulder...
...play, conceived of and written largely by Auden, is a series of seemingly peripheral scenes and songs in the modern disjunctive genre, tenuously held together by the quest of Alan Norman (played by Mark Driscoll) and his dog for the missing Sir Francis Crewe (Paul Warner). The general of Pressan Ambo, the rural English town where the quest begins, explains the dog's disloyalty to all as if he were speaking of the play itself: "It's his mongrel blood, of course No loyalty, no proper feeling...
...Sir Francis Crewe makes an entrance, and we see the beginnings of the first real relationship for the hand-holding Alan Norman. The emotions Rauch creates with this interaction are probably not opposed to those intended by Auden and Isherwood. Unfortunately, however, the lack of personal understanding we have for Alan Norman's fall or for his relationship with Crewe stems not from the acting or the directing, but from the play itself...