Word: sisterly
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Dates: during 1980-1989
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...hall and up the stairs in the course of a soiree. Above all, Baron von Rezzori was an obsessive hunter, whose profound and almost mystical relation with the woods and the etiquette of the chase would mark his son for life. Finally there were the beloved Other, his sister, dead at 21, and the Pomeranian governess, "Bunchy," who presided over the boy's home education as she had over his mother...
Chinks appeared in the White Knight's armor. McGuane and Crockett were divorced, and a nine-month marriage to actress Margot Kidder (Superman) came and went. In 1977 McGuane took a third trip to the altar, with Alabama-born Laurie Buffet, who is the sister of his friend country singer Jimmy Buffet. McGuane's reputation bottomed out in 1978 when he received a critical licking for Panama, a caustically humorous novel that limned the dark side of fame. The same year, actress Elizabeth Ashley threw fat on the media fire by sparing few details of her romance with McGuane...
...movie executive depicted in Mamet's Speed-the-Plow. Gould is called on the netherworld carpet for seduction and abandonment of a woman who, when summoned to testify, proves insufferable even to the great adversary. Mamet may mistrust all women -- his essay "True Stories of Bitches" featured his mother, sister and wife -- but this shrew is a giddyingly specific blend of utter unreason and serene self- righteousness. Still, her sins pointedly do not excuse Bobby's. Mamet may josh about the devil but plainly believes in evil -- and finds it entrenched in the heart...
...they achieve an emotional bond -- a standard for hospital melodrama -- but in reveries rather than everyday contact. The patient becomes a stand-in for the nurse's dead mother; the nurse is transformed into the patient's long-lost sister, then an estranged daughter. The little dramas of hospital routine thus become freighted with the burdens of decades. Trivial exchanges achieve the dimensions of catharsis. Puig deftly interweaves other themes, including the oppression of all women under Latin machismo and the extent to which South Americans may still defensively see theirs as a colonial culture...
Bancroft, playing a South American aristocrat, sounds more like South Brooklyn and about as aristocratic as a hash-house waitress. Alexander ably sketches differences among the dowager's airhead sister, mean daughter and timid nurse, but, as the last, lapses into a singsong that has become her trademark shorthand for innocence. Adding to the problem, Robert Allan Ackerman's archly formal staging emphasizes ritual over a sense of place. Still, the two women establish an ever shifting power dynamic. In the last fantasy, when they embrace fondly in an imagined courtyard, their warmth and urgency enable the audience to share...