Word: stapletons
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...process his rival's cotton, but the rival supervisor, as hush money, beds the wife. The plot is rowdy Erskine Caldwell with a crueler edge: already, eleven years ago, Williams could make a smoking-car story constitute a criticism of life. Tremendously helpful to 27 Wagons is Maureen Stapleton's brilliantly funny and disturbingly lifelike portrait of the wife...
...Cowpeas & Sweet Potatoes. Walter George, the only son of Robert Theodric and Sarah Stapleton George, was born in a sun-blistered pine house in Webster County, where his father scratched the hard clay to bring forth thin crops of cotton, cowpeas and sweet potatoes. Young George's reading material was his grandfather's collection of the Congressional Record. Recalls George: "The congressional style was ponderous in those days, but I learned to like it." One day George rode into nearby Preston on the back of an elderly mule. The village belle saw the youth, laughed...
...Phoenix production was weakest toward the end, where the play itself is; and in the most crucial scenes, it pulled Chekhov down rather than kept him afloat. This was sometimes a matter of interpretation, but oftener one of acting. Maureen Stapleton's Masha came closest to an entirely right performance, while Montgomery Cliffs Kostya at the outset, and Judith Evelyn's Madame Arkadina pretty much throughout, also scored...
...wins high marks for theatricality and comic invention. Each of the five scenes is beautifully placed and paced. They are peopled with some fine original types, notably Mildred Dunnock as a tiptoeing mother who achieves a boozy sublimation after the death of her jet-propelled offspring (Muriel Berkson), Jean Stapleton, a triumphantly fun-loving barmaid, and Martita Reid, a Mexican dowager of sufficient force to faze even indomitable Actress Anderson. Director José Quintero has caught some memorable vignettes: a beach picnic, as airily languid as the colored soap bubbles blown by a Mexican girl, and a muddled wedding party...
...relatives sing, screech, and dance, they spend most of the time slumbering all over the stage like Mexican bookends. As the lusty Mrs. Lopez, however, Marita Reid creates a vivid character. Adding two more very modest virtues to the play are a brief and irrelevant comic bit by Jean Stapleton, as a vulgar waitress, and the rather intriguing perspective of Oliver Smith's oceanside...