Word: stratford-on-avon
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...Cenerentola. It was the beginning of the Zeffirelli style-the flamboyant baroque settings, the epic brio that could turn a war horse into a steeplechaser. Although triumphant in opera, he has been somewhat less successful on the dramatic stage. His incoherent Othello was throttled by reviewers at Stratford-on-Avon. After seeing Zeffirelli's Broadway production of The Lady of the Camellias, TIME's critic called him "a director who needs a director." Even the movie of Romeo and Juliet will not please everybody, since it clearly reflects Zeffirelli's idiosyncratic opinions of Shakespeare. "Mercutio," he insists...
SHAKESPEARE: SOUL OF AN AGE (NBC, 10-11 p.m.). A repeat of the highly acclaimed 1962 special in which Ralph Richardson narrates the story of Shakespeare's life, illustrated by visits to Stratford-on-Avon and other pertinent sites, while Michael Redgrave and other leading British actors read from the plays...
...STRATFORD-ON-AVON--"More and more light," sagely noted Shakespeare, commenting on the new CRIMSON telephone book. "It tell a lie--why, spit in my face, call me horse," the poet continued. Encouraged by the Bard's response, the CRIMSON bravely offers a Free Subscription to the first person to spot all 208 errors in the book. The new expanded edition is on sale now in all House dining halls and at the CRIMSON Building, 14 Plympton St. $1, cash...
Single & Happy. Perhaps influenced by the fact that she was born only seven miles from Stratford-on-Avon, Miss Hewitt was stage-struck all her life, but considered herself too plain-looking for acting. "She looked like Churchill," said an old friend, "and when she got mad, like Queen Mary." Quitting the theatrical fringe of London in 1892, Miss Hewitt sailed for America to tutor the children of a Tuxedo Park family and then to teach small groups of children who met in socialite New York apartments. She started Miss Hewitt's Classes in 1920, backed by loans (soon...
Finney has two seasons at Stratford-on-Avon already behind him. As Olivier's understudy there, he went into Coriolanus when Sir Laurence went out with a slipped knee cartilage, carried off the part with a brilliant blend of boisterousness and truculence. Since then, he has been a wild Teddy Boy in The Lily White Boys, a suitably complex Oedipus in a BBC production of Jean Cocteau's The Infernal Machine, and a robust and lyric Romeo in a Caedmon recording of Romeo and Juliet (with Claire Bloom), scheduled for U.S. release soon. But throughout Britain...