Word: susannah
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Dates: during 1960-1969
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...from Acapulco. The Queen Mother Elizabeth had him round to lunch. Book shops positively blossomed with Sheridan Morley's new Coward biography, A Talent to Amuse. At London's Phoenix Theater, Princess Margaret and Tony joined everyone in singing "Happy Birthday." After which Richard Briers and Susannah York did the balcony scene from Private Lives (currently playing in Manhattan, amid great nostalgia and critical acclaim). Other Coward sketches and songs followed until, at 4 in the morning, the Chinese mask slipped once again. "Thank you all," said Coward, "for making this obviously the most moving theatrical moment...
Carrying a Corpse. Ironies like that are easy to manufacture, and Scenarists James Poe and Robert E. Thompson operate an assembly line. Ruby tunelessly chants The Best Things in Life Are Free, then crawls for the pennies people throw her way. A Harlow-eyed blonde (Susannah York) is in the contest not for the $1,500 prize, but for a chance to be seen by a movie talent scout who might elevate her to bearable unreality. When the marathon begins to drag, Rocky dresses the participants in track suits and has them race around the floor-an event that literally...
SATURDAY NIGHT AT THE MOVIES (NBC, 8:30-11 p.m.). Albert Finney, Susannah York, Hugh Griffith, Dame Edith Evans, Joan Greenwood and Diane Cilento in the many-Oscared film version of Henry Fielding's Tom Jones (1963). This romantic romp in 18th century England was directed by Tony Richardson...
...more readily accessible to the casual viewer's sensibility than the austere abstraction of, say, a Barnett Newman or an Ad Reinhardt. Its images, in fact, depend in part on instant recognition. Many of its subjects are the eternal themes of art-scrubbed, rubbed, varnished, stuffed and updated. Susannah and the Elders, an exercise in biblical voyeurism that has been painted by Tintoretto, Rubens and Rembrandt, becomes in Tom Wesselmann's rendition a pink plastic Great American Nude in her bathtub, with gallerygoers playing unreluctant elders. Those meticulous Dutch still lifes of fruits and game are reflected...
Treigle's great acting vitality, lithe movements and granitic voice make him supremely good at dramatizing evil. In Carlisle Floyd's Susannah he sang Reverend Blitch, a man of God who fell through lust into destruction; his Mephistopheles in Gounod's Faust is demon masquerading as man; to round off his demonic repertory, New York City Opera General Director Julius Rudel is toying with the idea of producing Berlioz's The Damnation of Faust (in which Treigle would play yet another Mephistopheles) and Busoni's Doktor Faust (in which Treigle would switch roles and appear...