Word: tanners
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Dates: during 1950-1959
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...Radcliffe seniors were elected to the Radcliffe chapter of Phi Beta Kappa: Rowena M. Green, of Madison, Wisc., a concentrator in Biology; Gall W. Lapidus, of Brooklyn, N.Y., Government; Anne G. Tanner, of Baton Rouge, La., Social Relation; Barbara L. Talamo, of Washington, D.C., Biochemistry; Lise A. Vogel, of New York City, Mathematics; and Phyllis Williamson, of Providence, R.I., History and Literature...
...word, according to Shaw, Don Juan is a proto-revolutionary, and so his Shavian descendant John Tanner is portrayed as a social agitator and the author of The Revolutionist's Handbook and Pocket Companion, which Shaw thoughtfully appends to the published edition of the play. In his own person, Tanner enunciates Shavian doctrine on such sublunary matters as sex, social convention, and moral passion. As Don Juan in the hell scene he discourses with equal brilliance on the Life Force, the nature of Nature, and the whole duty of man, arguing against the Devil's hedonistic creed of "love...
Awake and dreaming, Tanner-Don Juan is one of the greatest comic roles in the modern theatre. Its difficulty is compounded by the fact that though Tanner is the hero of the play and Don Juan its most eloquent spokesman, both of them, Tanner especially, serve also as satiric butts. Tanner may preach the Life Force, but the pursuing woman embodies the Life Force, which sweeps the protesting Tanner into her arms "as a sailor throws a scrap of fish into the mouth of a seabird...
Barry Morse plays Tanner at Wellesley with all the elegant arts of a skilled high-comic actor. It is a brilliant, slick performance, full of gaiety and verve and a fast-talking grace reminiscent of Noel Coward. Mr. Morse is admirable as the quarry of the love-chase, the baffled and laughed-at talker, but there is more to the character than the excitable little man he gives us. The "Olympian majesty" specified by Shaw is missing; Tanner's magnificent brashness becomes mere cheek. Mr. Morse can lay down doctrine with considerable brio, but his John Tanner never seems committed...
...determined Ann Whitefield, who forces Jack Tanner to his knees and her arms, Rosemary Harris makes a delicious seductress, ensnaring her prey with a wonderfully cool, crafty grace. In his stage directions Shaw calls Ann "one of the vital geniuses," and Tanner says, referring to her, "Vitality in a woman is a blind fury of creation." Miss Harris' Ann completely fails to live up to these prescriptions, even during the hell scene when her tempting activities are temporarily in abeyance; but perhaps there is nothing in the lines given her that can be so acted. At any rate, she makes...