Word: uta
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...tiny Uta-jima (Song Island) fish for octopus. The women dive in the numbing offshore waters for abalone. The islanders' lives are far from a song. But when they rise from the earthen floors of the dark, dank-smelling huts, they see the morning sun dancing on the sea, and stately clouds crossing the horizon "like ancient gods." Teen-age Shinji is content to follow this age-old pattern of a life both dangerously and harmoniously close to nature. When he prays in the garden of the Yashiro shrine, he asks, "God, let the seas be calm, the fish...
...slightly golden light, frivolity with a kind of silvery tinkle. He is neither too soft, too hard, nor too overbred: he will throw in a joyfully bad-mannered, sharp-tongued doctor, played with slapping gusto by Luther Adler, and in fine contrast to the superbly projected Natalia of Uta Hagen...
...front, as the seconds ticked toward curtain time, the first-night audience fell into a tense and unaccustomed hush. They liked Julie's nerve, but they feared her fate. They remembered, too, the Joans of Katharine Cornell (1936), of Ingrid Bergman (1946) and of Uta Hagen (1951). Could Julie top them? The auguries had been uncertain. "Joan of Arc was put into history," one critic had said grandly, "so that Julie Harris could play the part." However, the play had proved a flop in London with another Joan, and the table talk at Sardi's had it that...
...unharmonized play. In some degree it is unharmonized, perhaps, through being adult. The play raises a complex of questions; and even if it is not so old-fashioned as to try to answer them, it cannot altogether clothe and dramatize them, either. Playwright Funt tells of Grace Wilson (Uta Hagen), a divorced Manhattan career woman. Grace is gunning for a much bigger job at her advertising agency. She has an agency executive (Lee Bowman) for a lover, a 14-year-old son (Charles Taylor) who stumbles onto the love affair, and an ex-husband, a West Coast professor (Robert Preston...
...Language (by Edward Beloin & Henry Garson) boasts a fair enough idea: a posturing, on-the-skids Hollywood star (Uta Hagen) attempting a comeback in a Rome-made art movie. Unfortunately, the audience gets the idea all too soon, and thereafter gets it again & again & again, in louder, lengthier, ever less effective doses. The actress keeps putting on one kind of scene while the Italian director rehearses another, and there are yet other scenes with the husband Miss Hagen is supposed to have divorced but hasn...