Word: witness
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Dates: during 1980-1989
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...drawbacks in the Winthrop production of The Real Thing lie primarily with the script, a script which ironically won a Tony Award in 1982 when it hit New York. Though the play is contemporary and fast-paced, Stoppard relies too much on his wit and hardly carries his play beyond a well-ornamented series of love triangles. It may be thought-provoking, but with characters who scare each other with the first sound they make, it cannot be moving...
...first scene establishes the play's mood of underlying despair and over-hanging wit. Max accuses his wife Charlotte of infidelity, disputing her claim that she has just returned from a Geneva art auction. Due to Stoppard's cunning, his ambiguous lines refer to either her new lover or her trip. "How's old Geneva then? Frank doing well?" "What?" Charlotte asks. "The Swiss Franc. Is it doing well?" They refuse to address the crisis at hand. Instead, Max digresses on apparently far-out topics which actually parallel the scene's conflict, a technique Stoppard uses and overuses later...
...very vivacious, we liked him a greatdeal--he had a lot of wit about him," said Lewitt."The fact that he could combine playfulness withhis work at the lab made him a valuable part ofthe team...
...pious daughters of a visionary preacher. While he lives, they sacrifice their lives to his faintly absurd beliefs. After he dies, they devote themselves to his memory by keeping his dwindling, aging, increasingly fractious flock together. Their story, stretching over many years, is told with deft economy and quiet wit by Writer-Director Gabriel Axel, who builds an uncannily rich texture out of the simplest materials. Still, the viewer muses, this picture is called Babette's Feast. Where is Babette? Where is her feast...
...shut down the U.S. offices of the Palestine Liberation Organization. He won't tell us his plans for future TIME Essays . . . oops! articles, but we are braced for angry letters from just about anybody. We know what it is like to be on the receiving end of his wit. In a "TRB" column three years ago, Kinsley divided the number of words in TIME by the number of word journalists on our masthead. "That works out to slightly over 100 words a week per journalist," he wrote, explaining that the staff generates and then digests vast amounts of reporting, most...