Word: woolfe
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Frankly, I'm getting a little tired of Nicole Kidman's nose. First she donned about 5 lbs. of proboscis prosthetics to more closely resemble Virginia Woolf in The Hours. Now she's learned to make it wrinkle and twinkle the way Elizabeth Montgomery did on Bewitched some 40 years ago. It's cute for a while, then wearisome...
...over America, Fool for Love (1983) was the stark tale of two people locked inside a shared obsession--and a spare anthology of modern theater. The moral claustrophobia of No Exit, the strange sibling bond of The Glass Menagerie, the guilty sustaining secret of Who's Afraid of Virginia Woolf? and the menacing silences of Harold Pinter all brooded under the skin of Sam Shepard's naturalism. So the film version, which Shepard wrote and stars in, should be an event and not a puzzlement. In "opening up" the play, Robert Altman has dissipated some of its caged-animal tension...
...since 1982) and a long list of awards and honorary posts, including a term as poetry consultant to the Library of Congress. It is not hard to imagine his audiences of college students and Anglophiles treating him as lesser nobility, a surviving link to the Bloomsbury group of Virginia Woolf and the Oxford gang of W.H. Auden, Cecil Day Lewis, Louis MacNeice and Spender himself...
When Alan Schneider died in London in 1984 as a result of injuries sustained in a traffic accident, the American theater lost a director who had staged the U.S. or world premieres of Samuel Beckett's Waiting for Godot and Endgame, Edward Albee's Who's Afraid of Virginia Woolf? and Tennessee Williams' Slapstick Tragedy. Schneider personified the central virtue, and failing, of serious American stage artists: he so prized his integrity that he generally disdained Broadway and mistrusted popular success. He spent most of his later years directing novices at regional or university theaters, rather than have to contend...
...works of dramatic writing. Schneider specifies some literate imbeciles who offhandedly dismissed the talents of Beckett, Harold Pinter and Eugene Ionesco. He recalls how Bert Lahr willfully misread Godot, trying to recast it as one of his old vaudeville routines. He depicts runaway egotism among the stars of Virginia Woolf, one conniving to get her husband hired in place of her leading man, another threatening to quit because everyone else in the cast was taller, and he therefore felt emasculated. And Schneider cites Williams as one among many admiring collaborators whose affections dissipated with the first negative review...