Word: woolfe
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...bodies into the (increasingly expensive) seats on Broadway is to put big stars in old warhorses. And so this spring we've had Denzel Washington in Julius Caesar, Jessica Lange in The Glass Menagerie, Kathleen Turner in Who's Afraid of Virginia Woolf and James Earl Jones in On Golden Pond. But here's a refreshing surprise: this season's revivals have been outshone by an unusually rich supply of new plays and musicals...
State officials could take even tougher action if they decided to suspend Hutton's brokerage licenses. Connecticut has begun hearings on such a move. Hutton now manages $100 million in assets for 13,000 clients in that state. Hutton, declares Brian Woolf, the Connecticut banking commissioner, accepted a public trust but then "betrayed...
...humorous first act might be unexpected from a play by Albee (best known for his misanthropic work Who’s Afraid of Virginia Woolf? ), but the humor is never without an edge. When A querulously issues contradictory demands, prompting her nurse to comically scramble in exasperation, audience members are uncomfortably aware that their laughter is derived from an old woman’s senility. The thin line between humor and pain that Women treads is on full display at the end of Act One, when A delivers an anecdote about her husband that veers from amusing to uncomfortable...
Nichols' first movie, Who's Afraid of Virginia Woolf?, in 1966, a scrupulous transposition of Edward Albee's Tony-winning play about a rancorous married couple, raised temperatures, eyebrows and hackles throughout the film world. As Nichols recalls, "We weren't allowed to say 'Screw you' in Virginia Woolf. We had to take it out." His next film, The Graduate, in 1967, detailed the passive, loveless affair between a young man and his girlfriend's mother, and daringly mixed physical comedy with the most desperate romance. His boldest film was 1971's Carnal Knowledge, which traced 30 years...
...this is in Marber's 1997 play, which the film follows closely - nearly as faithfully as Nichols attended to "Virginia Woolf" (when, famously, only 18 words were added to the play script, and a few words taken out). "Mike said if I wanted to direct a film of it he would happily produce it," Marber told Tyrangiel. "Or if I didn't want to direct it, he would. He just wanted to be involved in the material." Then the two went over the play, scene by scene. "Mike and I discussed it, but it was more that we read...