Word: woollcotts
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...persistent complaint of the dilettante: envy. Gaping at the writers headed for the Algonquin Round Table, she "longed to know such people, share their brilliance, know what they took to be important. She wondered if she could hold her own with Bob Sherwood and George Jean Nathan and Woollcott and Mencken, but she would probably never meet them...
...originals have taken the opposite position. Alexander Woollcott, twitted unmercifully by George S. Kaufman and Moss Hart as The Man Who Came to Dinner, played the title role onstage. Gerard Fairlie, who inspired Sapper's stolid Bulldog Drummond, went on to write seven further novels about himself after the death of the detective's creator. Still, most of those who find themselves appearing under other names have a tendency to seethe. The reason for their umbrage frequently has less to do with egos than with wallets. The model for the romantic doctor in W. Somerset Maugham's story The Happy...
...Strange Interlude ran for 4 1/2 hours and an impressive 426 performances; road companies packed the provinces for three seasons after its 1928 opening; the play brought O'Neill his third Pulitzer Prize, and sped him on to a Nobel in 1936. And still the jesters japed. Critic Alexander Woollcott, noting that one of the central characters was a gentleman of indeterminate sexual appetites, called Strange Interlude "a play in nine scenes and an epicene." Alfred Lunt, the doyen of Broadway actors, described it as "a six-day bisexual race." Lunt's wife Lynn Fontanne, who starred in the show...
...weekend Mr. Baker had me drive him to Dorset, Vt., where he was to judge a play competition between one-acters written by former pupils of his. The other judges were poet Alfred Kreyin borg and critic, wit and, in Baker's opinion, arch-poseur, Alexander Woollcott. Just as Mr. Baker had told me he would, Woollcott--even out in the sticks--insisted on holding the curtain 15 minutes, so he could make a dramatic appearance, swooping down the center aisle, complete with opera cloak and gold-topped walking stick...
...character only at the end of the first act. The lighting, by Vincent DiGabriele, is discrete, the set, by Tony Cooper, comfortable and prepossessing. But most important is Peter Boyden's admirable characterization, which he carries with a presence and manner that convey every nuance of the man. Woollcott would have been flattered...