Word: york
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Dates: during 1970-1979
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...demise by recalling portraiture's vanished glories and suggesting its dubious status today. One is a retrospective of John Singer Sargent at the Detroit Institute of Arts. The other is a review of Andy Warhol's portraits, which opened last week at the Whitney Museum in New York City...
...know it at the time, about two years ago, when Kramer vs. Kramer scouts started looking at nonprofessionals to play the role of Billy, who is really the film's central character. They went to Justin's school in Rye, a suburb of New York City, to look around, and that night his principal called to say they wanted him to audition in Manhattan. "I wasn't so excited," he says, "but I went anyway. There were 200 of us in the first tryout. Mr. Benton called each of us in and asked questions like...
...more than just another gorgeous face. The typical Hollywood starlet may think that August Strindberg is a hot new agent, but Streep played Miss Julie at Vassar. Beginning her professional stage career in New York only four years ago, she conquered prized roles in Shakespeare (Measure for Measure, Henry V, The Taming of the Shrew), Chekhov (The Cherry Orchard) and Brecht-Weill (Happy End), as well as in works by Arthur Miller and Tennessee Williams. This repertory training came to Meryl because she was ready for it; her education went on in public, but critics and audiences did the learning...
...prettiest thing about Meryl in those days was her singing voice. A promising coloratura soprano, she began taking lessons in New York with Voice Coach Estelle Liebling. "The first opera I went to," recalls Meryl, "was Douglas Moore's The Wings of the Dove, with Beverly Sills. It was incredible to see her onstage. Until then, I thought she was just a nice lady who had the lesson before me." One morning Meryl got up, squashed her glasses underfoot, put peroxide and lemon juice on her hair and set out to be "the perfect Seventeen magazine knockout." Boys quickly...
Meryl had auditioned in New York occasionally while still at Yale. When she moved to the city, directors scrambled to use her. Her first professional appearance was at Lincoln Center in Joseph Papp's production of Trelawney of the Wells. Next she played in a program of two one-act plays and did the seemingly impossible: she became both a slovenly, bovine Southerner in Tennessee Williams' Twenty Seven Wagons Full of Cotton and a thin, sexy secretary in Arthur Miller's A Memory of Two Mondays. Says Director Arvin Brown: "The audience didn't realize that...