Word: celia
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...been saying, I think, that every minute is a fresh beginning, and Julia, that life is only keeping on; and somehow, the two ideas seem to fit together." The two halves of this perspective show in the contrast between the lives of Edward and Lavinia Chamberlayne and that of Celia Coplestone. The play both begins and ends with one of the Chamberlayne's cocktail parties; they represent the decision to struggle on with the drab existence of whiskey and potato crisps. Celia is absent from the second party; unable to accept the constraints of such a life, she has left...
...mortal Chamberlaynes display stunning lack of personality without becoming caricatures. King is particularly apt in capturing a half-tipsy and harassed post-party mood during his early scenes. Licia Hurst has more trouble with the difficult role of Celia: she is the one character severely handicapped by her English accent and many of her monologues drag. Alexander Kafka, generally an appealing Peter, takes the character's confusion to an extreme: not only is Peter upset most of the time he's on stage, but one finds it difficult to imagine him ever calm...
...physical authority and voice really hold the stage. As Catherine, Pippins's final love. Susan Power conveys warms and sincerity, and on the opposite end of the scale. Ann Henry's Fastrada captures well the brashly devious and comic nature of her role Mark Morland (as Lewis) and Celia Jaffe (as Berthe, Pippin's aunt) are also very funny, and all the Players perform effectively...
...DIED. Celia Johnson, 73, refined British actress, best remembered for her role as the respectable suburban matron in love with Trevor Howard in Brief Encounter (1946); of a stroke; in Nettlebed, Oxfordshire. A veteran of the English stage since 1928, Johnson endeared herself to U.S. audiences through such films, besides Brief Encounter, as In Which We Serve (1942), This Happy Breed (1947) and Captain's Paradise (1953), in which she embodied the quintessential Englishwoman, mature and intelligent. Last year she was made a Dame of the British Empire...
...women, Cherry Jones's Rosalind clearly deserves her position as Shakespeare's ringmaster. The most commanding of the performers, she plays woman or man with equal ardor, courtly fixture or cottager with equal ease. Karen MacDonald's Celia matches Jones movement for movement with a perfectly synchronized body and a beautifully tuned voice. But the most ingratiating of the performances is Gerry Bamman's Jaques, a tall forest roamer in a grass toga, unfazed by even the most outrageous of Belgrader's devices, with a pouting, resonant voice that undoubtedly reminded more than one member of the audience of Tony...