Word: cressida
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Dates: during 1990-1999
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...show also gives audiences a chance to say Wilkommen to the latest in a seemingly endless line of young directing phenoms from Britain. Mendes, 32, artistic director of London's adventurous Donmar Warehouse theater, has staged everything from Shakespeare (Ralph Fiennes in Troilus and Cressida) to Stephen Sondheim (revivals of Company and Assassins). For his U.S. debut Mendes has updated an old show with vibrant theatricality in the way Stephen Daldry turned An Inspector Calls into an expressionist nightmare and Nicholas Hytner gave Carousel a lyrical new coat of paint...
...associate director at the Royal Shakespeare Company back in the early '80s, Howard Davies earned his stripes by staging such Bard classics as Macbeth and Troilus and Cressida, along with occasional modernist ventures like Les Liaisons Dangereuses and Good. But whenever he suggested doing the work of American playwrights like Tennessee Williams, he was out of luck. "Nobody wanted to revive them," says Davies. "I was banging on doors, and no one was interested...
...book's second section, Atwood looks outward to mythology, both ancient (Helen of Troy, Troilus and Cressida) and contemporary (Ava Gardner), often weighing in with satirical observations about sexual politics. In "Miss July Grows Older," another version of the modern myth, an aging pin-up girl comes to represent sexual charlatanry of all kinds ("Men were a skill," "Don't get me wrong: with the lights out/I'd still take on anyone"). The narrative voice is reminiscent of the prickly teenage heroine...
...Juliet Stevenson. U.S. audiences are apt to know her only from the cult film Truly, Madly, Deeply. But on the boards in London, her range is astonishing, from the hoydenish Rosalind in As You Like It to the nihilistic Hedda Gabler, from the sexually awakening adolescent of Troilus and Cressida to the avenging victim of Death and the Maiden. She approximates the emotional clarity of Vanessa Redgrave, the assertive power of Judi Dench and the braying, spiteful fun of Maggie Smith -- and adds an androgynous beauty suited equally to Shakespeare's pants parts and to the contemporary feminist dialectics...
From the beginning there were questions about his story, but few would have believed that Stuart would shoot his wife in the head at point-blank range, then turn the gun on himself. The tape recording of his anguished ten-minute call to 911 from his Toyota Cressida, as his wife lay dying beside him, etched the crime in Boston's consciousness. "My wife's been shot. I've been shot," Stuart cried as a police dispatcher tried to keep him on the line long enough to determine his location. But Stuart gave no clues. He moaned...