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...reason why they don't, we are told, is down-on-her-luck musical comedy actress, played, no less, by Uta Hagen in blonde hair and blue silk pajamas. In the course of her efforts to break into the Italian cinema and recoup her fortune, Miss Hagen collects her coteric--an estranged husband, a secretary, and a dimwitted Southerner by the name of Beansy--all of whom, with the aid of their respective Latin admirers, carry the ball of repartee for the better part of the show. With the material at hand, it is an Olympian task...

Author: By Joseph P. Lorenz, | Title: In Any Language | 9/25/1952 | See Source »

Saint Joan is one of Shaw's best under the direction of Margaret Webster. Uta Hagen leads in this brilliant Plymouth performance...

Author: NO WRITER ATTRIBUTED | Title: WEEKEND EVENTS | 9/29/1951 | See Source »

...acting was highly professional and not much more need be said in praise. Uta Hagen played Joan, the one genuinely difficult role in the script. She had to switch from moods of humble faith to exhilaration to boisterous daring to impishness. She accomplished the switches without ever making them appear in the least unnatural. Shaw, in his stage directions, describes Joan as a coarse, dumpy little peasant and Miss Hagen was quite beautiful but I suppose this shouldn't be held against her. John Buckmaster would have gained my unbridled huzzahs for his performance as the Dauphin...

Author: By Rudolph Kass, | Title: Saint Joan | 9/25/1951 | See Source »

...American Theater Wing's Antoinette Perry Awards, for the season's best work up to March 1. Best musical: Guys and Dolls. Best play: Tennessee Williams' The Rose Tattoo. Other "Tonys" went to: Irving Berlin, Ethel Merman and Newcomer Russell Nype (for Call Me Madam); Uta Hagen (The Country Girl); Claude Rains (Darkness at Noon...

Author: /time Magazine | Title: People, Apr. 2, 1951 | 4/2/1951 | See Source »

Clifford Odets has finally regained his prewar success. The Country Girl with Paul Kelley and Uta Hagen is rolling along at the Lyocum, 45th Street, Sidney Kingsley has adapted Arthur Koestlear's powerful Darkness at Noon to the Royale stage, on 45th Street. Claude Raise portrays the Communist pioneer who faces the ultimate extension of his own logic...

Author: NO WRITER ATTRIBUTED | Title: Jamaica's Opening Enlivens Week in New York | 3/30/1951 | See Source »

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