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Stephen Sondheim once said that
My Fair Lady was probably the greatest musical comedy ever fashioned in terms of sheer entertainment, and there are probably few who would argue with him. Lyrical and literate,
My Fair Lady was and is one of the apexes of the American musical theater. Its 1964 film version is a handsome, über-faithful transcription of the theater piece with two of its original cast members recreating their roles and a top-flight set of actors filling in the other legendary parts with ease. Directed with controlled finesse and command by veteran George Cukor, the movie was pretty much everything one who loved the stage version could have hoped for. There may be no surprises or unusual innovations in the movie, but the playâs dramatic, comedic, and musical merits have all been brought forward and play to perfection on the big screen. After receiving a masterful restoration and a subsequent Blu-ray release in 2015,
Last modified on Tue 27 Apr 2021 07.24 EDT
When he first came to London in 1950, the Australian actor Trader Faulkner, who has died aged 93, was instructed by John Gielgud in rehearsals to “take that dreadful compost out of your mouth, Trader”. He did, sort of, and soon afterwards succeeded Richard Burton in Gielgud’s production of Christopher Fry’s The Lady’s Not for Burning on Broadway, appearing alongside Pamela Brown and Esmé Percy “in the glittering style of artificial comedy.”
That last phrase of the New York Times critic Brooks Atkinson could be as easily applied to Faulkner’s own life in show business. This was an eccentric tapestry of leading and not-so-leading roles, of name-dropping connections, close-up entanglements with Laurence Olivier and Vivien Leigh, flamenco dancing, Dorothy Tutin, for whom he reserved an unrequited adoration – they were houseboat neighbours for a time on the Thames at Chelsea Reach – and Maxine Audley.
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The curse of Steptoe and Son: how the sitcom ruined its star’s career
John Gielgud praised his Richard II for Joan Littlewood, so why did Harry H Corbett end his days in panto? There s only one role to blame
7 February 2021 • 12:00pm
Harry H Corbett, pictured here with Wilfrid Brambell in Steptoe and Son, was stuck with the role for 14 years
Credit: Mike Lawn/Getty
Harry H Corbett – he of the lustreless, big red-rimmed eyes; “the hulking figure in the tatty overcoat and turned-down gumboots”; the faint rhotacism and a voice that was like a flame, swaying and trembling – was born in Rangoon in 1925. I picture a Kipling background – tough non-commissioned officers in a hot corner of the Empire; a world of duty and service and forbearance; of burdens carried. (“I’m beginning to be a burden, am I?” Albert Steptoe one day challenges his son, Harold, who replies: “No white man ever had a bigger one. But rest assured, I will not fail in my filial duty.”)
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