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Matthews Jill, Good and Mad Women: The Historical construction of femininity in Twentieth Century Australia, George Allen and Unwin, Sydney, 1984. Cheryl Crawford / Equity Liberty Theatre / Barry Manilow / National Theatre of the Deaf / Diana Ross / Lily Tomlin (1977) Best Revival of a Play, Best Costume Design of a Play and Best Leading Actor in a Play for Bedford (winning for costumes). [65] The production was filmed live in March 2011 and was shown in cinemas in June 2011. [66]
newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}}}\) \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{#1}}} \)\(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\) \(\newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\) \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\) \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\) \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\) \( \newcommand{\Span}{\mathrm{span}}\)\(\newcommand{\AA}{\unicode[.8,0]{x212B}}\)Jill Matthews, Good and Mad Women: The Historical construction of femininity in Twentieth Century A (...)
Wilde kept his homosexuality a secret. He married and had two sons. But in 1891, Wilde began an affair with Lord Alfred Douglas, a young British poet and aristocrat 16 years his junior. The Importance of Being Earnest". British Film Institute. 6 May 2014. Archived from the original on 6 May 2014 . Retrieved 29 January 2023.It is delightful to see, it sends wave after wave of laughter . . . but as a text to criticism it is barren and delusive . . . it is intangible, it eludes your grasp. What can a poor critic do with a play which raises no principle, whether of art or morals, creates its own canons and conventions, and is nothing but an absolutely wilful expression of irrepressibly witty personality. 13
Shaun Sutton; Stuart Burge; Joan Plowright; Paul McGann; Amanda Redman; Rupert Frazer; Natalie Ogle; Gemma Jones; Alec McCowen; Steve Eveleigh; Ilona Sekacz; Oscar Wilde (2002), The Importance of Being Earnest (VHS video), Burbank: Warner Home Video, OCLC 49717562 Feingold, Michael (2004). "Engaging the Past". The Village Voice. New York. Archived from the original on 8 November 2006 . Retrieved 18 October 2006.To mark the centenary of the first production, Sir John Gielgud unveiled a plaque at the Haymarket Theatre in January 1995, in the presence of, among many others, Wilde's grandson Merlin Holland and the Marquess of Queensberry. [27] Adaptations [ edit ] Films [ edit ] Annan, Noel (1990). Our Age: Portrait of a Generation. London: Weidenfeld and Nicolson. ISBN 978-0-297-81129-9. Source [9] [4] Plot [ edit ] Act I [ edit ] The Octagon Room in Sir Robert Chiltern's house in Grosvenor Square Lord Caversham, Mabel Chiltern and Lord Goring, 1895 premiere