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DESIGN FOR LIVING

ALFRED LUNT AND LYNN FONTANNE

An appealing portrait of the attractive Lunts and of Broadway in its heyday.

Veteran biographer Peters (May Sarton, 1997, etc.) limns the glamorous life of the American theater’s most successful acting team.

Alfred Lunt (1892–1977) and Lynn Fontanne (1887–1983) were a couple offstage as well as on, though persistent rumors peg it as a sexless marriage between a gay man and a bisexual woman. Their biographer seems to accept this judgment, though she never comes right out and says so: more important, she correctly assumes, was their lifelong devotion and the astonishing partnership that began in 1924 with Ferenc Molnár’s witty two-hander, The Guardsman, and continued through Friedrich Dürrenmat’s mordant satire, The Visit, in 1958. The Lunts were particularly admired for their flawless comic gifts, highlighted to scandalous effect in pal Noël Coward’s smash Design for Living, which had Coward and his costars romping through a threesome that implied—as much as you could in 1933—the two men’s sexual involvement. But they had a serious side, highlighted in Robert E. Sherwood’s brooding prewar allegory Idiot’s Delight and his patriotic drama There Shall Be No Night, which they played amidst bombs falling over Fontanne’s native England in 1943. When relaxing, they retreated in high style to their country manor in Lunt’s home state, Wisconsin, where he could cook and redecorate to his heart’s content while she sewed her ultra-chic clothes. Capably following their busy career and social life—friends included Alexander Woollcott, Helen Hayes, and Laurence Olivier—Peters hews to the accepted wisdom that Fontanne was a brilliant technician, Lunt a truly great actor who slightly limited himself after 1928 by working only with her. Both were relentless perfectionists who refined their performances long after the Broadway premieres, in the vanished days when stars routinely made national tours and successful actors worked exclusively year-round on the stage. Peters’s footnotes are spotty, and she stoops at least once to inventing a conversation, but she colorfully evokes her subjects’ theatrical personalities and stylish amusements nonetheless.

An appealing portrait of the attractive Lunts and of Broadway in its heyday.

Pub Date: Oct. 23, 2003

ISBN: 0-375-41117-8

Page Count: 400

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 2003

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NIGHT

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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I AM OZZY

An autobiography as toxic and addictive as any drug its author has ever ingested.

The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.

Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.

An autobiography as toxic and addictive as any drug its author has ever ingested.

Pub Date: Jan. 25, 2010

ISBN: 978-0-446-56989-7

Page Count: 320

Publisher: Grand Central Publishing

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 1, 2009

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