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LOITERING WITH INTENT

Name: LOITERING WITH INTENT
Author: Peter O'Toole
ISBN: 0-7868-6065-0

THE APPRENTICE

by Peter O'Toole ‧ RELEASE DATE: Feb. 13, 1997

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Slowly, slowly, but sometimes delightfully, O'Toole takes us through just his first year at the Royal Academy of Dramatic Arts in this second volume of his memoirs (after (Loitering with Intent: The Child, 1993). At the current rate of progress, fans will have to wait quite a bit longer to get to O'Toole's celebrated screen career in films such as Lawrence of Arabia and The Lion in Winter. Actors are notoriously self-obsessed, but O'Toole breaks new ground as he batters us with insignificant anecdote after anecdote on the ephemera of his life. For a few pages, this looping, discursive style is engagingly oddball, and in a profession whose practitioners are not known for their literary abilities, O'Toole's prose is certainly polished and playful, although too self- consciously Joycean at times. But as with the first volume, he is not content merely to bore and frustrate us with a laundry list of details (and, yes, he even discusses his laundry), he also feels compelled to constantly digress in all directions and at length. In particular, he never misses an opportunity to discuss the great Shakespearean actor (and presumed kindred spirit) Edmund Kean. O'Toole does have some interesting thoughts on acting and on the teaching of acting, amusingly comparing the Stanislavski Method to the game of cricket. Like many British actors, O'Toole prefers a more deliberately constructed and calibrated style of acting. As he says rather severely of rehearsals, ``[They] are no occasion for dabblings in the inexact science of nature, functions, and phenomena of the human soul and mind.'' If only he could have brought his actor's precision and discipline to his prose. There is a charming, witty, lapidary, very slim volume somewhere in here, but it is buried under minutiae.

Pub Date: Feb. 13, 1997

ISBN: 0-7868-6065-0

Page Count: 416

Publisher: Hyperion

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 1996

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.