![]() ![]() Her characterization is convincing and funny for a scene or two, but then goes beyond credibility to virtual burlesque. ![]() He continued, “Meryl Streep, a young and clearly talented actress who has come to attention in the last several seasons, must have been urged to try virtually everything in her role of a housemaid desperate for a man. Morrison said a few actors were restrained but “most of the others are encouraged to emote and apparently enjoyed it.” ![]() Longtime Variety critic Hobe Morrison sighed that the entire production was “inexcusably exhibitionistic,” which he attributed to the “drastically unorthodox direction, coupled with Jean-Claude van Italie’s new idiomatic translation … This is a production that cries out for that eternal artistic admonition: Simplify!” In 1977, she appeared in a love-it-or-hate-it production of Chekhov’s “The Cherry Orchard,” directed by Andrei Serban. Peter Zinner (Voyage au bout de l’enfer (the deer hunter) de Michael Cimino) Autres nominations : Robert Swink (Ces garçons qui venaient du Brésil (the boys from Brazil) de Franklin J. She also earned her first Tony nomination, as featured actress in a play, in a revival of Tennessee Williams’ one-act “27 Wagons Full of Cotton.” Also in 1976, Joseph Papp for the first time created a resident acting company with a handful of actors including Raul Julia, Mary Beth Hurt and, of course, Streep.Įvery actor with a long career inevitably gathers some bad reviews, but for Streep, even the negative ones included some praise. In 1976, she starred with Sam Waterston and John Cazale in a production of Shakespeare’s “Measure for Measure” at the Delacorte Theater in Central Park. Most of these productions were at the Yale Repertory Theatre in New Haven, and she also performed at Joseph Papp’s New York Shakespeare Festival at Lincoln Center. Included in the review: “There is a femme narrator, Meryl Streep, who belies her 23 years via an impersonation of a tart-tongued wheelchair-ridden ancient.” 11, 1974, Variety carried a positive review of the comedy “The Idiots Karamazov,” by then-unknown playwrights Christopher Durang and Albert Innaurato. “Believable in the difficult role” was one of the cornerstones of her career. That was soon followed by a review of the 1890s melodrama “Secret Service.” John Lithgow was praised for his performance as a secret agent in the Confederate army, and Streep “is believable in the difficult role of a confused Southern belle who loves him.” Variety first mentioned her in a review of “The Possessed” at Yale Rep, with Andrzej Wadja directing his own adaptation of Dostoyevsky in 1974. But in fact, she had paid her dues for years onstage - and even those were leading roles in prestige productions. There were no bit parts in movies or TV show before then: She seemed to have sprung fully formed from the forehead of Zeus. Meryl Streep first caught the public’s attention in a few high-class projects: in 1977, the Fred Zinnemann-directed “Julia” and, in 1978, “Holocaust” and “ The Deer Hunter,” where she earned her first Emmy and Oscar nominations, respectively. To celebrate Variety’s 115th anniversary, we went to the archives to see how some of Hollywood’s biggest stars first landed in the pages of our magazine. ![]()
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