Mary Louise Hematite Bracelet
Mary Louise – click on the image below for more information.
- 8mm facetted hematite rondel on elastic
- Bracelet is hand made
- Please keep away from moisture
- Made in United States
Mary Louise
Stylish and sophisticated, the Mary Louise Hematite Bracelet will make a sparkly statement on any wrist. 8mm facetted hematite beads give an iridescent metallic glow along this bracelet. The rondelle shape of the beads creates a delicate and dainty feel. Showcase a unique look of romance and edge by adding layers of silver bracelets to your wrist to emphasize the shimmering style of this piece.
Mary Louise Hematite Bracelet
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Mary Louise Stepan, 21, used to be a waitress. She has a brother in the air corps. She is working on transport parts in the hand mill, Consolidated Aircraft Corp., Fort Worth, Texas (LOC)
Image by The Library of Congress
Craig Ferguson – Mary-Louise Parker’s Tattoo
Mary-Louise Parker offers up 0 if you can decipher her tattoo on The Late Late Show with Craig Ferguson.
Video Rating: 5 / 5
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Tips and Tricks:
Mary Louise Parker – A Tantalizing Hedda Gabler
Article by Jacqueline Cable
I just happened to casually mention I had never seen a “Hedda” that satisfied my concept of her to a group gathered around author Joan Templeton after her lecture at Scandinavia House on “Munchs Ibsen”, when one of the guest said she was eagerly waiting to see Mary Louise Parker in “Hedda Gabler.” To my surprise, several others quickly chimed in with their agreement; they too had never seen a “Hedda” they felt truly captured the character.
While I have seen five versions of my favorite Ibsen play, some of the group had seen many more. They spoke of Maggie Smith (the woman I have always wished I could have seen on stage as Hedda) and Liv Ullman in the role. (Apparently, there was no Ibsen in the Bergman/Maggie Smith Hedda only Bergman.) Wow! Not one had seen a “Hedda” they could wrap their mind around! I knew “Hedda,” the female Hamlet, was a role only formidable actresses dared to tackle, but this was a revelation.
Is it any wonder then, the mixed, and in some cases merciless reviews (Ben Brantleys the most scathing) this new production has received? My thoughts went to why almost everyone who has read or seen Hedda is seduced by her character, and becomes so possessive, they are outraged (to the point of walking out in the middle of performances) when directors and adapters take liberties with the text and infuse the play with what “they” want it to mean.
Ibsen is brilliant. Whether male or female, we see a tiny bit or perhaps more of our worst traits in her. She is as difficult to grasp as why it is, we do the things we do. She is not simply pure evil, relentlessly wicked, cruel, an unlikable villain or just a mean-spirited bitch, as she has often been portrayed.
Caught in a curious web of malaise, frustrated dreams, unrealistic hopes (Eilert Lovborg as Bacchus really) childish envy, and secret sexual curiosity, Hedda leads the men in her life in a dangerous dance until one of them presumes to take the lead. Mary Louise Parker, with subtle nuanced expressions and flashing eyes, creates a compressed desperate portrait I can embrace. While some of the actors such as Ana Reeder are unfortunately weak and no serious foil to Hedda; (and I do not agree with all of Christopher Shinns changes to the text), there was more I liked in the production than disliked.
Wide open doors and high soaring ceilings replace the usual dark, oppressive late Victorian setting to offer a new opportunity to see these characters dwarfed in this space. Changes to the opening scene, where we catch a glimpse of Hedda partially disrobed in an unguarded moment beside herself with restless ennui at the piano, lingered with me until the closing moments at the piano. While she rearranges and uncovers furniture, we capture a very different image of Hedda from the one that forms in our mind as we hear about her long before we see her in the conversation between the nervous housekeeper and her husbands aunt in the original. Ann Roths sumptuous costumes add elegance and keep eyes glued to Heddas many mood changes, from playful and naughty to seductive temptress.
Let me not forget the piano, because the score by P.J. Harvey is another intriguing layer that mirrors Hedda’s interior frustration. Relentless repetitive notes on the piano seethe and build to finally explode like an inescapable migraine headache.
My advice, see the play, read the play and decide if you think Mary Louise Parker comes close to how you imagine Hedda, and if not, why not? Time is running out, the limited engagement production at the American Airlines Theatre closes March 29.
Jacqueline CableFor Postcards from New York
Address to Remember: The American Airlines Theatre, 227 West 42nd Street, New York, NY 10011. 212-719-1300, http://www.roundabouttheatre.org/.
Directions: From Times Square, at Times Square.
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