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HOTEL PRINCE BUENOS AIRES. BUENOS AIRES


HOTEL PRINCE BUENOS AIRES. UPPER WEST SIDE HOTELS MANHATTAN. CHEAP GENEVA ACCOMMODATION.



Hotel Prince Buenos Aires





hotel prince buenos aires






    buenos aires
  • The capital city and chief port of Argentina, in the eastern central part of the country, on the Plata River; pop. 2,961,000

  • capital and largest city of Argentina; located in eastern Argentina near Uruguay; Argentina's chief port and industrial and cultural center

  • Buenos Aires or Independencia is a Sector in the city of Santo Domingo in the Distrito Nacional of the Dominican Republic.

  • There are many landmarks in Buenos Aires, Argentina some of which are of considerable historical or artistic interest.





    prince
  • The son of a monarch

  • A close male relative of a monarch, esp. a son's son

  • a male member of a royal family other than the sovereign (especially the son of a sovereign)

  • (princely) having the rank of or befitting a prince; "a princely bearing"; "princely manner"

  • A male royal ruler of a small state, actually, nominally, or originally subject to a king or emperor

  • (princely) deluxe: rich and superior in quality; "a princely sum"; "gilded dining rooms"





    hotel
  • a building where travelers can pay for lodging and meals and other services

  • An establishment providing accommodations, meals, and other services for travelers and tourists

  • In French contexts an hotel particulier is an urban "private house" of a grand sort. Whereas an ordinary maison was built as part of a row, sharing party walls with the houses on either side and directly fronting on a street, an hotel particulier was often free-standing, and by the eighteenth

  • A hotel is an establishment that provides paid lodging on a short-term basis. The provision of basic accommodation, in times past, consisting only of a room with a bed, a cupboard, a small table and a washstand has largely been replaced by rooms with modern facilities, including en-suite

  • A code word representing the letter H, used in radio communication











The Man in Grey (Leslie Arliss, 1943)




The Man in Grey (Leslie Arliss, 1943)





Martita Hunt as Miss Patchett

Hunt, Martita (1900–1969), actress, was born in Buenos Aires, Argentina, on 30 January 1900, to Alfred Hunt and his wife, Marta, nee Burnett. She came to England to attend Queenwood boarding-school, Eastbourne, and she then trained for a theatrical career under Dame Genevieve Ward and Lady Benson. After acting at Liverpool repertory theatre and with a touring company, she made her London debut for the Stage Society in Ernst Toller's The Machine Wreckers at the Kingsway in May 1923. She spent the next six years working in the West End, giving performances as the Principessa della Cercola in W. Somerset Maugham's Our Betters (Globe, 1924) and as Mrs Linden in Ibsen's A Doll's House (Playhouse, 1925), interspersed with engagements at club theatres such as the Q and the Arts and, in 1926, a short season of Chekhov plays at the small Barnes Theatre, directed by Victor Komisarjevsky, who cast her as Charlotta Ivanovna, the eccentric governess in The Cherry Orchard and as Olga in Three Sisters.

In September 1929 Hunt joined the Old Vic company under Harcourt Williams, and in the following eight months played a challenging succession of Shakespearian roles (the Nurse in Romeo and Juliet, Portia in The Merchant of Venice, the Queen in Richard II, Helena in A Midsummer Night's Dream, Portia in Julius Caesar, and, opposite John Gielgud, Rosalind in As You Like It, Lady Macbeth in Macbeth, and Queen Gertrude in Hamlet), together with the parts of Beline in Moliere's The Imaginary Invalid, Queen Elizabeth in Shaw's The Dark Lady of the Sonnets, and Lavinia in his Androcles and the Lion. With an arresting appearance and a dominant stage presence, she proved most effective as strong, tragic characters, her Gertrude in Hamlet being accounted by some critics the finest they had seen.

Returning to the West End, Hunt featured in an extraordinary range of productions in the 1930s and during the war years, notably as Edith Gunter in Dodie Smith's Autumn Crocus (Lyric, 1931), the countess of Rousillon in All's Well that Ends Well (Arts, 1932), Lady Strawholme in Ivor Novello's Fresh Fields (Criterion, 1933), Liz Frobisher in John Van Druten's The Distaff Side (Apollo, 1933), Barbara Dawe in Clemence Dane's Moonlight is Silver (Queen's, 1934), Theodora in Elmer Rice's Not for Children (Fortune, 1935), Masha in Chekhov's The Seagull (New, 1936), Emilia in Othello (when she rejoined the Old Vic briefly in 1938), the Mother in Garcia Lorca's Marriage of Blood (Savoy, 1939), Miss Havisham in a dramatization of Dickens's Great Expectations at the Rudolf Steiner Hall (1939), Leonie in Cocteau's Les parents terribles (Gate, 1940), Mrs Cheveley in Wilde's An Ideal Husband (Westminster, 1943), and Cornelia in Webster's The White Devil (Duchess, 1947). During the same period Hunt made innumerable films, the majority unworthy of her talents, though some, like Good Morning, Boys (1937), Trouble Brewing (1939), The Man in Grey (1943), and The Wicked Lady (1945), achieved considerable popularity and enabled her to sparkle in supporting or cameo roles, and in David Lean's Great Expectations (1946) she took the opportunity to develop her stage characterization of Miss Havisham into an unforgettable study in alienation. For all this resourcefulness, stardom continued to elude her until, in 1948, an American management hired her to play Countess Aurelia, the eponymous heroine of Giraudoux's The Madwoman of Chaillot, for its English-speaking premiere, a compelling performance which won her a Tony award on her Broadway debut, but sadly left London audiences relatively unmoved three years later. Ironically, this very success served only to typecast her as the grande dame or patrician grotesque in a string of subsequent films, including Anna Karenina (1948), Lady Windermere's Fan (1949), Folly to be Wise (1952), The March Hare (1956), Anastasia (1956), The Admirable Crichton (1957), The Prince and the Showgirl (1957)—contributing a witty reprise of her stage performance as the Grand Duchess in its source, Rattigan's The Sleeping Prince (Phoenix, 1953)—The Brides of Dracula (1960), Becket (1964), and The Unsinkable Molly Brown (1964). After 1950 her stage appearances became more infrequent and she made her last as Angelique Boniface in Hotel Paradiso, an adaptation from Feydeau, alongside Alec Guinness at the Winter Garden in May 1956. She died of bronchial asthma at her home, 7 Primrose Hill Studios, Fitzroy Road, Hampstead, London, on 13 June 1969.

Donald Roy
Oxford Dictionary of National Biography











2011-04-16 Senegal, Dakar - the city skyline from the ship when we docked at the end of our voyage




2011-04-16 Senegal, Dakar - the city skyline from the ship when we docked at the end of our voyage





Dakar is a strange mix of modern and run down and reminded me a lot of Buenos Aires. I had planned to go to Goree Island with our group but the ferry closed in front of 9 of us and the guide simply left us behind. So I waited at the hotel for evening and went to the airport. The city is shabby but it is a very big city and once had a certain Europeanized feel to it. But in between nice buildings there are crumbling structures and small shacks clinging to broken walls. The airport was very clean but poorly lit, drab and almost without seating. A group of drunken Russian fishermen, returning home after six months on a factory ship argued and flopped around at the gate waiting area. Outside an elegant ceremony took place as the President of Mali and his wife boarded their plane after a state visit to Senegal. An almost surreal way to end my West Africa journey!









hotel prince buenos aires







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