Slyly, she begins by underplaying the grand lady affectations; she's a Dolly who might really have lived on the Lower East Side, who still has an accent and a coarse, hoydenish swagger.
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She brings an amusing hoydenish quality to Brooke, who slinks across the stage when she's in character — or as close to in character as Brooke will ever get — and then breaks into a klutzy, graceless walk when she's offstage.
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Plimpton began her career as a model, securing an early 1980s campaign for Calvin Klein, making an impression as a sophisticated but tomboyish little girl. She made her feature film debut in 1981, when at the age of eleven she had a small role in the film Rollover." 'Rollover' Cast and Crew" allmovie.com, accessed March 23, 2015 In 1984, she appeared in the Deep South drama The River Rat opposite Tommy Lee Jones, as his "hoydenish daughter"."Overview" The New York Times, accessed March 23, 2015 Her breakthrough performance was as Stef Steinbrenner in the 1985 film The Goonies.
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This apparently caused some marital discord between the Lincolns, however; Mary Todd Lincoln, a jealous woman, did not like the idea of her husband being kissed on both cheeks and the lips by a hoydenish girl. According to his aides, they were heard arguing about it later in the evening, although Mrs. Lincoln eventually forgave him. See A Kiss from a Princess Sources: Chancellorsville by John Bigelow, Jr.; The Lincolns by Daniel Mark Epstein; Ten Years of My Life by Agnes Elizabeth W. Salm-Salm; Soldier Princess: The Life & Legend of Agnes Salm-Salm in North America by David Coffey; A Biographical Memorial of General Daniel Butterfield, edited by Mrs.
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O'Hara in 1946 Malone states that as "Ireland's first Hollywood superstar", O'Hara "paved the way for a future generation of actresses seeking their own voice ... With her mahogany hair, her hoydenish ways, and her whip-smart delivery of lines, she created a character prototype that seemed to define her country of origin and much as Ireland defined her". He notes though that O'Hara was "loved for her naturalness" and her "lack of a diva quality". She dismissed method acting as "tommyrot", believing that acting should be acting, and placed great emphasis on work ethic and punctuality. Insisting on doing her own stunts, O'Hara became so prone to injuries during her productions that her colleagues remarked that she "should have been awarded a Purple Heart".
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Life Magazine called the musical "Broadway's flashiest and most opulent show of the moment" but wrote that "despite its colossal aspects, it ends up as a showcase for the talents of two performers: loping, braying Bobby Clark and hoydenish, streamlined June Havoc. Clark clowns his way through the part of a U.S. confidence man...Miss Havoc, in the role of an American girl who becomes one of Mexico's most famous bullfighters, emerges as a personality more engaging than her better-known sister, Gypsy Rose Lee. Both she and Clark are wonderful enough to make audiences forgive 'Hayride' its sleazy book and a Cole Porter score that is a sad reminder that the composer of 'Night and Day' seems, at least temporarily, to have written himself dry." "'Mexican Hayride'" Life Magazine, February 21, 1944, p.
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She is alternately hoydenish and lovable, > gagging and demure; she burlesques Greta Garbo and Zasu Pitts and enacts the > balcony scene from Romeo and Juliet without making it ridiculous. ... Miss > Withers' scenes are of three kinds, those in which she is precocious and > amusing because possessed of a sophistication beyond her years; those in > which she is a child and charming for her childish ways and those where she > really acts. She acts, I am glad to report, a great deal and with much > vitality and her comic sense is a keen and lively one. The New York Times praised the film as "a fresh, human and warm photoplay, rich in natural values, sensitively directed by Lewis Seiler (who used to teach school in Brooklyn and should know children) and played for all it is worth by an excellent cast".
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