Word: acted
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Dates: during 1940-1949
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...When Landis left Washington in 1937, after authoring the Securities Act and serving two years as SEC chairman, Franklin Roosevelt wrote that he was leaving behind him "a great respect and appreciation for the scholar in government." Landis went back to Harvard as dean of its law school, returned to Washington in 1942 to run the Office of Civilian Defense, stayed on to do wartime and postwar economic chores in the Middle East...
...Europe's democracies in a federal union with common citizenship, Roberts thinks, can the U.S. draw the poison from this donor-beggar relationship. Roberts appealed to a higher logic than dollars & cents: "Free men are the best assets we have outside the U.S.; men who think and act like...
...vaudeville team, Paramount's Gold Dust twins stage a hoary entangled-arms routine which, unfortunately, stayed behind when Wheeler and Woolsey left Hollywood by popular request around 1935. And when they combine forces with a trio of Latin musicians for a five-man hat-mixup act, the result is probably the unfunniest three minutes in film history, not excepting the newsreel shots of Pearl Harbor...
...Mozart operas, notably "Cosi Fan Tutte," "Idomeneo" is a diamond lying neglected amidst the track of the nineteenth century. The orchestral passages are exceptional even for Mozart, and the choral writing is superior to that in his more famous operas. As presented in Mr. Goldovsky's adaptation, the first act was highly conventionalized and contained too much plot exposition in the form of recitative--arias were scarce, in fact. The second act starts, however, with a superb aria and a duet, a brilliant quartet follows, and from then on the opera becomes what Mr. Goldovsky calls it, "unquestionably...
Keystone of the success of the performance was Ann Bollinger, who sang the male lead, Idamantes, with assurance and great ability, and acted the part as well. Even the love duets, usual stumbling-block for male impersonators in the opera, went well at her hands. Naney Trickey was excellent in the part of Ilia, fulfilling particularly well the difficult assignment of holding the stage alone for more than five minutes at the start of the opera. In the role of the sinister Electra, who has the best aria of the piece, a magnificent last-act preface to suicide, Paula Lenchner...