Word: acted
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Dates: during 1950-1959
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...moved his family because he feels no longer safe in Java, Sjafruddin explained: "This must not be a political adventure. We do not want to install ourselves in political power. What we want is to bring down something bad. The terror in Djakarta makes it impossible for Parliament to act freely. But I hope my letter will cause further developments which will make unnecessary the formation of an emergency government. If it fails, we may have no other recourse...
...lowering of the voice" (TIME, Jan. 13), the boards again groaned under the strain of artistic temperament. During a rehearsal of Verdi's Don Carlos, famed Bulgarian Basso Boris Christoff and Italian Tenor Franco Corelli craftily maneuvered to gain the coveted stage-center spot. By the time Act II's libretto called for Corelli to draw his sword in defiance of Christoff (who played Philip II, Don Carlos' father), both singers were ready to fight. They drew, and Verdi was forgotten as the prop swords swished with real abandon. The impromptu dialogue was splendid: "Criminal! Madman...
...Steber fell ill), while maintaining her own schedule of Toscas, Leonoras and Aïdas. Unfortunately, there is more drama in her last-minute appearances offstage than on: her singing, often attractive enough, has little spark, often wins only polite applause. But she has unshatterable poise, knows how to act, makes intelligent use of a wide-ranging voice...
...Pont Show of the Month: As a "renewer of old treasure," rather than a "maker of new molds," Thornton Wilder found in a one-act play by Prosper Merimee the seed of an idea for his second novel, The Bridge of San Luis Rey. "On Friday noon, July the twentieth, 1714," he began it, "the finest bridge in all Peru broke and precipitated five travelers into the gulf below." It posed the intriguing question: Did they die by accident or by divine plan? Its prose was clean and classical, its characters adroitly limned and it was constructed with the delicacy...
...cutting edge and brought pathos to the role. Judith Anderson played the mad. fatuous marquesa in a style that would have fit nicely into a theater but came a little floridly into the living room. Yet both actresses gave the show its finest moment: a fateful mutual-humility act when the marquesa, in a weepy, alcoholic glow transferred her fierce love for her daughter to the peasant actress. Only Eva Le Gallienne's abbess managed to imbue the production with some of the pretty metaphysics of the original. "We ourselves shall be loved for a while and forgotten...