Word: actes
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...subversion in defense plants, the U.S. launched a security clearance program in 1941 that, with modifications, now covers some 3,000,000 workers. Last week the Supreme Court jolted the program to its underpinnings by challenging the right of the Defense Department's Industrial Personnel Security Board to act on the basis of confidential information. In a strong 8-1 decision, the court ducked the constitutional issue but held that neither Congress nor the President had ever authorized a program that denied a suspect the opportunity to confront and cross-examine his accusers...
Towards the end of Act I Blanche says to her sister, "I want to rest! I want to breathe quietly again! But this line is delivered as though by a tired prostitute, and not by a woman with a sincere desire to escape from her past and begin life anew with the security of marriage. Likewise, the scene with the young bill collector is completely lacking in lyric quality and only the primitive element is played. The way in which Miss Humphrey delivers, "I've got to be good--and keep my hands off children," using her lower register...
Miss Humphrey's performance, within the range of Mr. Rabb's interpretation, is carefully etched and compellingly played. Her drunk scene with Mitch towards the end of Act II is excellent. Standing in the middle of a large brass bed, she cries out her soul like an hysterical child, desperately pleading for magic magic, not realism. She can give you the virgin-like innocence of a child one minute and the drunken swagger of a two-bit slut the next. There is a fine Blanche latent here! There are some strang inflections and an unusual clipped speech that often give...
...other actors, including a wisely anonymous George Spelvin, seemed to have lacked a director. And it was rather disconcerting that a pair of shoes which was taken off in January (act I) had not been removed from the stage by June (Act...
...choice of this play marked an act of courage. Few people are familiar with it. Those with any knowledge of the plot have usually acquired it through one of the dozen or so operatic versions, chiefly Nicolai's Merry Wives of Windsor, Verdi's Falstaff, or Vaughan Williams' Sir John in Love. But the directors were willing to gamble (or gambol); and their slot (or slut) machine has come up with three cherries--a winning combination that ought to keep the box office coffers filled and the audience coughers silent...