Word: andersen
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Dates: during 1980-1989
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...find out what it is like to live in the same neighborhood with toxic wastes, Associate Editor Kurt Andersen visited three communities with similar concerns but profoundly different circumstances. Times Beach, contaminated years ago, is now a Missouri ghost town; Holbrook, Mass., is discovering that it has a serious problem, but perhaps not a catastrophe; in Casmalia, Calif., toxins arrive each day at a modern treatment site, producing annoying fumes and fears about the future. People from all three places share chronic anxiety. Are they sick? Will they become sick? In all three there is anger, at businesses, at government...
...Arthur Andersen...
Associate Editor Kurt Andersen, who wrote the story, accompanied Witteman for an interview with Iacocca at Chrysler's New York City offices, and in Detroit watched an adroit Iacocca performance before a group of securities analysts. "He is a marvelous pitchman," says Andersen. "Most politicians and business figures are chronically guarded. I was surprised to find a company chairman talking a mile a minute, saying remarkable things, and never placing anything off the record." That alone would be enough to make him a journalist's delight...
...except perhaps Merce Cunningham, is as precise and sophisticated as Robbins about the appearance of his dances. This little romp takes place in a bright, white envelope. The performers wear Florence Klotz's body suits in black (Sean Lavery), white (Ib Andersen) or thrilling primary colors (red for Kyra Nichols, blue for Maria Calegari, lighter blue for the five additional men and pollen-yellow for the female corps of five). With marvelous physical mastery, they whirl and prance, graceful and playful as gods. There is neither poetry nor memory here, just an endless sunny...
Robbins lets his ballerinas down this time. He pinpointed Nichols' strong classicism and Calegari's dramatic flair early in their careers, but in Eight Lines, the two women have impersonal, difficult parts that seem to evaporate. The men are better served, Lavery with wonderfully weighted balances, Andersen with quicksilver darts and turns. This has been Andersen's best season since he arrived five years ago from the Royal Danish Ballet. He has moved through a wide range of repertory looking very much at home yet utterly distinctive: elegant, slightly exotic, confidently musical. As usual Robbins has chosen his ensemble well...