Word: angelically
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Dates: during 1950-1959
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...Lucky in Angels. In matters of art, Cleveland has been lucky in its millionaires; three big trust funds finance the museum. But far and away the kindest angel for the new wing was Leonard Colton Hanna Jr., nephew of famed President-Maker Marcus Alonzo ("Mark"') Hanna, and big stockholder in M. A. Hanna Co. (iron ore, coal, lake shipping, steel), who died last October at 67. Bachelor Hanna became an art collector soon after graduating from Yale ('13), early keyed his private purchases to the museum's future needs. Over the years Hanna gave the museum...
Guido Cantelli (Philharmonia Orchestra; Angel). Five months before he was killed in a plane crash in 1956, young Conductor Cantelli, No. 1 protege of the great Toscanini, spent several days recording in London. This posthumous disk presents Cantelli's remarkably fresh reading of a couple of concert cliches: Debussy's L'Aprés-Midi d'un Faune, Ravel's Daphnis et Chloe Suite #2. Strained through Cantelli's clear musical consciousness, the lush music flows out simply, movingly, and with none of the sudsy emotional film that so often clouds...
...Mundo's maxim is more than Monday-morning bravado. The new daily was propelled into orbit by slender, bushy-haired Miguel Angel Capriles, 42, Venezuela's biggest publisher, whose morning papers. La Esfera (The Sphere) and tabloid Ultimas Noticias (Latest News), earned a hazardous reputation as two of the few sheets that proved most staunch in defiance of Pérez Jiménez. (The only daily that outdid Capriles' papers was Roman Catholic La Religión, which refused to run a single line on the dictator's "me-or-nobody" election victory.) Publisher Capriles...
...sprawling ugliness of a three-story Willard Hotel that seems to imprison the audience as well as the players, this pallid version of Broadway's Look Homeward, Angel has just enough story line for a wistful, low-key one-act play. The line goes hopelessly slack in the second and third acts when Playwright Sergel keeps falling back on his first. Even the major Anderson characters seem thin, and for a good reason. Anderson merely sketched them with evocative daubs; his adapter failed to fill them out with the detail demanded by the theater. Out of misapplied reverence...
...relative power of the two plays in a way simply reflects the relative force of Thomas Wolfe and Sherwood Anderson--Wolfe a chaotic, massive, but overwhelmingly vital power, and Anderson a smaller, more controlled talent. Whereas Angel as a book has the solid core but lacks shape, Winesburg, despite its wellshaped phrases, has a weaker core. Therefore a stage craftsman can, by pruning and shaping, transfer and even intensify much of Thomas Wolfe; the only important element lost in making Angel into a play was the visible stagnation and oppressive boredom, which are communicable far more easily in a long...