Word: angelus
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Actress Marcy Wescott is fair of face. Actress Muriel Angelus is full of grace. Eddie Albert, last year a frisky, puzzled Brother Rat. this year makes a no less puzzled Twin Brother Antipholus. Fast, lively, imaginative is the dancing. Casting, directing and timing are perfect. Dowagers leave the theatre like subdebs, whistling the most melodious tunes that a Rodgers & Hart musical has had in several years...
...even more of a tourist attraction than scenery or climate. Visitors from the East don't show much interest in Yosemite, the Redwoods or the orange groves, but they fall all over themselves to see evidences of our human phenomena-such as the folks at Aimee's Angelus Temple and on Hollywood Boulevard, the Iowans at Elysian Park, and supporters of the "$30-every-Thursday." In short, the pinheads have at last eclipsed the halfdomes on the California scene...
...cast must go to the female sex; Wynn Murray, as Luce, is grand both in her songs and in her interpretation of comedy; Mary Wescott, as Luciana, is likeable though her voice is a bit thin compared to the others; supreme in looks and in singing is Muriel Angelus, as Adriana. Too much cannot be said in her praise, for her appearance is a delight to the eyes and her voice a treat to the ears. Betty Bruce, however, as the Courtezan, runs Miss Angelus a close second; her dancing gives a life to the show whenever she performs...
Celebrating what she called her 46th* birthday with a jolly, jampacked jubilee in Los Angeles' Angelus Temple, Evangelist Aimee ("Dear Sister") Semple McPherson romped out in front of her congregation appropriately dressed as a milkmaid, carrying a glistening pail brimful of milk. Pals and paid hands on the stage were treated to drinks. When the pail was empty, Sister Aimee began to sing (see cut), then took up a collection, dumped it in the pail...
...usually until 2 or 3 a. m. At night Father Zagar stayed with him, droning prayers. Over the domed altar he painted a 36-ft. Madonna & Child in rich reds and blues, violet and silver, on one side wall a scene of Croatian peasants kneeling at the Angelus, on the other Croatian miners in the U. S. standing with heads bowed while a Franciscan priest, posed by St. Nicholas' pastor, kneels to invoke God's blessing on their church. For the side altars Vanka painted a Crucifixion and Pieta in cold blues and black, with green lightning...