Word: berge
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Dates: during 1950-1959
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...Paris, where the Folies-Bergère ladies wear no blouses and streetwalkers are a major traffic menace, the puritanical elders of the famed Comédie-Française banned a production of Mrs. Warren's Profession, George Bernard Shaw's play about a British prostitute who at least solicited business in private. Rubbing more salt into the wounded realism of France's Shaworshippers, the Comédieans proclaimed that Mrs. Warren was "amoral," and her saga was "very bad and boring...
...schedule of extracurricular activities. He went to a garden party, an auto race and a pre-Mardi Gras fiesta, where he awarded the queen's prize. He tried out -a new rowboat and pitched the first ball of the Caribbean baseball tourney. He went to the touring Folies Bergère of Paris, whose nude cuties have been a scandalous success in Caracas. At week's end he was off to the seashore...
...unrequited love only to have her man drop dead of a heart attack. On Studio One, Gaby Rodgers was murdered before the show went on the air, but got her chance to act the fiery temptress in a series of foot-stamping flashbacks. On the U.S. Steel Hour, Gertrude Berg played a slightly touched matron whose relatives weuld not believe that she talked on the phone every Sunday to her dead husband. Climax! offered a double dose of misery: both Sylvia Sidney and Diana Lynn suffered and suffered because they chose careers instead of settling for marriage and babies...
Among the flood of classical LP records that made the year more musical, there were many standouts. The following choice of 1954's best is made on the basis of unusual interest in music or performance: Berg: Violin Concerto (Louis Krasner; Cleveland Orchestra conducted by Artur Rodzinsky; Columbia). The first recording of a major 20th century work. Dubbed from old 78-r.p.m. disks, but a devoted performance...
...found time to write a novel (3 for Bedroom C), start a play and marry famed Dancer Vera Zorina. Lately, he spends less and less time in the glass-fronted control booth supervising recording sessions, more and more behind his desk thinking up new ideas. Although he recorded Berg's operas Wozzeck and Lulu, and all the quartets of Schoenberg and Bartok, Lieberson discovered gradually that "it is becoming almost bourgeois to do contemporary music-everybody's doing it now." It is also too expensive for a major company to take a chance on unknown modern composers...