Word: big
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Dates: during 1950-1959
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...fact, do U.S. critics any longer pant breathlessly over the mere novelty of Russian cultural performances or industrial exhibits. And as for the visits of the big Redwigs, the U.S. has toughened considerably in the half year since Soviet First Deputy Premier Anastas Mikoyan got an openhanded, almost fawning reception from business and civic leaders across the land...
Vast Ignorance. But the big fact about Peaceful Coexistence, 1959-the fact beyond Kozlov's toothy public grin and the U.S. Governors' convivial good will-is that it is a deadly serious part of cold war. Washington encourages a strictly reciprocal exchange in an attempt to dent the vast and dangerous Soviet ignorance of the U.S., make Russians more restlessly aware of the gulf between U.S. and Soviet standards of living. Washington tolerates Kozlov-level visits because the President wants the Kremlin hierarchy to know firsthand that the U.S. is united and deadly serious in its intention...
...inventive indeed. Dr. Caius' business of hunting for his green box turns into a frantic cat-and-mouse chase through double closet doors--an old gimmick, but still effective. When Falstaff says, "There's my purse," he reluctantly drops a small, silent pouch--obviously empty. The wives make a big point of exchanging the love letters to be sure each has the right one, when both letters are identical. Ford's "The clock gives me my cue" is accompanied by strokes on a cow-bell. When Falstaff is smuggled out in the laundry basket, the wives have to sidle along...
...program note, The Great Big Doorstep, by Frances Goodrich and Albert Hackett, is referred to as "a wholesome antidote to the heavy exposure of Deep South Depravity to which readers and playgoers were already being subjected." The fallacy in this statement is that, while depravity can at least cause a warm tingling sensation up and down your groin, the only emotion induced by prolonged exposure to innocuousness is sheer boredom...
...ending of The Lesson contains one of the great stage directions of all time: The professor "finds a big knife, invisible or real according to the preference of the director." Director Bernard Shaktman took the invisible knife, but that still did not justify the professor's leaning...