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Although the cast contains some fifteen players, the core of the play--again as in Greek drama--lies in big duologues separated by choral passages (sometimes literal offstage singing). The first act, like the others, takes place in the combination bed-sitting-room occupied by Maggie and Brick, and it belongs almost exclusively to them. In fact, we have here not so much a duologue as a monologue by Maggie, for she talks more at him than with him. Brick, whose tippling has resulted in a broken leg, is always physically present, with crutch and cast, but his mind...

Author: NO WRITER ATTRIBUTED | Title: Williams's 'Cat' Revised and Revived | 7/26/1974 | See Source »

Halevy: La Juive, highlights (Sopranos Martina Arroyo and Anna Moffo, Tenor Richard Tucker, Bass Bonaldo Giaiotti, Ambrosian Opera Chorus, New Philharmonia Orchestra, Antonio de Almeida conducting; RCA, $5.98). First performed in 1835, La Juive (The Jewess) is grand in style, massive in its demands for choral, orchestral and solo forces and spectacular in stage effects; in accordance with the Parisian fondness for such stuff, it was one of the favorites of 19th century French opera. Set in 1 5th century Switzerland, the story concerns the persecution of Eleazar, a Jewish goldsmith, and his foster daughter Rachel. Before his execution, Eleazar...

Author: /time Magazine | Title: Music: Pick of the Pack | 6/10/1974 | See Source »

...also an opportunity and desire to perpetuate the great tradition of choral singing, the type of black music existing for years at Southern colleges," added Walters...

Author: By Ron Wade, | Title: Musical Politics and Political Music | 5/15/1974 | See Source »

...felt the need of a group, I missed mine," says Walters, who directed the Choral Society at Shaw University before coming to Harvard. "I wanted to continue to conduct a choir. I found many interested and talented black students, most of them situated at Harvard...

Author: By Ron Wade, | Title: Musical Politics and Political Music | 5/15/1974 | See Source »

Frustrations not withstanding, the Kuumbas are thrilling to watch as well as hear when they are onstage. In last week's performance at Burden Hall at the Business school the singers captivated a crowd of over 300 people. Clad in a flowing white choral robe and white slacks, and topped by his shiny black Afro, Ingraham and the dashiki and and Afro-garbed choir exuded a contagious joy and enthusiasm in their singing. The audience forgot its own troubles for three hours and stood up and clapped and chanted and shouted amen and hallelujah with the Kuumbas. Despite the hard...

Author: By Ron Wade, | Title: Musical Politics and Political Music | 5/15/1974 | See Source »

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