Word: choruses
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Dates: during 1930-1939
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...private citizens ever to be officially received on the House floor. Said Representative Fish: "Mr. Speaker, I ask unanimous consent to place in the Record the letter written by Col. Charles Lindbergh to the President of the U. S." There was not one objection but a deafening chorus of them led by Representative Alfred Lee Bulwinkle of Gastonia. N. C. The Democrats of the House were bitterly determined that the nation's No. 2 hero should not be heard criticizing the nation's No. 1 hero for the latter's peremptory cancellation of all domestic airmail contracts...
Charles Coburn, as the Chorus, gives a good, but by no means brilliant performance in a rather colourless part. Mrs. Coburn also does well as Chee Moo, the first wife of Wu Sin Yin the Great. But the whole business is a definitely pedestrian affair. The only really attractive character is Tso (Mary Hutchinson). As the scheming maid she is intriguing...
...possessive world," and "the eternal force of Passion." The tragic clash of these three, in its grimness and covert intensity, is compared to Greek tragedy. How cleverly the authoress has argued her parallel may be seen by this sentence: "An instinctive dread, a premonition of danger, seizes the Chorus (the lesser Forsytes) even before the appearance of this strange and unsafe creature (Bosinney). It is perhaps straining a point for the sake of consistency to carry over this symbolical hierarchy into all of Galsworthy's work: the essay manages it with but little implausibility. If the symbolistic explanation seems...
...audience was hard put to understand. In Act I, labeled "Avila: Saint Therese half indoors and half out of doors," Saint Therese holds the stage, permits herself to be photographed with an old-fashioned camera covered with black cloth. Other saints bombard her with questions. Finally when the chorus solemnly asks her: "If it were possible to kill 5,000 Chinamen by pressing a button would it be done?" an end man replies for her: "Saint Therese not interested...
Merry Mount started off with a promising overture, stanch and hymnal. After that the orchestra seemed capable of only the most commonplace description. The Hell scene was noisy but unexciting. Bradford's passion for Marigold was expressed by a theme startlingly like "Limehouse Blues." The Puritan chorus had the richest music but it sang so often, intoned so many ''Amens" that at times the opera seemed more like a cantata, more suitable for a concert performance such as it received last spring in Ann Arbor (TIME...