Word: coatings
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Dates: during 1930-1939
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...caps and turned-up coat collars surged noisily down a street strangely empty of cars. A taxicab wheeled into sight. The mob swept around it, forced out the passenger, blacked the driver's eyes. The tires were ice-picked, the windows smashed and the car rolled over on its side. That happened last week on Manhattan's Broadway and it also happened on Paris' Place de la Concorde...
...Marshal V, modeled in 1921 when he was still a prize winner. Red and sleek in Acajou marble was the magnificent champion Shorthorn bull, Bridgebank Pay master, winner of the British and Scotch championships three years, in a row. A Hereford bull champion, Twyford Fairy Boy, with grey-green coat of gold plated bronze, stood 18 in. high, 30 in. from rump to horns. There were two Lincoln rams, their fleece rendered in coarse-grained Burgandy stone. The great Middle White champion boar, Wharfedale Deliverance, beaten at last by his own daughters, showed his remote Chinese ancestry in pink marble...
...Coat, a Glove (by William Speyer, adapted by William A. Drake; Crosby Gaige and D. K. Weiskopf, producers). "Tell Mr. Cravath to be there by one," says Lawyer Robert Mitchell (A. E. Matthews) to his secretary in this play. This cool second-act instruction does not mean that famed Paul D. Cravath is about to be seen in A Hat, a Coat, a Glove. It merely shows that Mr. Mitchell has a 16-cylinder legal mind, with big names in his address book. For such a bland, patrician barrister, he is in a most astonishing predicament. His wife (Nedda Harrigan...
...meal with the senior partner of Cravath, de Gersdorff, Swaine & Wood would doubtless have made a much better third act than the one offered in A Hat, a Coat, a Glove. It is a gloomy and exceed ingly unreal courtroom scene in which A. E. Matthews, the suavest English actor on the U. S. stage, bites his nails politely while he refutes a rumbling district attorney. It ends with Lawyer Mitchell telling his wife to blow her nose. She indicates that she loves him still by borrowing his handkerchief...
...mysteries of the Metropolitan Opera Company has been its failure to engage Baritone John Charles Thomas, to reintroduce Tenor Paul Althouse. Last week Manager Giulio Gatti-Casazza endeavored to make up for lost time. Baritone Thomas was ordered to get himself into tail coat and top hat and enact the worried parent in Traviata. Plump Tenor Althouse, who sang at the Met twelve years ago, was told to slip on a bearskin for Siegmund in Die Walkure...