Word: darked
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Dates: during 1940-1949
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...Hollywood idea man had visited Manhattan's federal courthouse last week, he could have walked away with all the makings of a grade B movie script, complete with a theatrical producer, a dark-haired charmer trying to entice information out of him, and a sizable batch (89 pages) of ready-made dialogue. The script didn't quite turn out according to plan...
...capital. One morning last week, a black limousine stopped in front of the gleaming white, ultra-modern Teachers' College which carpenters and masons were enlarging to hold the legislative houses of the long-awaited German Federal Republic. Out of the car stepped a tall, elderly man, in sober dark suit and high, starched collar. One or two of the workmen recognized him as he passed, and nodded gravely; he responded with a grin. Konrad Adenauer, Chancellor-apparent of the Federal Republic, was on his way to his office, and to one of the most momentous tasks undertaken...
...Dyck made a trip to London, where he was ignored, and then circled down to Italy, where he found new old masters whose work taught him as much as Rubens' had: Titian and Veronese. Their paintings strengthened his like a blood transfusion, flooding his pictures with dark, rich colors and dignifying their shadowed backgrounds with glimpses of formal gardens, pillars and balustrades. With his liveried servants and coach & four, Van Dyck earned nothing but sneers from Rome's bohemian painters. But his manners as well as his brush charmed...
...wooden barn-studio to see the first performance of aging (57) Ted Shawn's The Dreams of Jacob, with music by Darius Milhaud. Critics found his new five-movement work both a little flat and a little obvious-Jacob dancing unimaginatively with Rachel, wrestling too literally with the dark angel. The verdict: back to the woodshed...
First, fans saw one of the old masters in an old work: tall, dark-skinned José Limón in Lament for Ignacio Sanchez Mejias. Last week, they saw him again in a smashing new work by the same choreographer. Unlike her Lament, Choreographer Doris Humphrey's new Invention had no story and no characterization; it was pure dance, but with plenty of invention. By the time Limón & Co. (Betty Jones, Ruth Currier) had gotten through its four brief sections (a bright, gay solo, a duo, a meditative slow movement and a powerful recapitulation) they...