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Within these boundaries the protagonists play out the drama of saintly endeavor and human fear like dancers in a dream of both life and death. Stage Director Dexter can take credit for that too, although he has been given some splendid singing actresses to work with - Régine Crespin, Shirley Verrett, Betsy Norden, Maria Ewing. As Blanche, the rich-voiced Ewing emerges as a genuine comer in her blend of inner anguish and, at the end, heroic resolve. In the pit, French Conductor Michel Plasson shapes the music with enough loving deftness to underscore the fact that Dialogues...

Author: /time Magazine | Title: Music: Dialogues at the Met, Finally | 2/21/1977 | See Source »

...Workshop are showing why the Rise Club will soon be the number one place to see jazz in Cambridge. The Mall has Melba Moore, who sounds okay, not great, on her new album "Melba," produced by none other than disco Van McCoy. Speaking of disco, the Jazz workship has Dexter Wansel in this weekend. Wansel is right out of The Sound of Philadelphia studios, and carries with him the high recommendation of Ken Camble, of Camble and Huff fame (the O'Jays). The strange thing about this Philly International date is that Jean Carn, who used to do some nice...

Author: By Jim Cramer, | Title: Cambridge Focus | 1/13/1977 | See Source »

...endlessly employed formula that has generated such high and low art as The Great Gatsby and Auntie Mame. This first novel, The End of the Party, by Marvin Barrett, is yet another variation on the same theme. Here, the part of the glittering mentor is played by Dexter Hillyer, a Midwestern-born artist who rose to fame in the 1920s as a chic illustrator. Hillyer is seen through the few but vivid memories of his godson Emerson Mercer. The stages of his life are marked by his shifting reactions to the older man-from youthful idolatry through later disappointment...

Author: /time Magazine | Title: Books: Notable | 10/25/1976 | See Source »

Alfred Bello and Arthur Dexter Bradley had been trying to break into a factory two blocks from the bar. When they heard the shots, they headed for the tavern in time to see two blacks leaving, and after Bello paused to rifle the bar's cash register, he called the police. But it was months before Bello finally told police that he had recognized the boxer and Artis; at the same time Bradley said he could identify Carter. Though defense witnesses said that Carter and Artis had been in another, nearby bar at about the time of the shootings...

Author: /time Magazine | Title: The Law: The Seventeenth Round | 3/29/1976 | See Source »

...theaters did Architect Denys Lasdun consider designing for a show of pomp, reports TIME Correspondent Lawrence Malkin. The priority was to make form assist theatrical function. With the Olivier Theater, in particular, consultations occurred between Lasdun and Olivier and such accomplished men of the theater as Directors John Dexter, Peter Brook and Peter Hall himself. The concept emerged of a theater in which, as Lasdun puts it, "an actor could hold an audience in the palm of his hand, and every one of them would have him in his sight." The fan spread of the house is between...

Author: /time Magazine | Title: The Theater: A New Treasure on the Thames | 3/15/1976 | See Source »

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