Word: dialects
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Wholesale relies heavily on Jewish folk and speech ways. But as comedy, Jewish dialect is in awkward transition, no longer funny and not yet English. Harold Rome's score is drab and his lyrics re semble either singing dialogue or nursery rhymes. Dancers are blown about the stage like vagrant autumn leaves, but Harold Lang and Sheree North (Bogen's folly) make a scorching sex rite out of What's In It for Me? As Miss Marmel-stein. a secretary with absolutely no sex appeal. Barbra Streisand trips the show into stray laughs. For the rest. Wholesale...
...pull off the suitcase when he saw that an East German railway guard was eying him. It was the same man Bernd had told he had no luggage. An African got off the train, too, and hoping he could not speak German, Bernd cried to him in broadest dialect: "Let me help you with your bag!" The baffled African, thinking Bernd was asking for help, obligingly took hold of the handle, and they shuffled past the Red guard...
...both black and white, knowing the outcomes, musing on strengths and weaknesses unseen by the players. It is to catalyze these dark musings, not to commemorate the players, that Stacton restages the old battles. Not surprisingly, his novels lack the painted scenery and speeches in all-purpose King James dialect that clutter other historical fiction. In A Signal Victory, the ironically titled tale of the Spanish conquest of the Maya civilization, there is not a line of dialogue. The book's most vivid presence is that of Author Stacton, brooding in mordant aphorisms about the uses of power. Everything...
Married. Jim Jordan, 64, radio's Fibber McGee, for 21 years (1935-56) the incorrigible comic blowhard of 79 Wistful Vista; and Mrs. Gretchen Stewart, 52, widow of Dialect Comedian Yogi Yorgenson; both for the second time (Jordan's first wife Marian, who was also Fibber McGee's Molly, died last year after 43 years of marriage); in Honolulu...
Racial self-consciousness is a step backwards in American theater. Arthur Miller's Death of a Salesman (1948) took an obviously Jewish figure in Willy Loman (dialect, family relations, and the rivalry with the neighbors' son suggest a Jewish background), but expanded the character, rather than caricaturing him, concentrating on the universal qualities rather than the special heritage of the hero. To succeed in 1961 (without really trying), Miller's play would have to end with Biff and Happy going off to work on a Kibbutz...