Word: dianas
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Dates: during 1950-1959
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With security measures thus complete, the trial got under way. It was an action by a Brighton shopgirl named Diana Grace Rains-Bath against Russian-born U.S. Hypnotist Ralph Slater (real name Joseph Bolsky) for damage incurred during a music-hall show three years ago. Slater, Diana charged, had not only hypnotized her in the course of his act as he intended, but sent her home in a psychological depression that lasted almost three years. It took, she said, 23 visits to Australian-born Dr. Sydney Van Pelt, president of the British Society of Medical Hypnotists and avowed...
...legendary story works itself out in a lyrical dance duet by the lovers (Diana Adams, Jacques d'Amboise), a sword fight between Tristram and the cuckolded king (Francisco Moncion). Then, as Tristram and Iseult lie adying, the stage darkens again, the ruins of Tintagel descend, and the dancers don their dusters, derbies and veils. They wander off, wondering whether it was a dream...
...opened on a simply curtained stage with an eight-girl corps in red-shaded classic tutus, moving in familiar Balanchine patterns-four against four, diagonally across the stage, interweaving. Then Balanchine proved the caliber of his company. He set five ballerinas in a line: Maria Tallchief, Tanaquil Le-Clercq, Diana Adams, Patricia Wilde, Melissa Hayden. Three danseurs nobles
...Eglevsky, Robbins and Magallanes) joined them in a fluid, swiftly changing pattern. In the second movement, "Theme and Variations," Balanchine exploited Tallchief's precision, Diana Adams' elegant lyricism, Melissa Hayden's athletic excellence. The "Minuet" interlude for the corps de ballet was dainty, but with too much energy and verve to be precious. The Finale, with the full company on stage, sent the critics racing hot-eyed for their typewriters...
After intermission, the chorus was joined by the Harvard-Radcliffe Orchestra. The "Serenade to Music," with the text from Shakespeare's "Merchant of Venice," demonstrated Vaughan Williams' great ability in fitting music to words. The gradual crescendo and accelerando that begins at the words "Come, ho, and wake Diana with a hymn," were vivid without being garish, effective without artificiality. And there were many other moments of similar dramatic unity...