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Word: dictional (lookup in dictionary) (lookup stats)
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...also recounted debates of bettors and bums like Two Head Charlie and The Blotter as they examined life's ironies after midnight on the side streets off Broadway. In columns beginning "Nobody Asked Me But . . ." he offered such offbeat aphorisms as "Nothing improves an actress's diction more than marrying money...

Author: /time Magazine | Title: Milestones, Dec. 17, 1973 | 12/17/1973 | See Source »

...answers the sighs of his beloved with an impassioned, "O, ditto, ditto!"; later, stammering in each other's arms, he says, "We don't even have to finish our sentences any more. We don't have much to say any more." LaZebnik's dialogue abounds with malapropisms and humorous diction, and the cast carries them off with ease...

Author: By Jonathan Sheffer, | Title: Solid Gold Teeth | 12/8/1973 | See Source »

...Charles Hefling. Hefling sings with a baritone's lightness and ease. He gave intelligent emphasis to the text; were his range a tenor's, he would make an admirable Evangelist for the Passion settings. Ronald Coons, singing the tenor recitative, fared badly in comparison where his vibrato obscured his diction. He was much better, joined by alto Paula Shepard, in the duet which was the climax of the piece...

Author: By Kenneth Hoffman, | Title: Choral Evensong | 10/31/1973 | See Source »

...debut. It is an unalloyed delight to follow her progress from an innocent country wife to a sophisticated cunt-ry mistress (Wycherley surely intended the punning title). Miss Shelley has the advantage of being British herself and of knowing just how to deal with Margery's unrefined diction. How honestly she skips about on learning she has smitten a man at the theatre! What a laugh she elicits on exclaiming, "Oh jeminy!," when first introduced to the Horner she has heard about! How telling her little gasp on finally entering Horner's bedroom...

Author: By Caldwell Titcomb, | Title: 'The Country Wife' in Bright, Funny Revival | 7/6/1973 | See Source »

...choir was admirable for its good diction, pitch, and attack. The sopranos handled the difficult syncopations at the end of the first piece with precision. It seemed unlikely for the quality of Mem Church music to rise still higher after last year's triumphant Schuetz festival; but last Sunday's premiere was commendable for its technique and still more so for its presentation of contemporary choral material, a musical genre so often maligned or ignored...

Author: By Kenneth Hoffman, | Title: Retreat From Indifference | 10/31/1972 | See Source »

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