Word: dictional
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...Elliott Forbes. Three motets by Victoria, Beveridge, and Randall Thompson displayed control and lightness, the Thompson work being of peculiarly obvious but quite appealing construction. Two 17th century "ayres" by John Hilton and two 16th century chansons by Claude Le Jeune were sung delicately, but the chorus's diction was not always good. In a more lyrical vein, two songs of Brahms and one of Schumann were wonderfully rich and fluid, the latter ending softly with well-controlled dynamics...
Kippers & Champagne. Like Olivier, Finney is immensely versatile, is as good in modern plays as costume drama, and has a range of diction from Queen's English to Britannic Brando. But he has none of the smooth gloss of the classical acting tradition. He is relentlessly naturalistic, and his technique seldom shows on the surface. Like Look Back in Anger's star, Kenneth Haigh, Finney typifies the antiromantic, non-U hero who has emerged from the new social realism of the British theater. But as the rough and uneducated Arthur Seaton, a Nottingham lathe operator who fairly hums...
...took a gelid ride to the Pacific Northwest, piled logs, sold neckties, became a telephone repairman. One of the last phones he fixed was at the theater of the Red Lantern Players, where Josephine Dillon, then in her late thirties,, was the resident stage director. She taught him diction, projection and carriage, and married him when...
Output: 20,000. The son of a barber in London's Maiden Lane, Turner never got enough education to make him sure of his grammar or his diction, but he was turning out competent drawings at the age of twelve which his proud father peddled to customers for one to three shillings. Two years later, in 1789, young Turner was admitted as a student to the Royal Academy at a council meeting presided over by the redoubtable Sir Joshua Reynolds. He was a small fuss-budget of a boy with unruly long curls and a large nose. He seldom...
...ragged overture, but loose ends were tucked in as the first act progressed and after the interval there was plenty of spirit, spit and polish, high-lighted by Andrew Schenk's percussion and a pyrotechnic. DeVoto had occasional trouble with the choruses of daughters, pirates and policemen; sloppy diction messed up some numbers, and the orchestra periodically submerged the singers. Handling a company as large as this one is, however, no mean feat and DeVoto did more than well enough to retain his title as Harvard's best theatrical musician...