Word: english
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Dates: during 1960-1969
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...Incredible Flutist, and Tender Land are all charming. The Tallis and Greensleeves fantasias, Young Person's Guide, Ceremony of Carols, and Spring Symphony are all exquisitely charming, irresistibly delicious. But I, for one, am slowly drowning in this unendurably "childlike" floodtide of syrup and sugarplums. The popular repertoire of English and American works is one great confectionery, a banquet of indigenous sweetmeats, a maddeningly luxurious dessert table from which the audiences can engorge marzipan and seraphim until prostrate from he sheer agreeableness...
...great Nieman star was Gordon "Ringer" Taylor assistance professor of English, who homered early and ignited the Nieman spark with his derring-do as he slid on his brow across the old platter...
Last week, at Manhattan's Metropolitan Opera House, the Royal celebrated the 20th anniversary of its first U.S. tour with the American premieres of two works that admirably displayed its body-English mode of dance. Jazz Calendar, the slighter piece, is a light-hearted series of variations on the old nursery rhyme that begins, "Monday's child is fair of face." Wednesday's child, who is "full of woe," is portrayed by Svetlana Beriosova as a studiously mournful, black-clad wraith, pursued by a clutching quartet of mottled, mock-serious snakes. Friday's children love...
Both of the Royal's new works, appropriately, were created by Sir Frederick Ashton, the company's director since 1963 and, with Balanchine, one of the world's two finest living ballet choreographers. "If Fred is in the English tradition," says Dame Margot Fonteyn, "that is because he is the one who made it." Like Balanchine, though, Ashton began in the Russian tradition. Born in Ecuador, the son of a British businessman, he began studying ballet at the age of 18. Two years later, he worked with the company of Marie Rambert, for whom he produced...
...Producer-Director Michael Winner, who has made a lot of second-rate movies in his time (Girl-Getters, The Jokers, I'll Never Forget What's 'Isname) but none so consummately awful as this. He allows Reed to sway and scowl across the screen like an English Jack Palance, while Michael J. Pollard, as the benighted guerrilla chief, quickly exhausts his repertoire of puckish expressions. Since he attracted attention in Bonnie and Clyde, Pollard has turned into a mumbling buffoon whose limited talents are perfectly in harmony with the selfconscious, self-indulgent, elephantine whimsy of Hannibal Brooks...