Word: facials
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...eyed spellbinder, his eye cocked to the collection plate and his theology about as solidly grounded as his gospel tent. But in Philadelphia a fortnight ago, the suffering who came forward to be healed-a retarded girl of about six, an old man with an ugly facial growth-received a blessing as dignified as the setting: 139-year-old St. Stephen's Episcopal Church. "This is no hocus-pocus," said St. Stephen's Rector Alfred Price from the pulpit. "This is a sacrament you are about to receive-the sacrament of healing...
...difficult to describe the perfection of the cast, which is uniformly excellent, and it is impossible to write of Miss Moreau's command of movement, gesture, and especially facial expression. Somehow she manages to draw one into her world as very few performers can. The riches of La Notte demand that one see it at least twice; until I have, I will say no more about...
...Scherbaum." Czech-born Scherbaum, 52, studied at the Prague Academy of Music, graduated to the Brno Opera Orchestra, and while there started "experimenting with playing ordinary trumpet parts an octave higher than written-just as a hobby." The hobby, Scherbaum thinks, helped him develop the breath control and facial muscles necessary for the baroque trumpet. Hired by Furtwangler as solo trumpet for the Berlin Philharmonic. Scherbaum returned to Czechoslovakia after World War II in 1951 settled in Hamburg, where he quickly became the highest paid and most famous member of the North German Radio Orchestra...
...acoustics of the HST seem bright and clear almost to a fault. Handel's Care selve, for example, suffered from too many changes of vocal color within its long phrases, and the exaltation of Schubert's Auf dem Wasser zu singen was conveyed more in the singer's facial expression than in the somewhat imperfect articulation of the notes. Madame Schwarzkopf's historical curiosity got the better of her usually flawless taste when she chose to sing a version of Mozart's Voi che sapete "with embellishments noted down at a performance in Vienna at which Mozart was present...
Still, the show is a triumph. In the main, this is due to Mr. Bradshaw as John the Witch Boy. Mr. Bradshaw's voice, his eloquent facial expressions, and his lithe and graceful movements make everyone forget the production's rough edges. He and Ronald Blau also contribute some excellent incidental music. Mr. Bradshaw's performance is as fine a one as Harvard is likely to see this year...