Word: frailness
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...prolix attack on male imperialism. The Second Sex, Hardwick pricks its Utopian pretension that women are stronger and better than men in a commonsensical line: "Any woman who has ever had her wrist twisted by a man recognizes a fact of nature as humbling as a cyclone to a frail tree branch...
...message" of Boubouroche is clear enough, though the play itself, despite its undeniable humor, is really rather frail, as more than one critic observed when it was first produced in 1893. If the action is spread over two acts, it is only because of the change of scene from the cafe where Boubouroche learns of Adele's infidelity to her apartment where he witnesses it. In reality there is only one act's worth of material. And even then, when compared to more substantial one-acters of the repertory--of Feydeau, for example--this comedy tends to fade by comparison...
...Meyer and Rose Fatt Newhouse, young Sam almost missed childhood altogether?so did most of the young Newhouses. Father Meyer, a Russian Jew who migrated to Bayonne, N.J., before completing his rabbinical training, was a man of many miseries. He never succeeded in lifting his family above wretched poverty. Frail and asthmatic, the unhappy Talmud scholar worked occasionally in a factory, making suspender ends, but everybody had to pitch in. Mother Newhouse sold drygoods door to door; Norman, one of Sam's three brothers, .was set to peddling papers at the age of five...
...inside a 210-ft. sphere of inflated silvery fabric, stands a great, hornlike antenna. This mammoth electronic ear rotates, twists at odd angles, and can point toward any part of the sky. However it turns, two fair-size houses filled with electronics turn with it, and the thin, frail voice of Telstar is plucked from the sky. Fed into a maser cooled with liquid helium and sent through other intricate equipment, that voice is beefed up and transformed into TV programs or hundreds of voice signals...
...temperament and such undercutting (and yet tolerance) of sentiment, it was an intellectual pleasure to see amateurs capture so many of the emotional innuendoes. The stylization of Joanne Koch Schmelzer, her movements, her voice, her expression, were something to behold. Harry Knopf, as Luca, an old man, weak and frail, was very fine (and was an example of Knopf's versatility for those of us who remember him in Can-Can). As for Howard Kramer, the Boor, one can only say he must be seen to be believed...