Word: goldings
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Dates: during 1960-1969
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...other Arab nations were in any position to help Nasser-or themselves. As a result of the Middle East oil embargo (see WORLD BUSINESS), Iraq's gold reserves are expected to dip perilously low. In Syria, which lost the vital revenues from two oil pipelines, the capital city of Damascus began rationing food last week. Lebanon's $85 million-a-year tourist industry, meantime, has all but dried up. Hardest hit is Jordan: it lost not only the tourist-rich Old City of Jerusalem but, at least for the time being, the agricultural lands on the west bank...
...repression could not fully accomplish, inner dissension did. Some Wobblies-including Helen Gurley Flynn and John Reed-drifted toward Communism. Others slowly eased their way back into society. Ralph Chaplin, as great a labor poet as Joe Hill, turned both conservative and Catholic. English-born Charles Ashleigh became a gold prospector in Mexico...
Robert Kya-Hill, in a white robe with gold trim, is an imposing Prince of Morocco, but he doesn't get out of the part as much as Earle Hyman did a decade ago. (As often done, Morocco's two scenes are fused into one, which is detrimental to the play's structure, such as it is). When he chooses wrong and has departed, Portia points up the racial slur in her tag-line, "Let all of his complexion choose me so." As for the Prince of Arragon, James Valentine makes him a heavily accented and logorrheicninny; and, when...
...present production does not keep us in doubt for long. Before the performance even begins we see a huge golden lion-rampant hanging in front of a blue cyclorama -- the lion being a traditional symbol of gold, and gold having long been termed "the lion of metals." Underneath we note part of two arched Venetian foot-bridges, both of gold. A short masque takes place on stage, but we are put somewhat ill-at-ease by the dissonant musical score provided by Richard Peaslee (a far cry from the pleasant harmonies Virgil Thomson composed for the Festival's Merchant...
...scenes in Portia's Belmont, Ed Wittstein has designed an outdoor garden setting dominated by an enormous tree branch with leaves of -- you guessed it -- gold. Portia appears in a peach gown (designed, like all the other costumes, by Jose Varona) and carrying a parasol. It is not long before we realize that this Portia, in the hands of Barbara Baxley, is a thoughtless, superficial woman, and probably frigid to boot. Miss Baxley's nasal and mindless mode of speaking doesn't help much, either; she constitutes no improvement over Katharine Hepburn, who was so disastrous a Portia...