Word: gracefully
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Dates: during 1920-1929
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This Year of Grace was heralded by fanfares, tuckets and sennets such as seldom announce anything less than the birth of a Prince of Wales or the entrance of Lit-tul Lillian Leitzel. Trans-Atlantic commuters who saw its opening at the Pavilion Theatre in London were reduced to choked, ecstatic finger-tip kissing in their attempts to relate its manifold charms. Jesse Matthews, they ultimately gasped, sings "A Room with a View." . . . Tillie Losch's fluttering hands, fanciful feet . . . brilliant . . . divine...
Nonetheless, This Year of Grace is a buoyant revue: a little long, perhaps, Coward a little too ambitious, but it has assuredly presented two song-hits of the immediate future, a dozen superb drolleries, and the unforgettable Lillie...
Treasure Girl. As soon as Beatrice Lillie, her onetime co-star in The Chariot Revue, had opened in Manhattan (see This Year of Grace) Gertrude Lawrence opened in a musical show of her own called Treasure Girl. Gertrude Lawrence is certainly the most consistently beautiful of all modern song and dance actresses. The pictures of her face and front and back, which decorate theatre lobbies, do not have to be taken from some special angle or worked over by men with brushes. On her long legs, she moves rapidly about the stage and she sings less with her larynx than...
Annually now the Metropolitan Opera Company feeds the public a big human interest story. Three years ago it was Sopranos Marion Talley and Mary Lewis. Last year it was Soprano Grace Moore. All were "poor girls" who had their dreams, worked hard, lived right. This year so far honors go to Soprano Clara Jacobo, 28, daughter of an Italian grocer, who made her debut last week in Il Trovatore...
...Singer. Poor girls who work hard, live right, do not always develop into great singers. Marion Talley disappointed. So did Mary Lewis, Grace Moore. But Clara Jacobo promises better things. She has at least, contrary to her predecessors, a mighty voice that fills the far crannies of the opera house. She has had operatic experience, sings and moves with an assurance that projects over the footlights. Her first Leonora quavered occasionally, strayed a bit from the pitch but critics took it all kindly, as part of a debut performance, voted her a useful addition to the Metropolitan roster...