Word: harold
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...philosophy and a big dollop of dancing. Virtually every word of dialogue MacLaine speaks is about herself, and that is just as she intends it: "Philosophically, celebrating myself is what I am into." Apart from her one-liners, there is one highly effective if overlong joke: she sings a Harold Arlen medley while the conductor and orchestra, supposedly influenced by the ghosts of George and Ira Gershwin, for whom the theater is named, keep bursting in with Gershwin themes. MacLaine manages to find a wistful, slightly torchy quality in one unlikely number, If I Only Had a Brain from...
...course was taught in the evening. Before it, we usually are dinner together, often with a guest who was an expert in the topic under discussion. For example, many of the cases we were studying were in the field of school desegregation and reverse discrimination. J. Harold Flannery, then Director of the Harvard Center for Law and Education, was a frequent guest, as was Archibald Cox, who had field an amicus curie brief in DeFunis v. Odegard, involving the question of whether a law school may constitutionally give preference to members of racial minorities. When the Supreme Court's decision...
Chicago Mayor Harold Washington cited the need for unity and strong leadership in the Democratic Party in a speech last night before a crowd of more than 250 at the Kennedy School of Government...
...dialogues in a Harold Pinter play are pitched battles between speech and silence. The speaker marshals all the resources of colloquial language-wit, wheedling, anecdote, abuse-while the listener waits out his opponent and, often as not, wins the battle by withholding approval, by being as silent as God. Such, too, is the uneasy symbiosis of Playwright Pinter and his audience. In these three short plays that Alan Schneider has mounted off-Broadway (two of them first performed at London's National Theater in 1982, the third earlier this year), Pinter dramatizes this relationship through three memorable audience surrogates...
...South Africa. That beautiful, terrible land invariably tempts writers to reduce it to black-and-white terms, to find a moral in its every predicament, a sermon in its every scene. Playwright Athol Fugard, 51, has won international acclaim by resisting the impulse to moralize. Such dramas as "Master Harold" . . . and the Boys, Boesman and Lena and A Lesson from Aloes do not preach against the evils of apartheid; they give institutionalized racism a human face, sometimes stolid, sometimes collapsing in laughter, tears or rage...