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Word: hurd (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...whose taste was formed earlier finds itself hard pressed. As Lady Bird Johnson remarked recently, while viewing a Roy Lichtenstein drawing: "I have friends who like it, own it, get excited about it. I keep trying." People who want a little peace and quiet in their art, Mrs. Peter Hurd said last week, are the ones who prefer the work of her brother, Andrew Wyeth. "He's probably painting the remnants of a simpler life," she admitted, and wondered if it was not his art, but the time, that has grown out of joint...

Author: /time Magazine | Title: Sculpture: Master of the Monumentalists | 10/13/1967 | See Source »

...Post Columnist Maxine Cheshire, who was once a police reporter, "and not be scooped." She seldom is. She guessed early that Jackie was pregnant with John Jr., was the first to pry confirmation from John Kennedy. She broke the story on President Johnson's rejection of the Peter Hurd portrait. Far from content with pool coverage, the Chicago Daily News's Colleen Dishon had an expert counterfeit an invitation to get her own reporter into the Jay Rockefeller-Sharon Percy wedding...

Author: /time Magazine | Title: Reporting: Pages for Women | 5/19/1967 | See Source »

...second jarring element in conception is the casting of physically small actors to play big characters. Given the necessity of using cleanshaven students for Irish laborers, Hamlin might at least have found tall students, and ones with deep voices. Toby Hurd as Jack Clitheroe (a bricklayer) is so implausible physically that the intensity of his performance goes for naught. M.D. Schlesinger, as Peter Flynn, must rely on a strictly musical-comedy set of old man's gestures which destroy the conviction of every scene...

Author: By James. Lardner, | Title: Plough and the Stars | 3/25/1967 | See Source »

Both of these performances combine to eradicate the first act. Almost from the moment the curtain rises, O'Casey's realism is locked in battle with the stylized portions of the set, the vaudeville walk of Schlesinger, and the youthful voice and bearing of Hurd. It is this conflict--between the play and the production--which dominates the act and totally obscures its content. Because of it, Jack and Nora Clitheroe can make no impression as characters, and much of the later action, particularly in the last act, means nothing because the Clitheroes mean nothing...

Author: By James. Lardner, | Title: Plough and the Stars | 3/25/1967 | See Source »

There wasn't much design to Toby Hurd's set: Alan Symonds' lighting touched...

Author: By Joel Demott, | Title: Measure for Measure | 3/4/1967 | See Source »

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