Word: janes
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Dates: during 1950-1959
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...three principals are all very good. Harold Scott leers through the part of Jupiter with just the right amount of abandon, and gives it a most amusing kind of mock dignity. He also reveals a pleasant singing voice, which, if not overly strong, is generally clear and understandable. Sara-Jane Smith, as Eurydice, proves herself the best singer in the show with a soprano that has both power and range. Though she seems less sure of herself during the spoken passages, her acting is, on the whole, quite equal to the demands which opera imposes. Malcolm Ticknor makes a properly...
Some of the acting in The Rope, however, is a bit uncomfortable. John Sheppard works hard and often well at his difficult, mannerized role as the old man. William Searle, as his son, is fairly buoyant; his irresponsible sneer outweighs his awkward postures. Jane Connor assumes the character his slouchy sister with surprising completeness, even if her motions are occasionally static or self-conscious. By far the best person on stage is Eugent Gervasi, who plays her husband with the proud poise of a Greek statue. He is vitally alive and colorful whether soliloquizing or merely gesturing...
Unlike the Annex, Smith College and Vassar College showed no noticeable increases in applications this year, according to the directors of admissions at these schools. Miss Jane Sehmann, director of admissions at Smith, said yesterday that the college has received between 2150 and 2200 applications, and will admit a freshman class of about...
...playing and singing in the Magnificat were generally of high quality. The vocal soloists, Lee Calder, Dorothy Crawford, Sarah Jane Smith, Thomas Beveridge, and Karl Sorensen all gave musicianly readings of the arias, duet, and trio. At times there was not sufficient balance between soloist and orchestra, as often the result of too soft singing as too loud playing. Dorothy Crawford, in particular, could not seem to muster enough volume. There were also instances of imbalance between chorus and orchestra, caused mainly by the great army of tenors and basses that filled the stage...
...concert concluded with the late Anton Webern's Three Songs, Opus 23 (1934), excellently sung by Sarah Jane Smith. In them Webern applied his own refined pointillism to the atonal technique of Schonberg, with dubious success. I happen still to be old-fashioned enough to think that the human voice should not be asked to do everything an instrument can do. I find this disjunct kind of vocal writing, in which there are only angles instead of lines, highly ungrateful. The chief interest in these songs for me lies in rhythmic precision; and this in turn is best achieved...