Word: leyla
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...Francisco Opera, second to Manhattan's Metropolitan in rank, is second to none in discovering and importing good foreign singers.*Last week it pulled a double coup, gave U.S. listeners their first chance to hear famed Bulgarian Basso Boris Christoff and beauteous Turkish Soprano Leyla Gencer. Gencer, loved at first sight, was the modest and moving star of Zandonai's rarely heard Francesco, da Rimini; Christoff, playing his temperament to the hilt, was almost the ruination of Boris Godunov...
...Slender Leyla Gencer, 29, moved about San Francisco's rehearsal stage followed by approving smiles, inviting glances and, among the company's Italian singers, audible coos. The heiress of a family of Turkish landowners, she gave up the idea of developing her voice when she married a banker. But in 1948 he encouraged her to study at the conservatory. Today she is diva of the Turkish State Opera in Ankara and is known across Europe...
...Must Love Someone (by Jack Kirkland & Leyla Georgie; produced by Jack Kirkland) tells of six fly young ladies who, at the turn of the century, made up a Florodora Sextet.* In Act I, along with six swains, they render Tell Me, Pretty Maiden quite fetchingly; then for the rest of the show they gallivant with various admirers whose attentions go considerably beyond candy, books and flowers. One Pretty Maiden goes in for blackmail; another enjoys watching her aged suitor tumble down a flight of steps; a third is kept by a pal of the Mayor's; a fourth gets...
...authors (Laurence Stallings and Maxwell Anderson) owe no moderate debt to the cast for a performance that rubs elbows with perfection. Louis Wolheim (Hairy Ape) plays the drunken captain; William Boyd, the sergeant; and Leyla Georgie, a newcomer, the girl. Mr. Wolheim has the toughest face in the American Theatre, the toughest part as Captain Flagg, and he blends them irresistibly. The remainder of the company seems a superb selection. The play with any other cast would smell too sweet...
...little ashamed of the God damns and Jesus Christs in the dialogue, and he apologized in the playbill. . . . Mr. Arthur Krock, who is an editorial companion of the authors on the staff of The New York World, describes their play as a barrack-room ballad. . . .1 thought that Miss Leyla Georgie's characterization of a, frail French girl, skipping gracefully from marine to marine, was a little masterpiece...