Word: likes
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Dates: during 1950-1959
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...Gabor. Last week she recalled with gratitude how Meneghini once sent her $40, while Maria sent her nothing. Said Evangelia of her daughter: "Meneghini was a father and a mother to Maria. Now she no longer needs him. But Maria will never be happy; my soul says it. Women like Maria can never know real love...
...twilight on Saturday," he demonstrates its positive side in terms of a Sabbath during the crisis-fraught readying of a Broadway play. "Leaving the gloomy theatre, the littered coffee cups, the shouting stagehands, the bedevilled director, I have come home. It has been a startling change, very like a brief return from the wars. My wife and my boys, whose existence I have almost forgotten . . . are waiting for me, gay, dressed in holiday clothes, and looking to me marvellously attractive. We have sat down to a splendid dinner, at a table graced with flowers and the old Sabbath symbols...
...Adventure episode. It was quickly apparent that all the shooting had been done around Hollywood, not Hawaii. Hero Gardner McKay, who has had more advance publicity than most established stars, proved himself a performer with all the animation of a monkeypod; his face, said one reporter, looked "like a death mask of Gary Cooper." The plot line spun itself out as the story of Adam Troy, Korean war veteran, who dreams of Texas while piloting his schooner Tiki past such hazards as a pigeon-breasted murderess peddling a hot black pearl. The Tiki and Captain Troy are also headed...
...Playwriting," says Moss Hart, "like begging in India, is an honorable but humbling profession." On the face of it, Playwright Hart has little to be humble about. As co-author of such comedy classics as The Man Who Came to Dinner and You Can't Take It with You, as librettist of Lady in the Dark and director of My Fair Lady, he will hold top billing in the American popular theater for a long time to come. But he has not had a play of his own on Broadway since the earnest, charming Climate of Eden...
...himself, the tougher he must be with the cast). Hart knows how to interpret all the sounds made by an audience: the implications of their coughs, the degrees of their laughter, the intensity of their applause-and he also knows that "there is never again the sound of trumpets like the sound of the New York opening-night audience giving a play its unreserved approval." After all the agonies of the road, that is what happened with Once in a Lifetime, and then the beggar-playwright, rattling his cup for a kind word, was transformed into a maharajah...