Word: lyricism
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Dates: during 1950-1959
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...production never bores but seldom moves one. The fall of Blanche DuBois should certainly evoke a greater reaction than horror. Otherwise she becomes grotesque, and her viewers cannot take her seriously. This was definitely the case Tuesday evening; and, as a result, some of Blanche's most lyric moments drew laughter from the audience...
...have become so exhaustively familiar in his more recent work--the mendacity, the liquor, the sex-starved woman, the stud male, and so on. But the most distinctive characteristics of Williams' writing are his vivid and powerful command of language and his fascinating use of rhythmic speech patterns--sometimes lyric, sometimes syncopated like a primitive drum...
...breathe quietly again! But this line is delivered as though by a tired prostitute, and not by a woman with a sincere desire to escape from her past and begin life anew with the security of marriage. Likewise, the scene with the young bill collector is completely lacking in lyric quality and only the primitive element is played. The way in which Miss Humphrey delivers, "I've got to be good--and keep my hands off children," using her lower register and a drunken slur, is strongly reminiscent of Tallulah Bankhead. There is nothing gossamer here...
...Horn, woodwinds; Tommy Loy, French horn; Jimmy Rowles, piano; Shelly Manne, drums; Don Bagley, bass; Dot). A suave and discreet group worries through wistful laments such as Paul's Blues and upbeat numbers such as It's Cooler Inside. Pianist Rowles's feathery acrobatics are a lyric delight, but the real news here is Newcomer Loy, who can cajole his French horn into swinging solos or softly twine it about Paul Horn's alto flute...
...Lyricism over Steel. Two successive performances of Swan Lake introduced Ballerinas Maya Plisetskaya and Nina Timofeyeva, two of the Bolshoi's first-line quartet of female dancers (of the first week's stars, Galina Ulanova no longer dances Swan Lake, and Raissa Struchkova is not doing so at the Met). Both ballerinas were superb in the double role of Odette-Odile-the Swan Princess and her evil counterpart. Plisetskaya danced her roles with a more contained fire, whipped her sprung-steel body through scissored leaps and glittering turns, gave the role of Odile a brittle profile that suggested...