Word: magical
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Dates: during 1980-1989
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Shortly after 11 p.m., the giant tote board signals that America has given $1 million. Live, from Atlantic City, via the magic of television. Francis Albert Sinatra. The Chairman can't really be classed with Wayne and Tony. He is them plus talent, class, and a little subtlety, cool sophistication one step above rhinestoned trying-very-hard glamor. Sinatra sings "New York, New York," which will be sung by at least six other performers during the show, and does it a little wryly, not just the simple "If I can make it there I can make it anywhere" Babbitry...
...confirmed old bachelor, should be. Cecil Beaton's black-and-white costumes will always cause gasps of pleasure, and Oliver Smith's sets will forever define the boundaries of 27A Wimpole Street, where a flower girl was transformed into a lady. Within those walls there is a magic yet. But audiences will have to try a little harder than they did in 1956 to see just how fair the lady really...
...aquarium's orchestrated splendors include plenty to justify the quote from the late anthropologist Loren Eisely that is lettered on a plaque at the start of the exhibits: "If there is magic on this planet, it is contained in water." Suspended majestically over the central space is a 63-ft. skeleton of a finback whale donated by the New York State Museum in Albany, where it had been on display from the 1890s to 1978. The dolphin pool, or "tray," is visible from almost every vantage point in the building, its rippling surface broken by the frothy play...
...worldwide headlines. It's not half the opera that Hindemith's great Mathis der Maler-a work that really deserves revival-is, but Lou Galterio's madcap staging made it lively and Bruce Ferden's energetic conducting kept the evening humming. No amount of stage magic by Director Bliss Hebert, however, could save The Rake's Progress, the most depressing waste of a good libretto (by W.H. Auden and Chester Kailman) in 20th century opera. Neither Soprano Elizabeth Hynes' touching Anne Trulove nor Raymond Leppard's sympathetic work with the orchestra could raise...
...first torchlight of the primeval, oaths worked by the magic of the words themselves; later, they glowed with the power of the gods, who were invented to officiate at melodramas. Oaths should be sparingly used and specifically targeted. Their imposing solemnity can shade without warning into the preposterous, into peeled grapes on pledge night, a witch doctoring oogly-boogly like the oath that Tom Sawyer's gang swore in the cave...