Word: manns
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Dates: during 1950-1959
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...stern face of Horace Mann looks down from the walls of the principal's office in thousands of public schools. Almost everybody who got past the fourth grade has been pounded with such Mannly aphorisms as "Be ashamed to die until you have won some victory for humanity" and "Lost . . . two golden hours, each set with 60 diamond minutes...
From his modern hillside house outside Zurich, Switzerland, German-born Author Thomas (The Magic Mountain) Mann talked about writing. "The German language is an organ," he said, "but if I could be born again I would choose English. It opens much greater possibilities. Apart from Goethe and the other classics, the German language is not popular. It is not indecent to be unpopular, but this is the fact." How did he rate authors like Faulkner and Hemingway with the big names of earlier generations? "There is a colossal difference in size. Think of the forest of great authors...
Then in 1950, co-starring with Sidney Blackmer, Shirley arrived unheralded on Broadway in Come Back, Little Sheba. One of the last plays of that season, Sheba was written by an unknown playwright, William Inge, and staged by an unknown director, Daniel Mann. As Lola, the slatternly housewife who drives her reformed alcoholic husband back to the bottle, Shirley won her usual raves from the critics: "Splendidly played" . . . "One of the true acting achievements of the season...
...Theatre Guild persuaded Shirley to take a part in Come Back, Little Sheba, which was scheduled for a one-week tryout at the Westport, Conn. Country Playhouse. After three days of rehearsals, Playwright Inge and Director Mann were desperate. They had concluded that Shirley simply could not handle the role. They were chiefly upset by her stock-company approach to rehearsals: she merely walked through the part, mumbling her lines. Tearing their hair, Inge and Mann begged the Theatre Guild to get rid of Shirley and hire Joan Blondell in her place. Then, on the fourth day, Shirley was suddenly...
Bartok: Contrasts (Robert Mann, violin; Stanley Drucker, clarinet; Leonid Hambro, piano; Bartok). Three short Bartok movements-a fantastic little march, a bluesy interlude and a dazzling dance finale-provide an easy and agreeable introduction to the work of the modern Hungarian master. Performance: excellent...