Word: ming
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With all the coy ferocity of a Ming dynasty dragon, a deftly carved ivory Guerrilla crouches, defending the motherland against the wicked U.S. air pirates. In Reception, a stalwart group of ivory workers, looking like a miniature convocation of George Segal's plastered everymen, hangs breathlessly on the open-ended words of a Susskindly Chairman Mao. As propaganda, China's purveyors of political wisdom have clearly produced sculpture that is less polemic than totemic, but as art for art's sake-the show has more chuckles than any fun house at the Venice Biennale...
...said last week. He sent Congress a health message that calls for an estimated increase to $15.6 billion in fiscal 1969, at the same time declaring, "It is appropriate that the Government-which pays more than 20% of the nation's medical bill-take the lead in stem ming soaring medical costs...
...Ergo is not much of a pleasure to listen to, the staging makes it a delight to watch. The actors move swiftly and smoothly on, off, up, down and around the ingenious three-story set of Designer Ming Cho Lee. Their steps, gestures and facial miming are deftly coordinated with a mind-blowing razzle-dazzle of sound effects. Among the players, Jack Hollander is ebulliently disreputable as Wacholder, while Tom Aldredge makes an antiseptically uptight Wurz. The charmer of the production is Wurz's dimpled dumpling of a wife, played by Maxine Greene, 23, making her Manhattan debut...
...mistrust of the State Department, which he has described as "the most ornate bureaucracy since the Ming Dynasty," was not altogether unfounded. Once, when he was away from New Delhi, an aide handed him a coded message from Washington. How was he to read it without a decoding machine? The practice, the aide said, was to call Washington?on the telephone?and ask what was in the message...
Lights, Blots, Sets at Sea. The City Opera's new Coq d'Or offered a lot more to see and hear. Designers Ming Cho Lee and Jose Varona filled the New York State Theater stage with a zany array of colors and shapes, set off from time to time by flickering strobe lights and blats from offstage brass players. Soprano Beverly Sills and Bass-Baritone Norman Treigle curved their pliant voices brilliantly around the sinuous Rimsky-Korsakov melodies, and the results restored to life a witty, fantastic and unduly neglected score...