Word: morgans
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Dates: during 1970-1979
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...heavily Jewish garment district, and the Jews for Jesus outpost in Manhattan has been ransacked. One Texas convert says he was kidnaped while celebrating Passover with his brother, a rabbinical student, and held for days of "deprogramming" until he renounced Jesus. The most extreme opponent is Hesh Morgan, whose militant Anti-Missionary Institute plants spies in Evangelical groups to gather information and assigns youths to disrupt meetings and heckle speakers. It is "literally a war." says one Los Angeles rabbi...
...history of the musical. Those who need to be shown why can catch a new production of it at the Barn Theatre in New London, New Hampshire, from July 19 to 31. In the 1927 original, the singing of "Can't Help Lovin' Dat Man" and "Bill" elevated Helen Morgan to stardom; and it was expressly for her that Kern and Hammerstein wrote Sweet Adeline two years later...
...plot--such as it is--in which the signing-waitress in her father's Hoboken beer-garden, on losing her boyfriend, essays the New York stage and becomes a celebrity, is based to a considerable degree on the actual life of the show's star, Helen Morgan (1900-41), who told Kern and Hammerstein about her early years as a chanteuse in a German-style beer-garden named Adeline's. (A film biography of Morgan's life was made in 1957, starring Ann Blyth and Paul Newman...
Reportedly the title role was not in the best hands in Connecticut, and the part has been taken over here by Susan Watson, who turns out to have been a wise choice. I never saw any performance by the legendary Helen Morgan, for whom the part was tailored, but she must have had some kind of talent to have inspired such widespread adulation. I am, however, familiar with Morgan's singing, which I have always thought much overrated: her voice had a rapid, almost bleating tremolo, which I found unattractive...
...feel quite confident in stating that Susan Watson's Adeline is far superior to Helen Morgan's. Watson has an exquisite lyric soprano voice without the thinness that one often finds. Her pitch is secure, and her diction clear. Like many singers, she has a tendency not to hold the last notes of phrases to their full value, but hers is lovely vocalism all the same. And she is no stranger to the style of the 1920's, since she created the title role in the 1971 Broadway revival of No. No. Nanette...