Word: nathaneal
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Dates: during 1960-1969
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Happily, the show settles down to the real business of a wedding, which is squabbling and confusion. The negotiators, who would do credit to a disarmament conference, are Alfie Nathan (Shelley Berman), the bride's uncle and guardian, and Tilly Siegal (Eileen Heckart), the bridegroom's mother. Alfie innocently proposes a family affair in his living room, with only 40 guests present. Tilly wants the Old Oaks Country Club ("Problem weddings our specialty") and 400 guests. Alfie's defeat is honorable, and most of the time it is funny...
...Liebesleid, Liebesfreud, Caprice Viennois, La Gitana, Schön Rosmarin-have grace as well as sentiment. They are so well tailored to the violin that they are almost certain to survive as favorite encore pieces. "His arrangements brought out things for the violin we never dreamed of," says Violinist Nathan Milstein. "The violin was advanced by three persons-Bach, Paganini and Kreisler...
...avoid it so studiously that even major orchestras find it difficult to hire string-section replacements. But Stern and four other greatly gifted players have lifted the solo violin to an eminence any age could envy. Standing with Stern as the world's finest: Zino Francescatti, David Oistrakh, Nathan Milstein, Jascha Heifetz...
...NATHAN MILSTEIN, 57. another native of Odessa, was a student of famed Hungarian-born Leopold Auer at the St. Petersburg Conservatory, where, recalls Milstein, the young Heifetz was already established as "the Prince of Wales of fiddlers." A post-conservatory concert success in Russia, Milstein left for Paris in 1925, gave concerts with an old Russian friend, Pianist Vladimir Horowitz. It was not until after World War II, when he married and settled down in Manhattan, that he began to build a reputation as something more than an extraordinarily gifted virtuoso. Milstein is still a master of the bravura composers...
John Kulli's direction of the Lowell House production has shrewdly encouraged the play's most endearing virtues--its consistently high level of wit and the fundamental ingenuity of a plot that covers the historical epoch of man twice. Tom Segall as Nathan is a ludicrously, wonderfully pathetic God; Art Roberts (Rex Regis) is indistinguishable from a thousand harried executives. Plantagenet himself (Jere Whiting) seems determined to squeeze the juice from his lines; perpetually overcome by the cleverness of the dialogue he forgets that his significance lies not in his pose but in his machine. The grey hireling...