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Green's genius for satire and whimsy makes him a superb interpreter of Gilbert's blandly ridiculous world. His finesse with patter is legendary, and he van steal a scene with a grimace of distress or a struggle with a rebellious toe. Scurrying up the scenery and tirelessly waddling, dancing and rolling across the stage, Green makes Tittipu an enormously funny place. His performance is a remarkable blend of subtlety and furious comic energy...

Author: By R. E. Oldenburg, | Title: The Mikado | 10/15/1952 | See Source »

...dictator at bay; the U.N. had just voted to continue its diplomatic boycott of his regime. Opening the Cortes (Parliament), he had denounced the "Masonic-Marxist-Communist" bloc at the U.N. and blustered that "our rights stand above an assembly which has no authority over us." A patter of unconvinced applause greeted his remarks...

Author: /time Magazine | Title: SPAIN: Big Day for Franco | 5/26/1952 | See Source »

Elizabeth Hubbard, Mary Bartlett, and Barry Morley are all outstanding in the principal singing roles. Miss Hubbard, as Katisha, is particularly excellent, her fine contralto voice and knack for slapstick evoking enthusiastic audience approval in the patter song, "There Is Beauty in the Bellows of the Blast." The whole production was helped greatly by the crisp singing of the on-and off-stage chorus, a tribute to Musical Director Norman Shapiro...

Author: By Joseph P. Lorenz, | Title: The Mikado | 4/17/1952 | See Source »

...course, it's not particularly cultural. The emphasis is on one and two man tap dances and patter songs, and visual rather than spoken humor. Its big ballet number is a shallow affair, not particularly symbolic of anything at all, but thanks to Cyd Charisse and her long legs, it is indeed entertaining...

Author: By Donald Carswell, | Title: Singin' In the Rain | 4/15/1952 | See Source »

...have been written by the same author. Except when they are wound up in a woolly snarl of technological jargon, they all employ one voice-that of the '203 and '303 tough guy, bounded on the rough side by "Huh," and on the smooth by slick patter ("Her voice was like _ a cello bowed up near the bridge"). All the objects of numbed horror are interchangeable, whether they are masked women wearing steel talons on their fingertips or vaporous robots created by "molecular integrators" out of the vagaries of spacetime...

Author: /time Magazine | Title: Books: Horrors in Space | 4/7/1952 | See Source »

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