Word: players
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Dates: during 1930-1939
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...play has few pretensions to distinction. A tempestuous and ardent German danseuse (Miss Ulric) is joined on her U. S. tour by a young Philadelphia millionaire who hides his identity from her, agrees not to make love to her if she will take him on as her piano player. Attired for the most part in revealing negligees, Miss Ulric at one moment tries to seduce him with the familiar Ulric twistings and oglings, at the next moment wards him off with her rasping voice. The struggle ends in a Rocky Mountain blizzard which has marooned the dancer's private...
...rule: A player removed for a substitute may return to the game in any subsequent period. Who broke it: Coach Ed Madigan of "little" St. Mary's, in the first period against California. When...
...book was written over the summer by the author, who attempts to repute the many charges brought against football by prominent writers and critics, that the game, as played in college, is nothing less than a more grind which is of little benefit to the players. Wood, who is well qualified to express his opinions on the game, having played for three years on the Harvard Varsity and having been named All American quarter back in 1932 treats the subject from the player's point of view. It does not consist of a player's random reminis cences...
...there is a capable chorus, the "gentlemen of Japan," forthright in song, mincing in pantomime, hair-trigger with the fan. Then there are three most excellent characterizations: the Lord High Executioner, the Lord High Everything Else, and the Mikado. Mr. William Danforth, as the Mikado, is a player most perfectly in the Gilbertian tradition. His devastating Oriental grin stretches permanently from ear to ear; he rocks with noiseless merriment as Ko-Ko tells of the deadly snickersnee; he recites the list of hand-tailored punishments aimiably through his teeth, till suddenly his blood-curdling laugh, like Mephistopheles, rips...
...case; members of the audience went away believing that some of her lines had been spoken extemporaneously; and in Margaret Ayer Barnes' "Jenny," she had the excellent support of Sir Guy Standing. "The Man With a Load of Mischief," however, is neither facile, nor Miss Cowl's supporting players deft. The result is a case of under-playing. Like a tennis player that has lost his nerve and contents himself by merely returning the ball any old way, Miss Cowl simply delivers her lines with painstaking care, hoping, perhaps, that the pleasant atmosphere of the old inn where the scene...