Word: ragingly
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This was the period of Kern's "Princess Theater musicals," written with Wodehouse (pre-Jeeves) and Bolton. At a time when Continental operettas were all the rage, these "midget musical comedies" -- airy, brash and daringly American -- created a theatrical revolution to a ragtime beat. They set the tone and tempo on Broadway for the next decade and beyond. When the style changed, it was again Kern who reshaped it, along with Oscar Hammerstein II. Their 1927 Show Boat, with its sweeping seriousness and its near operatic transformation of blues and folk music, paved the Great White Way for Porgy...
Shattuck acknowledges that, despite the battles of the season, "the threats are not going to go away" while the debate over cutting the deficit continues to rage. "Reagan's policy has put at risk some items of very substantial value to Harvard, to higher education, and to society," he contends. Nevertheless, he says, "Harvard has been quite successful in staying off disaster" in the form of the greatest threat to academic freedom since the McCarthy Era and the greatest to universities' financial stability for the past 15 years...
When hundreds of Baltimore steelworkers are laid off from their assembly line in the winter of 1983, however, the comfort abruptly collapses, leaving a wake of rage. Some blame the Japanese or the Government; all confront the terrifying reality that they have what are euphemistically called "nontransferrable skills." At first, hard-drinking Red Baker, former high school basketball star now turning 40, buries his fear. Each day he sees Wanda, his wife of 19 years, off to her waitressing job, and plays one-on-one basketball with their teenage son Ace. "Act like a family man," he tells himself, "keep...
...anxiety of outnumbered usurpers. They dwell in the past, using jargon and jingoism, history and mythology to erect walls around themselves and ward off the unknown. The white South African, contends Crapanzano, exists in a state of suspended animation. His waiting produces "feelings of powerlessness, helplessness . . . and all the rage that these feelings evoke...
...power of the play comes from the barely suppressed rage of its central characters: Ma Rainey (Theresa Merritt), a fierce, massive singer who has reacted to prejudice by creating an isolated world in which she need not tolerate the least compromise, and her backup trumpet player (Charles Dutton), a keenly ambitious composer-arranger who is fixated on the memory of his mother's rape by white thugs. When these two potent wills clash, the bystander who suffers is, inevitably, one of their own and not a white oppressor. Episodic and slow but vividly real in portraying even minor characters...