Word: rex
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...stylish suits. Nor was he born poor: his boyhood in Doland, S.Dak. (pop. 550) was as sunny and secure as any American boy could ask for. With his older brother Ralph and two younger sisters, Hubert grew up in a spacious, white frame house, with an Airedale named Rex, a rabbit hutch in the backyard, a cook in the kitchen, and a green model T Ford in the garage. Mother Christine Sannes Humphrey saw to it that her children attended the Methodist Sunday school and listened to Harry Emerson Fosdick on the radio. Father Hubert Sr. read to the kids...
...Fabulous Fifties (CBS, 7:30-9:30 p.m.). A backward look that takes in a talented team of entertainers who lent the decade distinction. Guests include Jackie Gleason, Rex Harrison, Julie Andrews, Shelley Berman, Nichols and May, Photographer Richard Avedon, and the playwriting duo of Betty Comden and Adolph Green...
...conspicuously low on highly dissonant intervals like minor seconds, thereby permitting continual suggestions of tonality, while orthodox twelve-tone theory axiomatically excludes anything tonal. (Concerning Threni, Stravinsky has mentioned the "triadic references in every bar.") Also, the series is fragmented, transposed and otherwise manipulated so that lines recall Oedipus Rex and the Canticum instead of Schoenberg. The rhythm and scoring is all Stravinksy; in particular the reserved, consciously archaic Stravinksy of the past few years; more reflective, less apparently expressive than, say, Krenek's twelve-tone setting of Jeremiah, also deliberately archaic...
...dramatic flatness. It is not so much that the play finds no destination as that it fails to dramatize the very lack of one. What The Fighting Cock needed, in the face of an all but preordained intellectual stalemate, was a greater emotional leverage, a more vibrant dramatic charge. Rex Harrison is a top actor and Peter Brook a top director. But whether it is the part's fault or the player's, the general is not an expressive enough figure. And whether it is the production's fault or the play's, The Fighting Cock...
...week fall season into the post-Labor Day lull before the Met's opening, was offering one of the most imaginative seasons of its inventive career. For his opening, Director Julius Rudel presented an improbable but highly successful pairing of Igor Stravinsky's austerely stylized Oedipus Rex and Carl Orff's lightly lyrical Carmina Burana, both conducted by Leopold Stokowski. The audience took to the double feature so enthusiastically that an additional performance was scheduled for last week. The season's second big hit: a superb production of Mozart's crystalline comic masterwork, Cosi...