Word: romes
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Dates: during 1940-1949
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...Anderson, and very likely another hit. From the turbulent story of Henry VIII's Anne Boleyn, Playwright Anderson has made a plump and gaudy stage piece, a thing of fierce desires, clashing wills, momentous acts. For love or lust of Anne, Henry divorced Catherine of Aragon, broke with Rome, opened an age of bloodshed; while the insolent and ambitious Anne would be Henry's queen or nothing at the start, still his queen or nothing at the end-preferring, in Mr. Anderson's account, the block to banishment...
...final part of the concert includes "Romance in Rhythm," a musical sketch in modern jazz style consisting of numbers by the vocal groups. Anthony Bonner '49 of Rome, Italy is musical director of this portion, which is arranged by David Edgar '49, Peter C. Hewitt '49, and Bonner...
...would it ever win another election? Dewey's popular vote was only a shade larger than Herbert Hoover's, despite the fact that a whole generation of voters had grown up since 1928. But in the opinion of Ohio's Bob Taft (who was vacationing in Rome), the Republicans had only to hang on. Said Taft: "[The party] should present a constructive program . . . opposing every unnecessary addition to the totalitarian powers of the federal government. The fallacies and dangers of the Administration's economic and control policies will become entirely apparent to the people within...
Three Drinks & a Dream. At the root of Europe's misconceptions about the U.S. is what Visson calls the "Athenian complex." Europeans, he thinks, regard the U.S. somewhat as the Greeks regarded the rise of muscular, uncultured Rome. The Greeks told themselves (as Europeans do today) that these new barbarians across the water might have more money-but they would never be really civilized. European intellectuals have always claimed that those American nouveaux riches are uncouth. They have now made the damning discovery that Americans are also unhappy. America in their eyes is the playgirl of the Western world...
Both "The Road to Rome" and "Heartbreak House" were given excellent, professional productions and "George and Margaret" will doubtlessly get the same. But even though it was a success in London, "George and Margaret" failed when it was seen here in 1937, as often happens with imported hits. Mr. Linenthal describes it as a "pleasant and amusing" play. That much could also be said for "Claudia" and "I Remember Mama," two immense successes--but they do not belong in repertory. There is an uncomfortable suspicion that "George and Margaret" may not either...