Word: royalism
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Dates: during 1950-1959
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...much of a rise out of Britons. Sending Charles to Cheam was not quite the prescription of that young critic of royalty. Lord Altrincham, who "would have liked to have seen him enter a state-run primary school." But it was certainly more democratic than the old royal custom that prescribed for all heirs to the throne a private education under governess and tutors in the palace schoolroom...
...critic of the royal family, Lord Altrincham is both a Tory and a monarchist. Last week an Englishman who is neither joined the argument. Young Playwright John Osborne, whose Look Back in Anger was scheduled to open in Manhattan this week and whose sulky bad manners have made him the current darling of London's West End intellectuals, got off an angry outburst in the highbrow monthly Encounter. Describing the royal family as "a ridiculous anachronism" and "the gold filling in a mouthful of decay," Osborne denounced "Queen worship" as "the national swill" and no fit occupation for Socialists...
After four weeks of flexing its muscles at Manhattan's Metropolitan Opera House, the Royal Ballet (formerly known as Sadler's Wells) moved out to begin a four-month coast-to-coast tour. Along with its new name, the company brought five ballets previously unknown to U.S. audiences-including some of the most gaudily packaged merchandise it had ever displayed...
...Veteran Frederick Ashton and Solitaire by Kenneth MacMillan. Ashton whipped out his piece last year in honor of the company's 25th anniversary; it proved to be a sequined, dazzling showpiece for 14 soloists, and a convincing demonstration of the kind of high-caliber reserve talent the Royal Ballet can call on when it needs to. Margot Fonteyn's enchainement (linked movements) looked as poised and effortless as everybody expected; there was also some lithe, beautifully filigreed dancing by Rowena Jackson, Nadia Nerina, Svetlana Beriosova. Solitaire, a less panoplied affair, unfolded the story of a girl who does...
...Royal Ballet's performances were worth seeing for the quality of the soloists if not for the imagination of the choreographers. But as always, the company was at its best in the familiar pageantesque fairy-tale fare-Swan Lake, Sleeping Beauty-and in a revised and turbulent Petrouchka. Fonteyn & Co. still moved with a cool and stately charm unmatched by any other ballet group seen in the U.S. That seems to be more than enough for U.S. audiences; half a million people who will see the Royal Ballet during its present tour have already bought more than a million...