Word: set
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Dates: during 1950-1959
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Last week the party came apart. Accusing the left-wingers of being "proCommunist and anti-American while pretending to be neutralist," Right-Wing Leader Sue-hiro Nishio took 30 Socialist Diet members with him and set up a new "Democratic Socialist Party." Nishio is a coldly aloof onetime foundry foreman who organized one of Japan's first labor unions. He made it clear that his new party would have no time for "the proletarian revolution" and class war, would attempt to offer Japan's growing middle class as well as its laborers a non-Marxist alternative...
...role as one of Britain's most influential style setters, Princess Margaret set stylish maids and matrons agog by a radical change of hairdo. Almost flapperish, the new do features tight rolls by the ears, an arcing lock of hair across the forehead. Making one of her first public appearances in her changed coiffure, Margaret, 29, went stomping at London's Savoy Hotel with Bachelor Farmer Alan Godsal, 33, who carries the title of High Sheriff of Berkshire. After losing an open-toe slipper on the dance floor, Margaret smiled impishly while Godsal, crimson with embarrassment, retrieved...
Jackie Gleason is the one overt performer in Take Me Along, but he displays more of a vaudeville than a video air as he and Walter Pidgeon do a delightful soft-shoe dance, or as he says: "There are 14 saloons in this town, and I've never set foot in one of them-the one on 4th Street." But Actor Pidgeon, with his plaintive middle-aged joke in Staying Young, and Robert Morse, with his just-right teen-age theatrics in I Would Die, and Eileen Herlie, hilariously spinsterish about the facts of life in I Get Embarrassed...
...footless, philandering one, an upstart capitalist, his kind, downtrodden factotum-even an unexpected burglar. At the opposite end, in the assemblage, from grizzled old Captain Shotover is bright-eyed young Ellie Dunn, standing for the future as he for the past, proving most malleable as he is most set...
...masterfully radiant one, by Alan Webb, despite the hurdle of being the good man of the play. But there was merely competent performing too. And the last scene lacked any touch of magic, partly because it wore too lively an air, partly because Ben Edwards' all-purpose set placed it in a well-lighted sort of courtyard instead of a dusky, dreamlike garden. All the same, after a 21-year absence from Broadway, a play boasting so many good things, in a production with such good things, is well worth a visit...