Word: spirits
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Dates: during 1920-1929
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...platform and knocked him down. . . . But, somehow, not even this episode succeeded in making Mr. Amery either famous or infamous. . . . The reason is not obscure. His public form, contrary to his private manner, is hard, arid, vitriolic. No humorous legend attaches itself to his name, and no kindliness of spirit or gaiety of expression graces his acts or utterances...
...isolation is unprecedented. He has personal friends, the chief being that other kindred spirit, Lord Birkenhead, and his loyalty to them is notorious; but he is an Ishmael in public life, loathed by the Tories whom he left and has now returned to; distrusted by the Liberals, on whose backs he first mounted to power; hated by Labor, whom he scorns and insults, and who see in him the potential Mussolini of a wave of reaction...
...Right Rev. Thomas M. O'Keefe, pastor of the Church of St. Benedict the Moor, presided at the opening; and many another white priest assisted. God might look like Monsignor O'Keefe, thought many a Negro child newly inducted into Catholicism, but surely the Holy Spirit was like Mother Superior M. Theodore of the Handmaids. Her order of black nuns was founded at Savannah, Ga., only nine years ago to show the beauties of their Church to Negroes. But when the centre of Negro immorality, by Church definition, definitely shifted to Harlem, the Mother House...
Brought to Manhattan last year by the Neighborhood Players (TIME, Dec. 28, 1925) this play based upon an old Jewish legend quickly won fame and riches. The "dybbuk" is the spirit of a departed youth. It takes its strange abode in the heart of a Jewess, keeping alive in her perturbed breast the love she bore the spirit when it possessed a body of its own. Priestly folk would exorcise the disturber in the interests of sensible matrimony to a wealthy wooer. But with shrieks and groans the ghostly lover wages a sturdy, though mystical, battle for the lady...
...parts, paint their faces with unusual pigments in strange designs, interpret their mysterious emotions before impressionistic scenery. As artists detached from the world on the other side of the footlights, they breathe unmistakable intensity into their roles. Anna Rovina, who plays Leah, the body haunted by the restless spirit of her dead lover, is heralded as one of the world's greatest actresses. In gesture and movement, she speaks eloquently to those in the audience with whom she cannot communicate through the medium of language...