Word: spoilsports
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Dates: during 1970-1979
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...most striking change--and welcome it is--comes with the spoilsport steward Malvolio. Bob Dishy's portrayal last summer was by far the worst Malvolio I have ever seen, professional or amateur. This time we have Kenneth Haigh, who knows what he's doing. He can wither with a glance, and inflate his importance with a long swagger-stick. And he is wise enough not to protract the Letter Scene beyond endurance. Fine as Haigh is though he has not found as many nucances in the character as Philip Kerr did on this came stage...
...were on hand in Paris to look over the fashion parade, and their reaction was a mix of ecstasy and caution. "It was the best couture season in ten years," said Ohrbach's Sydney Gittler. "The chemise will sweep America." Some, however, took a less upbeat approach. Gloomed Spoilsport Clovis Ruffin of Ruffinwear...
...Spoilsport. The credentials fight had been an ironic affair. The moral thrust of the reforms by which McGovern ascended was to guarantee just representation for all factions of the party. California election law would seem to violate the spirit of those reforms. In fact, McGovern, as original chairman of the party reform commission, had opposed the winner-take-all idea, but he was outvoted. Days before the primary, Humphrey said that he would not challenge it if he should lose. "They've decided what they want to do here," he told CBS-TV'S Walter Cronkite...
...just that kind of politics that Humphrey practiced last week when it seemed his last chance of staying in the race. Asked if he had become a spoilsport, he conceded: "I guess you'd have to say I have." McGovern took the California primary with 43.46% of the vote-thus winning all 271 delegates -while Humphrey ran second with 38.55%. When the 150-member Democratic Credentials Committee assembled in Washington's Sheraton-Park Hotel to consider the challenge, the Humphrey delegates banded together with Wallace and Muskie forces in a stop-McGovern coalition that upheld the challenge...
...Americans," he says, "feel that the critic is a kind of spoilsport. But anyone who writes a play is joining the company of some real giants. I'm not here to say to a playwright, 'How nice, John, you've written a play.' Let his mother say that." Kalem believes that he is here "to give the reader a clear idea of whether this work is worth seeing. Criticism should also aim at placing a play within the history of its genre...