Word: stageful
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Dates: during 1950-1959
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Clouds of girls drift across the stage. Girls soft and bright, girls fast and funny, girls with dreamy looks and pouty looks, girls with languid smiles and impudent grins, girls with unruly bangs and neat velvety chignons, girls with eyes slanted a little and girls with eyes slanted a lot. Amid all the girls, one stands out in twilight softness. When she first appears, her slow, sloe eyes look down, ever so shy. Then she bounces her head in a pert little Chinese kowtow and the hoarse, sweet husk of her voice sounds hauntingly soft. "Ten thousand benedictions...
...Miyoshi, the chubby Nisei is bouncing through her first Broadway part. Whatever else may be said for or against Flower Drum Song, it brings to Broadway two of the most endearing stars in many a season-surrounded by a fascinating Oriental chorus line that will give the most jaded Stage-Door Johnnies a new incentive...
...times it seemed close to becoming her show. As Linda Low-hymning "Grant Avenue, San Francisco" with all the fire-cracking verve of Chinatown itself-Pat worked with so much authority that by the time the show opened in Boston, she was practically in command. Stage mikes had to be turned down to keep her lusty voice somewhere within range of Miyoshi's. "Pat have very very sweet voice when she little girl," says her 66-year-old father, Chiyosaku Suzuki. "I like better her singing when young...
...Oriental spell extends beyond Miyoshi and Pat. Wilbur, the stern-eyed stage-door guard, feels that the Oriental chorus girls are politer and less brassy than the usual types; the director and the choreographer feel that the whole cast is more disciplined and quicker to learn. Says Oscar Hammerstein: "It's a strange flavor they have. They don't fawn, they don't scrape, they listen carefully. I don't think they're any more intelligent than other people, but I think the intelligence is less obscured by neuroticism." Translates Dick Rodgers: "We have...
...understand Western kissing; but there is always a saving grace of humor or taste, or at least professionalism. As their own producers, they ruthlessly cut their favorite songs or scenes if they detect that alarming rustle of inattention among spectators. "What I like about R. & H.," says General Stage Manager Jimmy Hammerstein, Oscar's No. 2 son, "is that they're conditioned to what works. If it works, they keep it in; if it doesn't, they scrap it. They listen with real objective ears...