Word: stagings
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Dates: during 1950-1959
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...prize. In a September conference with Lyndon Johnson, the peripatetic Brown said frankly that Johnson could never win the California primary, though he thought Missouri's Stuart Symington could. This was enough to start a cautious Symington-Brown boomlet, which Symington backers hope to push into a second stage next winter at a Symington testimonial dinner in Missouri-with Brown as the featured speaker and most favored veep. ¶In Norman, Okla., oil-rich Oklahoma Senator Robert S. Kerr (himself a Democratic presidential hopeful in 1952) was quick to announce his support of Colleague Lyndon Johnson's candidacy...
They walked onto the Carnegie Hall stage hand in hand, as they had so often in the past. At first, in the Brahms Sonata in D Minor, they played a little tentatively, feeling their way with care. But by the time they got to Bartok's Sonata No. 1, the violin was soaring with impassioned assurance and the piano was spinning a lacy web of sound. After a fine performance of Beethoven's Sonata in A Major, the two performers joined hands again to take their smiling bows. Occasion: a joint recital of Violinist Yehudi Menuhin...
...shown in its earlier games, and the encouraging factor is that the team is certainly capable of such improvement. To rise to the challenge and knock off the recognized giant of the League would give an incalculable lift to the team's confidence and could set the stage for a belated rally...
Messel was well worth the lengthy dickering. His Figaro contains some of the most elegant, beautiful sets and costumes ever seen on the Metropolitan stage. Unfortunately, however, Messel's scenery was designed for an earlier production at Glyndebourne and has merely been adapted to the Metropolitan stage. Scaling up a small set doesn't always work at the Met and the second act decor, the boudoir of the Contessa, looks like an oversized parlor of an English country home...
...Messel's costumes, especially the glittering pair for the Contessa, worn with stunning stylishness by Lisa Della Casa, have a grand line that is perfectly suited to both the Opera House stage and the spirit of Figaro. Against the predominantly gray background of the settings, the pastel dresses of the chorus and ballet and the vibrant yellows and reds of the principals' costumes produce wonderful, eye-filling tableaux...