Word: stagings
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Dates: during 1950-1959
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Model Efficiency. To settle labor disputes, López Mateos expanded the corps of government arbitrators from one to 50, set up teams of investigators to look into management's books and labor's demands. By the time a dispute reached the mediation stage, he and his arbitrators were ready, willing and prolabor. Once, after a long wrangle with a group of representatives of management, López Mateos tapped his finger on the table for attention. "Gentlemen," he said. "Perhaps you did not notice the sign over the door. It says Secretary of Labor. I am here...
Cockcroft was especially impressed with the amount of money and manpower the Russians are allocating to the fusion-power drive. Admitted Cockcroft: "The Russians are at about the same stage as ourselves, but they are working on a much broader front. They are faced with the same problems, but they work three or four times faster...
...pudgy little man in smoothly fitted tails put down his baton, turned to the audience and inclined his balding head to the salvos of applause. That was in his native Jackson, Miss., where last week he conducted the stage premiere of his opera The Soldier plus his Malady of Love for a two-night stand. The next night, in black tie, he turned up in the pit of Manhattan's Lunt-Fontanne Theater, where he presided over a performance of Leroy Anderson's brassy musical Goldilocks. Four days later, in a sweatshirt, he was hovering over the orchestra...
...Lyric has put on many a fine, star-heavy performance, and last week's cast was again impressive: Viennese Soprano Leonie Rysanek as Aïda, Italian Mezzo-Soprano Giulietta Simionato as Amneris, Swedish Tenor Jussi Bjoerling as Radames, Italian Baritone Tito Gobbi as Amonasro. But the stage sets looked as though they had been resurrected from an early copy of the Victor Book of Operas: cluttered scenes with every temple, tower and palm frond rendered in tedious detail. And Paris Opera Conductor Georges Sebastian throttled the tempo to a crawl, once even goaded Tenor Bjoerling into striking...
That Edwin Booth is never for a moment valid stage biography is much more easily excused than that it is almost everywhere so resolute a bore. Whether or not theater folk are to achieve reality, they should at least create effects. Had Edwin Booth, however foolish, recaptured something high-bustedly gaudy, had John Wilkes provoked hisses or Edwin aroused huzzahs, had Shakespeare been spoken or even ranted well, a bad play might have proved a pleasant romp. But despite the dress-up and the makeup, there is virtually no make-believe. On an all-purpose set where anything could happen...