Word: sweets
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Dates: during 1960-1969
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...SWEET CHARITY is spectacular Gwen Verdon, who proves that she is still the dancer assoluta of the U.S. musical stage. Bob Fosse's choreography is fresh, kinetic and witty, but the book, written by Neil Simon, is consistently stale, as if he had heard rather than written the gags...
...Though Kerala fishermen haul in tons of shrimp, lobster, mackerel and sardines each year from the fish-rich Arabian Sea, the vast majority of the catch is sold for export, and Keralans use the money to buy extra rice at exorbitant black-market prices. They also largely ignore the sweet potatoes, bananas, pineapples and coconuts that abound in the state's lush tropical forests. And, though more Hindus discreetly eat meat, the vast majority in cow-rich India leave their beef on the hoof for religious reasons. Half of India's people are vegetarians, a fact that creates...
Philadelphia, Here I Come! by Brian Friel. All honor to Shakespeare, but parting is not sweet sorrow. When a man leaves home, love and country, he buries part of himself, and he is not likely to stand beside that grave dry-eyed. Philadelphia, Here I Come! is a young man's leave-taking crammed into one night, as Gareth O'Donnell says goodbye to the Irish village of Ballybeg and prepares to embark by jet for America, "a vast, restless place that doesn't give a curse about the past." The play is honest, lyrical, unaffected...
...range and clarity of tone, his voice alone sets him apart from the plotting counselors and sacreligious king. The contract is especially effective in the scene where Daniel is called to the palace by the prince and courtiers. Their voices are heavy, earthbound and secular, and Daniel's divinely sweet and pure. As Belshazzar John Howell's voice is rough and dull, as it should be; and when Daniel reads him the prophecy of doom his voice quavers and almost cracks with fear. The one female in the production, Sandra Robbins, plays both Belshazzar's queen and the angel...
...starting line again. To Fanny's friends, she was America's top comedienne, but Billy was just Mr. Brice. Again Rose jumped, this time toward Broadway. In 1930 he produced Corned Beef and Roses. It was a loser from overture to finale. He rewrote it, renamed it Sweet and Low. Again it bombed. Again he rewrote it, renamed it Crazy Quilt, and took it on the road for a nine-month run. Rose recouped the $75,000 it cost him to mount it and made $240,000 profit besides...