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QUEEN MARGUERITE is the most complex character in Exit the King. As the play proceeds she must change from death's morbid apologist to a magnanimous prophet. But Marlene Nelson as Marguerite maintains a uniformly dour and malignant tenor, never clearly establishing what she feels or wants. Ionesco is vague on these points, but she should clarify the uncertainty. Her work in the final scene in the play, when she tells the king and the audience what it is to die, is the biggest let-down of the evening...

Author: By Gilbert B. Kaplan, | Title: Mortal Souls | 3/17/1973 | See Source »

...force of Nixonian reform, if it has any, is peculiarly directed against those elements in society which are already threatened. The tenor of the suggested changes in the tax code and of the proposed budget has demonstrated that the end has come to Federal favor for education. The end of tax loopholes and excesses of Federal aid is an end to be questioned rather than welcomed, if it can come only at the price of ending necessary Federal aid and chilling private contributions to notoriously unprofitable institutions like universities...

Author: NO WRITER ATTRIBUTED | Title: Federal Austerity | 3/14/1973 | See Source »

...reason for the tenor of the list, Dake says, is that the Class Day subcommittee thought it should try to balance the as yet undetermined political figure being sought by the Associated Harvard Alumni for its afternoon ceremony...

Author: By Robert Decherd, | Title: Play It Again, Sam | 3/13/1973 | See Source »

...School, New York Social Register}. Thus he has had no trouble nurturing the open, first-name style introduced by Gentele throughout the company-from the $4,000-a-performance stars down to the stagehands. "For the first time in years, people at the Met enjoy their work," says Tenor George Shirley. "Now you feel that your problems will be listened to and that changes will be made...

Author: /time Magazine | Title: Music: Wanted: A Mandate | 3/5/1973 | See Source »

...understudies to replace ailing stars. In the past a young hopeful's dream of stepping in at the Met often remained a fantasy, since half a dozen transatlantic phone calls would be made to get another singer with a big reputation. This season, however, when the celebrated tenor Franco Corelli canceled, Singer William Lewis was given a chance to sing Romeo -and filled the gap admirably...

Author: /time Magazine | Title: Music: Wanted: A Mandate | 3/5/1973 | See Source »

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