Word: though
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Dates: during 1970-1979
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...first act to the second. When he first meets Lulu in the opening of the play, McCue relies too much on a series of mannerisms--rising on his toes, rubbing his hands, pacing around briskly--that distract attention from his passionate words. Japes Emerson turns in a sporadic performance, though he is cursed with the worst, most heavily edited part of the play. The cuts render his part almost unbelievable, and thus his characterization moves from dilletante to lover to weakling...
...never finished college because I went into the army," Stern said yesterday. "However, I'm interested in the women's side of coordinate education, where the two institutions, though coordinate, maintain their separate identities--I think it's a very good idea," he added. Stern's daughter is a member of the Class...
...onstage and lead his Boston Pops Orchestra in a program of show tunes and classics. His philosophy was simple and insouciant: "My aim has been to give audiences a good time. I'd have trained seals if people wanted them." That was one of Fiedler's exaggerations, though he was not above appearing on a record jacket dressed as Santa Claus or as a jaunty Yankee Doodle dandy. Such clowning caused some highbrows to sneer. But to Boston audiences and those he visited around the country, Arthur Fiedler was Mr. Pops, the maestro of the masses...
...Though the Kremlin is energetic about publishing statistics on many aspects of Soviet life, one vital area remains terra incognita. The Communist leadership regards sex as virtually nonexistent, except to raise the birth rate; whatever figures exist are guarded as closely as the real statistics on defense spending. Stern, who left the U.S.S.R. in 1977, has now lifted that curtain slightly. In a book published in France, La vie sexuelle en U.R.S.S. (Sex in the Soviet Union), which is to be brought out in the U.S. next spring by Times Books, he offers the most comprehensive description yet of sexual...
Such speculation may seem lugubrious to those who know the monster only through Boris Karloff 's film impersonations or through such burlesques as the TV sitcom The Munsters and Mel Brooks' Young Frankenstein. As this collection of twelve essays suggests, though, Mary Shelley's novel is a surprisingly open-ended source of disturbing, even terrifying implications. Its awkwardness and philo sophical uncertainties mark Frankenstein as the first and most powerful modern myth, not a pure Jungian river flowing through the collective unconscious but a polluted industrial spillway...