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Word: toning (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

Yeomen is a bit of a change for the Messrs. Gilbert and Sullivan. The tone of most of their work is one of wit and buffoonery laced with pathos; Yeomen features pathos laced with buffoonery and very little wit. Since Gilbert's wit is pointed, while his pathos is pretty but quite lacking in real bite, Yeomen is not the Messrs.' best work. But since Sullivan's music is, as always, pleasant to the point of bewitchment; since Gilbert's buffoonery is of a very high grade; and since the pathetic moments can be quite touching, why complain...

Author: By Julius Novick, | Title: Yeomen of the Guard | 12/11/1958 | See Source »

Benjamin R. Neilson's direction of this gallimaufry brings out exactly the proper tone of amiable idiocy that is the most endearing feature of Gilbert's creatures. His comic business is consistently funny, with none of the sweaty laboriousness that so frequently characterizes comedy around here...

Author: By Julius Novick, | Title: Yeomen of the Guard | 12/11/1958 | See Source »

...indeed, entirely perfect, but I thought I would do it down where it would be easy to skip. Be it known then, that an orchestra would have been, if practicable, preferable to two pianos; that all the singers could not always be depended on to produce beautiful tone; and that the door at the left side of the house is a clumsy place for performers to make entrances...

Author: By Julius Novick, | Title: Yeomen of the Guard | 12/11/1958 | See Source »

...eleven-man editorial-page staff pretty much alone. Des Moines rarely even bothers to check a stand with Mike. Instead, the staffs in both cities meet to hash out editorials, hear every man's views, try to reach a consensus, nearly always end up speaking in a Cowles tone of voice...

Author: /time Magazine | Title: The Press: The Cowles World | 12/8/1958 | See Source »

...sensitivity lies especially in the realm of color, which he uses lyrically and not without the oriental mystique. His drawing partakes of the same spontaneity but here the trouble begins. In a work like Blue Caduveo Shimizu conjures lovely and effective nuances of tone. Then, examining it closer, one finds a great deal of fiddling around and many squiggles which are without meaning. If these comprise a kind of patina they may or may not succeed. Unfortunately, in many of Shimizu's things they are more than patina. They constitute a shortcut, however unconscious, a device which meets a multitude...

Author: By Paul W. Schwartz, | Title: Yoshiaki Shimizu | 12/6/1958 | See Source »

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