Word: took
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Dates: during 1950-1959
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Just before curtain time, a member of the audience took the stage. He wore a dark blazer, his goatee was white as a light bulb, his hearing aid seemed to be made of sterling silver. The invited audience-a collector's treasure of florists, bellhops, desk clerks, Schrafft's waitresses, Western Union girls and airline hostesses fell politely silent. Frederick Alden ("Perky") Warren, the man onstage, was their host. He had bought every seat in off-Broadway's Sheridan Square Playhouse to take them to the long-running (seven months) revival of Jerome Kern's Leave...
...five years of apprenticeship on two Massachusetts papers and a brief digression as English instructor at Dartmouth. By 1922 he was within strolling distance of Broadway, editing the Sunday book section of the Times; and three years later, when the Times's Drama Critic Stark Young resigned, Atkinson took Young's place...
...Soprano Nilsson continued to dominate the stage with such ringing power that she cut without difficulty through the opulent textures of the Wagnerian orchestra-particularly in the climactic Liebestod in Act III. Perhaps because of debut stresses, the voice also had its marked drawbacks; at times it sounded strained, took on a steely glitter when more opulent warmth was called for. Apparently a more severe critic of herself than some of Manhattan's reviewers, Soprano Nilsson said later: "After the first act I was just physically tired, and my throat was dry. The first act is as hard...
...Poet Friedrich Hölderlin). The oddly assorted orchestra-which included four pianos for eight players, four harps, a glass harmonica, marimbaphone, xylophones, bongos, congas, gongs and no strings except for nine double basses-served less to score Sophocles' tragedy than to underscore it. Every word of dialogue took precedence over the music...
...Headaches. At 64, Composer Orff is more confirmed than ever in the direction he took in 1936, when he completed Carmina Bur ana, his first major work, and ordered all his previous manuscripts destroyed. Orff totally rejects the idea of "pure music," never writes for the concert hall. He places such importance on the texts of his "dramatic cantatas" that he will permit none of them to be translated, although he himself seems intrigued by foreign idioms. When working on Oedipus, he decided to write the musical directions in Italian, the stage directions in Latin, e.g., the entrance...