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...viewers next Tuesday when Hallmark Hall of Fame televises the Chamberlain Hamlet. It is an aristocratic, romantic and (he admits) "not scholarly" conception of the role. His Hamlet is passionate sometimes to the point of hysteria and Chamberlain's accents (well east of mid-Atlantic) are tinged with tremolo. Sir Michael Redgrave, an esteemed former Old Vic Hamlet who plays Polonius in this TV production, says that, overall, "Richard is very good-more than just interesting." To fit the two-hour time slot, however, more massive surgery has been performed on the Folio than any that Kildare ever...

Author: /time Magazine | Title: Television: Kildare as Hamlet | 11/16/1970 | See Source »

...midget?" The 5-ft. 1-in. Karen, having steeled herself to be blasé over meeting "this 52-year-old man," found that "he was gorgeous, and I broke out in hives." Karen's voice resembles that of Eydie Gorme; she sings with a wobbly tremolo for effect, but her delivery can be lovely when she forgets to belt. Since Martin, and in addition to Vegas, she has played three Tonight shows, Ed Sullivan four times (one will be rerun July 26) and signed a $250,000 record contract with Decca. In accepted success-story fashion, she has moved...

Author: /time Magazine | Title: Show Business: Awake and Sing | 7/27/1970 | See Source »

Depending on his mood or that of the audience, Tree is apt to walk down an aisle, rhythmically striking a gong or gently shaking a pair of copper baby rattles from Japan. Onstage, he may build a sonorous tremolo of several gongs, mixing in a tinkling of glass chimes or a booming thunderclap of timpani. At times he pauses, changes mood, and elicits long, random notes from a homemade North African-style flute or dramatically raises a six-foot Tibetan temple horn and blows a resounding blast. The concert is over when Tree feels it should end, sometimes after...

Author: /time Magazine | Title: Composers: Symphony of One | 6/27/1969 | See Source »

...last few months he ate little, drank too much and had a constant struggle with illness. When he did perform, he would come on the stand bearded and bowed, seemingly dwarfed by his big horn, smiling mischievously. The notes would stumble at first, and the tremolo might widen into an uncontrolled wobble of sound-but sooner or later Hawk would explode into a solo that recalled earlier days: warm, austere, unfailingly rhythmic even in the midst of a caressing ballad. Afterward he might laugh a little, as if sharing the private pleasure of self-rediscovery with his audience...

Author: /time Magazine | Title: Jazz: Farewell to the Hawk | 5/30/1969 | See Source »

...purely on the experiential level; what he feels he voices without modification. This approach is indicated most clearly by the fact that, at moments of tension and anxiety, Richard's speech is afflicted by a slight stammering over sibilants and gutturals. There are even traces of the Maurice Evans tremolo, and at one point Madden pushes his voice to a gargly fortissimo. Later he even seems to suffer a chest spasm or an asthma attack...

Author: By Caldwell Titcomb, | Title: 'Richard II' Has Highly Engrossing King | 7/5/1968 | See Source »

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