Word: trios
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Dates: during 1960-1969
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...MOON FOR THE MISBEGOTTEN, one of Eugene O'Neill's last plays, laments a loveless trio. W. B. Brydon, Salome Jens and Mitchell Ryan give poignant portrayals of three emotional cripples hiding their afflictions beneath blather and rant. Theodore Mann directs a finely composed production at the Circle in the Square...
...only other breaks in her routine are visits to her father, her brother Cecil ?now assistant pastor of the New Bethel Church?or sister Carolyn, 23, who leads Aretha's accompanying vocal trio and writes songs for her. Another sister, Erma, 29, is a pop singer living in New York City. Sometimes, with her family, she opens up enough to put on her W. C. Fields voice or do her imitation of Bela Lugosi as Count Dracula ("Goodt eeeeeevnink, Mr. Renfieldt; I've been expectink you!"). But Cecil says: "For the last few years Aretha is simply not Aretha...
Last week, at Manhattan's Town Hall, Schickele presented his latest and most adventurous departure-a chamber-rock-jazz trio called The Open Window, made up of Schickele and Fellow Composers Robert Dennis and Stanley Walden. The group sang and played such instruments as electric piano, organ, bass clarinet and tambourine in a quirky kaleidoscope of their own songs (sample title: 4 a.m. June; The Sky Was Green). The result was a little like spinning a radio dial rapidly over stations that are broadcasting Glenn Gould, Oscar Peterson and the Beatles: fascinating but somewhat dizzying. Though...
...immensely complex Champagne Murders, Perkins and Ronet are introduced as inseparable, almost identical companions, but the influence that undermines their relationship remains an unknown until the ending. Always unsure of motive, always aware of an eerie presence that threatens to destroy the eccentric harmony of Chabrol's self-centered trio (Perkins, his wife Furneaux and friend Ronet), we watch spellbound as Chabrol brings us further into an impeccably decorated, completely corrupt world of malevolence. The final images, shocking and indescribable, are unlike any other in narrative cinema and, if nothing else, suggest an existential hell as beautiful and provocative...
...most exciting presentation proved to be the sacrilegious, frivoulous, ridiculous Trio of Susan Golod and Peter Mansbach from Brandeis. The two prance about the stage with a desk chair (the third in the trio) to some very fine Scarlatti. Squirming under the chair, carrying it, carrying each other, stomping heartily to the music, the bespecatcled Miss Golod (whoever heard of a ballerina wearing glasses?) and the scruffy, blue-jeaned Mr. Mansbach made flagrant nonsense of both the old Master and the art of dance. It was a daring, enjoyable piece, summarizing the evening's offerings with appealing honesty...