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Word: tuneless (lookup in dictionary) (lookup stats)
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...also manages to be offensive along the way. (I might also point out that the auditorium it is presented in has the atmospheric requirements for a sauna bath, and the seats are arranged in such a way as to leave ample legroom for dwarfs.) By bad I mean bad -tuneless, humorless, structureless. (On this last point, I could explain how the show actually collapsed into its conclusion a half-hour before the final curtain fell, but I'll save that one for my friends who had the sense to leave the premises at intermission...

Author: By Frank Rich, | Title: Pudding Rhinestones in the Rough from now until Bermuda | 3/5/1971 | See Source »

Except for a tuneless bomb ("Hell No!) and two slow love songs that haven't a funny line in them, the songs are lively and clever, but spoiled by extremely unimaginative choreography. One step to the right, kick, one step to the left, kick, one step to the back, kick ... gets dull. However, "The Comic Strip", was evidently choreographed by Bryna Rifkind (as Joy Juice), a Lesley junior who has been in two previous Law School shows and has her bumps and grinds down...

Author: By Esther Dyson, | Title: Spider People | 3/15/1969 | See Source »

...splendid as the tall, gangling antihero, and Marian Mercer turns in the acting gem of the evening as an amorous alcoholic pickup. But the comic tone of Neil Simon's book is bland rather than pithy, and most of the songs of the Burt Bacharach score are interchangeably tuneless...

Author: /time Magazine | Title: Television: Jan. 10, 1969 | 1/10/1969 | See Source »

...tall, gangling antihero, and Marian Mercer turns in the acting gem of the evening as an amorous alcoholic pickup. But the comic tone of Neil Simon's book is bland rather than pithy, and the songs of the Burt Bacharach score are for the most part interchangeably tuneless...

Author: /time Magazine | Title: Television: Jan. 3, 1969 | 1/3/1969 | See Source »

...book's comic tone is bland rather than pithy, a little disappointing coming from Neil Simon. The rhythms of the Burt Bacharach score sound like sporadic rifle fire, and aside from one melodic lament, I'II Never Fall in Love Again, the songs are interchangeably tuneless. In the first-act finale, a Christmas office-party number produces a vigorous choreographic commotion, except that it obviously attempts to duplicate the volcanic Brotherhood of Man sequence in How to Succeed...

Author: /time Magazine | Title: New Plays: Mediocrity into Success | 12/13/1968 | See Source »

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