Word: twirled
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Dates: during 1970-1979
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...pretentious Mrs. Tiffany bankrupting her husband with her ostentation and trying to marry off her daughter to a phony French count. The women, playing all roles - male and female - except for Count Jolimaitre (Ty McConnell), perform with just the right note of light camp. They all but twirl hypothetical mustaches. The songs by Don Pippin and Steve Brown have a rollicking charm. When Mrs. Tiffany (Mary Jo Catlett) embarks on her fantasy of "My daughter the Countess," she is aquiver with such an exuberance of social-climbing greed that one almost hopes she makes...
...voce sua soave ") is like a string of emeralds, each deeper and more lustrous in color. She enters from a high rear balcony, floats dreamily down a long ramp, chats nuttily with her father ("Who are you?"), begs for her lover's return, then collapses in a twirl of deranged rapture...
...surrounded by performers, he receives little attention. Yet often as not he's playing as much of the lead as Townshend; his progressions on "The Real Me," and his work with Keith Moon on "Drowned" were truly stunning. Roger Daltry is a puppet, a helpless dancer. Programmed to march, twirl mike cords and pose with his hands clasped over his head, he's at a consistent loss for something to do. He may still suffer from an unfamiliarity with his material. In general his range, though not infinite, enables Townshend to escape with his own transitions of mood. The openings...
...skirmishes between Saigon and NLF troops, and Vietnamese prisoners from the Saigon government's jails continue to tell stories of their treatment: "The two hands of the woman are tied together and drawn up to the ceiling," four Vietnamese from Thu Duc prison wrote in 1970. "The police then twirl her around, beating her until she is unconscious...
...formal rhythms, notably in the serpentine, body-entangling duets of Patricia McBride and Helgi Tomasson, which are to the sophisticated eye more erotic than anything in Oh, Calcutta! Small human touches abound: John Clifford, as the leader of a group, suddenly stands motionless in seeming awe as dancers twirl and leap around him; an acrobatic quartet of male dancers cartwheels and somersaults like refugees from the Moiseyev Dance Company. Robbins, however, never loses the architectural contour of the piece. More often than not, soloists are displayed, not for and by themselves, but in relationship to other dancers...