Word: waltz
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...benign sun, jack rabbits scampered across the country roads, and the bluebonnets spread their rich, bright cloak over the low hills. By midmorning at the L.B.J. Ranch, the winter-paled body of a weary man was slung in a canvas hammock, as the soothing strains of a Strauss waltz were wafted from a hi-fi speaker in a nearby live oak tree. Overhead, at the top of a 60-ft. pole, three flags billowed in the breeze: the Stars and Stripes, the Lone Star of Texas, and a blue standard with five stars and the initials L.B.J., which informed...
...squirms morbidly in the first half, almost as if playing without direction, but the second half achieves a kind of romantic, lyrical lassitude. The opera bristles with an immense variety of forms: a sonata represents the elderly lecher, a rondo suggests his son, ragtime gives way to an English waltz...
...tyranny (Paul Vincent Carroll's The White Steed). Says Producer David Susskind: "We have none of those pernicious and aggravating conditions and taboos that you get everywhere else on TV." Most memorable example to date-WNTA's unbowdlerized production of Jean Anouilh's sex farce. The Waltz of the Toreadors, whose aging lecher-hero is fond of leaning forward to tickle young bosoms with his medals, meanwhile delivering lines not usually heard from TV gag writers: "Science ought to find a way of putting women permanently to sleep; we could wake them up for a while...
...keep up his courage. Buie began singing the only song whose words he knew-Tennessee Waltz. After about the sixth chorus, his voice had splintered to a teeth-chattering accompaniment, and Buie began to lose hope. He dozed a while. Then, two hours after he went overboard, he saw lights. It was the escort vessel Leslie L. B. Knox, sailing a random course between exercises. Buie yelled. A sharp-eared sailor on watch heard him, sounded the emergency rescue alarm. Searchlights blazed. Knox's helm swung hard over to circle, and Rescue Swimmer Harold Martin, 19, dived over...
...credit side, and almost worth the price of admission, is Johann Strauss's delightful score, notably the famed Treasure Waltz, a melting Act II love duet, and plenty of Hungarian themes, both martial and melancholy. Another plus: Designer Rolf Gérard's brilliant costumes and sets, particularly a Viennese throne room almost handsome enough to bring back the Austro-Hungarian monarchy. Heavily on the minus side are a preposterous libretto, not aided by Translator Maurice Valency's English lyrics, and Cyril Ritchard's uncertain direction...