Word: waltzed
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...balm. To some other readers, the President's wife seems the Pollyanna of columnists. Even when, last fortnight, she reproved Dramatic Critics Brooks Atkinson of the New York Times and Richard Watts Jr. of the New York Herald Tribune for their blunt dismissal of Save Me the Waltz, a short-lived, Graustark-under-a-dictator romance, it was still in the spirit of loving the sunshine. Critics Atkinson and Watts, wrote Columnist Roosevelt, "seemed to infer that because this play does not teach a great lesson or pick any particular people to pieces, it is worthless as a play...
...need be made on a work which Rossini considered representative of "the perfect balance between science and genius," and so we pass over "Don Giovanni" to consider "Der Rosenkavalier." This opera combines expertly three phases of Strauss's genius, his dramatic flare in the overture, many a charming Vicnneso waltz and pure Mozart-like melodies. The trio for female voices, which foreshadows the duet for soprano and alto in "Arabella," has been ranked with the famous quintet from Wagner's "Dic Meistersinger." And the entrance of the Rosenkavalier in the second act, clad all in white...
...struts about barking wise cracks and chewing his large cigar. At his best in a very unconventional game of golf, he provides the film with a few good moments; but when he is gone, there is little left. To be sure, here is a dramatized history of the waltz, which is new; but the songs by Dorothy Lamour, Shirley Ross, and Martha Raye, and various novelty bits follow conventional lines...
...elbowed each other before Radio City's Center Theatre, paid as high as $5.50 a seat to see a hash of items mostly warmed over from past modernist recitals. Three hundred and fifty standees broke the theatre's record, established on the closing night of The Great Waltz. As the formal conclusion of Manhattan's five-week Olympic Dance International, what was old stuff to Greenwich Village longhairs became a tiptop Broadway box-office attraction...
...Three Waltzes (adapted by Clare Kummer & Rowland Leigh from a play by Paul Knepler and Armin Robinson; produced by Messrs. Shubert). Between old-fashioned operetta and newfangled musi-comedy is more than a gulf of years. Nevertheless light opera still goes on, for even in Manhattan many a theatregoer would still rather swoon to a waltz than tap his restless feet to the beat of a topical song. For such oldsters-by-preference, the Shuberts' second Christmas present, Three Waltzes, was as good as a plum pudding ablaze with Napoleon brandy...