Word: yum
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...then was for Kuchen with only the very largest Streussel possible on top of it. Rohrbeck came to the U. S. in 1908, became a citizen in 1913, lost his job this year after some 30 years as a pastry chef in Manhattan, Philadelphia, Chicago, Detroit. When even his yum-yum recipe for Streusselkuchen* failed to find him a post over the radio, Hans Rohrbeck went out and got himself a good job, is now serving up his Kuchen at Lake St. Clair's select Grosse Pointe Yacht Club...
...Oyly Carte Company, which owns the English rights. Instead, he went abroad to collaborate with Producer Toye, who got the D'Oyly Carte's wholehearted cooperation. The Mikado cost about $1,000,000. Newcomers to Gilbert & Sullivan in its cast are pretty little Jean Colin (Yum-Yum) and Kenny Baker (Nanki-Poo), U. S. radio singer imported for the part. Of Baker the unmollified London Times remarked: "He seems to have learnt English in some place nearer to Japan than London...
...Negro show like its Federal Theatre rival, The Hot Mikado kisses the Old Boys good-by at about the eighth bar of the first song, turns Titipu into a dance hall before latecomers are in their seats, makes Yum-Yum, Pitti-Sing and Peep-Bo carry on like three little maids from reform school, and finishes Act I in an uproar when Katisha busts in, no hatchet-faced termagant, but an eye-rolling, hip-shaking, torch-singing Red Hot Mama...
...that appeared in his revivals two years ago. Frank Moulan, a little monkey of a man who delighted St. Louis Municipal Operagoers many a summer season in the past, takes the part of Ko-Ko, the Lord High Executioner who finds himself in danger of having to execute himself. Yum-Yum, one of his wards, is Hizi Koyke. Her suitor, the Mikado's wandering minstrel son, is played by Roy Cropper, a young man with a pleasingly liquid tenor...
...they were going to make the most of the two best ingenue parts in the Savoy Operas. Gilbert, in a particularly happy mood, made them two pert, attractive little baggages with minds of their own. Tessa and Gianetta steer a refreshing course, avoiding the Victorian doldrums (insipid Mabel, elfish Yum-Yum) and the Gilbertian caricatures (whining Ruth, tasteless Katisha). "When a Merry Maiden Marries" comes off with admirable airiness and grace, and so does the romping fantasy, "'Tis a glorious thing, I ween, to be a Regular Royal Queen." The right note of plaintiveness without nagging is reached in Tessa...