Word: inquisitor
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Dates: during 1950-1959
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Arms & the Men. Du Pont took the H-bomb job with the greatest reluctance. Ever since a U.S. Senate committee investigated the munitions industry in 1934, Du Pont has sought to avoid anything that might revive the "merchants of death" stigma which the committee's inquisitor, a skillful young lawyer named Alger Hiss, helped hang upon it. But the Government thought that Du Pont was the only company for the job. Said an atomic energy expert: "To ask anybody else to build the plant when you could get Du Pont would be like settling for a rookie when...
Untiring, acid-tongued Rudolph Halley, the committee's chief counsel and inquisitor, began digging into the ex-mayor's past. There was O'Dwyer's story that his only business with Gangster Frank Costello had been a visit to Costello's apartment in 1942 in the course of an investigation O'Dwyer was conducting as an Army officer. Why did the leader of Tammany Hall and other important New York political figures happen to be there at the same time? O'Dwyer had no idea-it was just coincidence...
Bowen will play the lead as Rubashov, a now useless revolutionary, while Gershung is cast as his inquisitor, Gletkin. The production will be directed by Charles C. Humpstone '53, who will also play a supporting role...
...drama herebeyond the simple one of prisoner and policeis that between one political generation and another. On the one hand are the pre-Stalinist revolutionaries, Rubashov and his cynical inquisitor Ivanovmen who only closed their minds after philosophy had opened them; who abandoned all morality for what seemed to them moral reasons; who were Communists enough to denounce pity, but men enough to understand it. On the other hand, there is the young, completely Sovietized Gletkin whose fanaticism signifies not intensity of feeling but all inability to feel, who is more mechanism than organism...
...Philip II), Argentine Soprano Delia Rigal, new Italian Mezzo Fedora Barbieri, and the Americans Jerome Hines (the Grand Inquisitor) and Robert Merrill-through stage movements blocked out long before. She had cut down most of the operatic arm-flailing ("the less acting you do the better"), tried to keep them from staring dead ahead at Conductor Stiedry for the beat. Exhausted Margaret Webster hoped she had succeeded in her effort to "prevent the eye from too grossly contradicting...