Word: circusing
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...Orient, Listen! The Wind) now has written a trenchant little book about a fundamental home problem. Sitting by the sea on a fortnight's vacation, Author Lindbergh, 48, contemplates her own round as a housewife (in Darien, Conn.) and mother of five children. "My mind reels . . . What a circus act we women perform every day of our lives. It puts the trapeze artist to shame. Look at us. We run a tight rope daily, balancing a pile of books on the head. Baby carriage, parasol, kitchen chair . . . Steady...
...rude jolt. As the news hit the wires, stock prices were falling. Hurriedly, the Senator, scared by the political effect of a market break, called in the press. What he had in mind, said Fulbright, was no punitive probe like the 1932-34 Pecora investigation (when a circus pressagent popped a midget on J. P. Morgan's knee). Instead, Fulbright was planning "a friendly study...
...most active spokesmen for the Lord in the U.S. are a pretty, 42-year-old woman and her cinema-famed husband who rarely travel on their tours without a $50,000 wardrobe. Movie Cowboy Roy Rogers and his wife Dale Evans top the bill at rodeos and circus stops across the country, where they put across a spiritual appeal that sends pistol-packing eight-year-olds off to Sunday school and their moist-eyed parents off to church. With their famed palomino horse, Trigger, they turn out a half-hour television show each week into which they are injecting more...
Tonight in Samarkand (by Jacques Deval and Lorenzo Semple Jr.) takes its theme from the famous Oriental legend-about the inevitability of fate-that also suggested John O'Hara's Appointment in Samarra. The doom-dodger in this some-what Oriental tale of French circus life is a much-besought tamer of tigers (Jan Farrand), who, fearing the future, gazes into the crystal ball of the magician (Louis Jourdan). In two flash-forwards, the ball reveals that on her next birthday -whether she marries a juggler or a millionaire-she must perish in a steamship disaster. Finally, because...
...there never been a philosophy of kismet, doubtless the theater would have invented one. For whatever its status as metaphysics, it makes a useful handmaiden for melodrama. And exploited, as in Tonight in Samarkand, with all the blare of circus music and color of circus life, it achieves for two acts a certain quality of nice old-fashioned excitement. The play goes in for few philosophic frills, merely uses fate as a plot gimmick. A blonde girl symbolizes death, but no more abstrusely than a headwaiter symbolizes dinner...