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...austerely furnished side office Carmine De Sapio held forth in his role of Democratic national committeeman. Talking by telephone to a political colleague, De Sapio's voice was rasping, his diction marked by such New York pronouns as "dese" and "dem." Hanging up the phone, he picked up a plump tangerine from his desk and tossed it to a political lieutenant, who peeled it and offered half to De Sapio. When he spoke to his visitors, De Sapio's voice changed. His tone was soft, his diction near-faultless. He told of his appointment as secretary of state...

Author: /time Magazine | Title: POLITICAL NOTES: The Bookkeeper | 12/27/1954 | See Source »

...Whedon, as the mousey Clyde, did not borrow his characterization from the many stock portrayals of the harried little man. By adding his own gestures and inflections, Whedon produces a likeable blundering, never grating in his blundering. Whedon's clear diction also benefits his singing moments and his numbers, particularly "Caviar and Roses," pretty nearly overcome the given handicaps...

Author: By Arthur J. Langguth, | Title: Happy Medium | 12/1/1954 | See Source »

...solo cantata in Sunday's program provided excellent contrast to the choral sound. Above all, Rameau's Le Berger Fidele requires style to sustain the text's nonsense. Fortunately the soloist was Jean Lunn, whose lovely voice is not yet tired from a heavy concert schedule. Her phrasing, diction, and impeccable vocal ornamentation placed the cantata's fluffiness in a proper musical perspective...

Author: By Robert M. Simon, | Title: Bach Society Chorus | 11/23/1954 | See Source »

...Mendelssohn is more the hero of the evening than Shakespeare; Moira Shearer's dancing far surpasses any actor's speech; the ass's head that Bottom wears is more entertaining than Stanley Holloway's Bottom. Only Robert Helpmann as Oberon can render Shakespeare's diction as well as dance, can become something fleet, mischievous, magical-and believably Shakespearean...

Author: /time Magazine | Title: The Theater: Old Play in Manhattan, Oct. 4, 1954 | 10/4/1954 | See Source »

...music of King Arthur is fortunately divided among many characters, so that no single individual bears the vocal burden. The singers performed with spirit and clean diction, but after all, Purcell is not Arthur Sullivan and some voices sounded uncomfortably strained, However, Elizabeth Kalkhurst sang with beautiful tone as Cupid, while two little boys--Michael DeBruyn and Richard Wulf--stopped the show with their shepherds' ditty...

Author: By Robert M. Simon, | Title: Lowell's Knights of the High Table | 4/23/1954 | See Source »

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