Word: maides
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...into a series of flashbacks that slowly convince Dorothy that she is not only doomed but duped. She discovers that her husband was hired by her father to marry her; that the other woman (Ruth Roman) expects Van back as soon as she is dead; that even her faithful maid has another job ready & waiting the moment the funeral is over. These scenes, painstakingly written by Playwright Paul Osborn (On Borrowed Time, Point of No Return), have a certain effectiveness, but it is eventually canceled out by a slick reconciliation and by the offstage presence of a Hollywooden surgeon...
...Cody became a promoter's dream. Unlike his roughhewn pal, "Wild Bill" Hickock, Cody never "spat the liquid on the stage" in whisky-drinking acts, never barked, "Any damn fool would know that was cold tea." He usually muffed, but never scorned such lines as: "Fear not, fair maid; by heavens, you are safe at last with Buffalo Bill, who is ever ready to risk, life and die if need be in the defense of weak and helpless womanhood." Then he stood blushing on the stage, "handsome as Apollo," while hundreds of fascinated men and boys rocked the house...
Helping to overcome some of the over sentimentality is a witty performance by Mary Wickes as a maid who does not like any of her employer's songs. Frank Love-joy is nonchalant enough in the role of a rakish composer who collaborates with Gus Kahn in some of his greatest hits...
With characteristic bad taste, TIME (Dec. 24) compounds and inflates all the vicious innuendo of defense counsel under the heading "Trial by Stage Whisper" [a report of the trial of Tallulah Bankhead's ex-maid, for kiting checks]. Said TIME: "The defense attorney had complained bitterly that there were 'two trials going on in this courtroom.' " Since TIME brazenly endorsed that fiction it should have added . . . that it was conducting a third trial, with me as its target...
...Maid for Figaro. She turned from the girlish Gilda to the worldly Rosalinda in Fledermaus, and brought that role, until then one of the weakest in the Met's comic hit, up to par or better. As the saucy Musetta in La Bohème, she was gay in her waltz song, movingly sympathetic with the dying Mimi in the last act. Last week she sang her first Susanna in The Marriage of Figaro. Her tone, as ever, was as pure and clear as a mountain stream; her coloratura was as neat as needlepoint. A singing actress who loves...