Word: martha
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Dates: during 1950-1959
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...MARTHA ELLIS New Orleans...
...become aware of Van's coup; U.S. Ambassador Llewellyn Thompson and his wife had not even made plans to attend Van's finals audition until they were convinced by American contestants that to fail to appear would be a major blunder. And the committee of the Martha Baird Rockefeller Aid to Music Program, which paid the fare to Moscow for Van and the other Americans, had pledged the contestants to secrecy on the theory that their presence in Russia would be politically unpopular back home...
...exposes her employers. Arrived in Paris ("Say, that's the biggest TV tower I've ever seen"), Hope discovers that his room opens on the very same balcony as Anita's-a coincidence that could easily prove fatal, or even embarrassing. Hope is in love with Martha Hyer, a mighty jealous girl who works for the U.S. embassy when she is not repulsing his amorous advances ("This is the mating season for shellfish, you know"). Anyway, things get worse before they get better, and in the end, Hope makes a desperate attempt to get the comedy...
They were all on hand last week-the critics and choreographers, the dancers, designers and devoted fans-to greet the tiny woman with the haunting eyes and the New England Gothic face. After three years, partly spent touring abroad. Dancer Martha Graham had returned with her ballet company to perform in Manhattan, bringing with her a satchelful of Graham favorites and two new works: a sophisticated sexual romp called Embattled Garden and an evening-length ballet titled Clytemnestra, the most ambitious effort in years by the priestess of modern dance...
...tale of its own deception. Thus the many-mirrored story was less a study of tragedy's flowering than of the dark roots from which tragedy grows. To translate this study into dance movement was an uncommonly difficult task, and Choreographer Graham did not always succeed. With Clytemnestra (Martha Graham herself) at the ballet's eye, the black-gowned women and loinclothed men about her moved in an unhurried, severely ritualistic style that became occasionally monotonous in the long preludes to violence. But the economy of movement also produced fascinating effects, such as the shuttling plotters' dance...