Word: singing
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Dates: during 1930-1930
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...take two cases....oh, the Michigans is it? ....football? and all this time me thinking it was hockey....oh, well it all just goes to show one must keep abreast of the times....abreast, a breast of duckling....Mirabeau?....Eugenie?....sou cloche?....thanks I'll take mine with seltzer....sing a song of seltzer, sing a song of hey, waiter, how's for some more glasses?....yes, I know, but they just sort of slipped....some more of that fizzy magoozulum?....well, I don't mind....they say it's good for seasickness....CRASH....who fell...
Chicago will hear another premiere this season: Camille by Hamilton Forrest, onetime office boy in Samuel Insull's light, power and traction establishment. Camille was scheduled for performance last year, postponed because of insufficient time for rehearsals. Mary Garden will sing the title role. Other operas new to the repertoire and illustrative of Chicago's increased interest in German music will be Wagner's Die Meistersinger and Smetana's Bartered Bride. New sopranos are Lotte Lehmann, famed in Vienna; Emma Redell, a native of Baltimore trained in Europe; Maria Rajdl of Dresden. New Contraltos: Sonia Sharnova...
Girl Crazy. The pleasantest interlude in Girl Crazy, a conspicuously pleasant show, is furnished by a quartet of young men sufficiently resembling cowboys who amble across the stage three times in the first act and sing a sweet, lazy little song called "Bidin' My Time (That's the Kind of Guy I'm)." The attraction also contains the best music George & Ira Gershwin have written since Oh, Kay!, an outstandingly comely chorus, talented and virginal...
Baritone Reinald Werrenrath will advertise Camel cigarets. Contralto Ernestine Schumann-Heink, having completed a series of farewell tours, will sing 15 minutes every week for Enna Jettick shoes. Stations not included on either of the nation-wide chains (Columbia and National Broadcasting) present local talent paid for by local merchants...
...supporting characters generally seem as puzzled as the audience about the proper attitude to be taken toward the portent they are witnessing. But the play again proves the dramatic theorem that if you want to make any audience blow its nose and wipe its eyes, have the principals sing the same songs and say the same lines in the last act as they have previously sung and said in their youth-way back in Act I. Nine Till Six is dubiously distinguished by the fact that it has an all-female cast. The scene is laid in a London dress...