Word: staging
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Dates: during 1930-1939
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...firm. White Cargo, in his opinion, was worse than Rain, worse than anything. Thus the way was open for the W. P. Film Co. of London, which bought the talking picture rights and released their product here, apparently without opposition. Their White Cargo is an uninspired photograph of the stage play acted by a fair stock company. Early in its proceedings you realize with a shock that it was this play that brought the useful word "acclimatized" into the current argot. There is also, as the young Englishman, new to Africa, proceeds toward moral degeneration, frequent mention of "damp...
...these maneuvers the nations, each represented by squadrons of beauties, find it quite easy to maintain a parity of nudity. The proceedings are of the hot weather variety which used to occur on the old Winter Garden stage before the lean years fell on the spangle manufacturers. Among the show's subtler assets are a waltz by Moss & Fontana, a bedroom scene in which Gertrude Lawrence creates considerable foolishment, and the spinning, leaping rhythms of Anton Dolin, a swarthy Englishman who once led the Diaghiliev Rus-sian ballet. Jimmy McHugh has written pleasant songs ("On the Sunny Side...
Thirty years ago the talk of Paris was an opera called Louise, the music and libretto by Frenchman Gustave Charpentier. Parisians liked Louise because it was about Paris. Paris scenes were painted on the backdrops; a tart Paris bourgeois was its heroine, an impoverished poet its hero. Stage pictures of an old woman ironing or shaking out rugs, young women costumed in shirtwaists and skirts and sailor hats, music written to suggest the whirring of sewing machines-all these seemed then, the most daring realism. Actually Charpentier's opera succeeded because it was tuneful, sentimental...
Since its beginning, the role of Louise has been considered the unique property of Soprano Mary Garden. She it was, an ambitious young Chicagoan* studying in Paris, who saved one of the first performances when the leading soprano collapsed. Mary Garden had never before sung on any stage. Her voice was curiously husky, uneven. But she played the part that night with peculiar understanding, made her name with it and sang it thereafter many times in Paris, in Manhattan when she appeared with Oscar Hammerstein's company, in Chicago. Geraldine Farrar sang the role a few times at Manhattan...
...those of Contralto Marion Telva as the ill-tempered mother; of Basso Leon Rothier as the father so dumbly doting that he drove Louise back to Julien and the free-and-easy Paris. The audience appeared to appreciate most Max Bloch who as an old-clothesman stalked on the stage and off wearing half a dozen toppling, ill-assorted hats...