Word: timelessly
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Dates: during 1950-1950
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...Timeless Buffoon Durante had a superb foil in the Metropolitan Opera's strapping Wagnerian Soprano, Helen Traubel. From his first baffled exclamation at seeing her in Brünnhilde's armor ("Holy smoke, she's been drafted!"), through a passage from Die Walküre (in which Durante was a voiceless, baffled Siegmund), to his piteous attempts to pin a corsage on her coat of mail, Durante brilliantly played the role of a frustrated longhair...
...Love's Last Shift.* Otherwise Vanbrugh wrote with small sense of purpose and merely to entertain. The play tells two barely contiguous stories: one-the frilly, mannered tale of Loveless' backsliding-is pure Restoration bawdry; the other-the lusty courtship of a panting, pent-up hoyden-is timeless low comedy. Morally, also, the play faces two ways. It seems utterly callous where Loveless sins with his wife's cousin and house guest; it seems all but Victorian when Loveless' wife not only resists seduction but reduces her would-be seducer to shame...
...four players perform bravely, despite a script which is about as suspenseful as "Little Red Riding Hood." The Victorian setting provides the necessaries for melodrama: a heavily-draped living room, flickering candles, and a swinging chandelier. There are other timeless devices, such as nighttime storm and strange offstage noises which supplement the generally trite plot. Bail Langton's direction would be better appreciated if the play were a strong one. It is correctly slow-paced and would emphasize the tension that must be written in as really good melodrama...
...that his earlier, slicker works lacked. The sitter's pensive, bloodshot eyes pierced the murk in which Rembrandt had muffled him; his melancholy, tight little smile reminded some visitors of the Mono, Lisa. Like her, the Young Man seemed to be silently inviting the spectator to enter the timeless, painted world in which he stood...
...unpalatable, but they also heard tonal colors never produced by four stringed instruments before. In the Fifth (1934) and Sixth (1939), Bartok reaped his harvest. Like Beethoven's last (Op. 155), Bartok's final quartet, composed six years before he died, is full of deep and timeless beauty...