“It has definitely been something that Asian-American actors have been wanting and passionately fighting for — to be recognized and also to have a more mainstream voice, to not be pegged into a very specific category,” she said. The architect and set designer David Rockwell earned nominations for the intricate detailed work he put into the play “You Can’t Take It with You” and the huge train he created for “On the Twentieth Century.”. He added hundreds of mementos and photos on the walls on the play’s sets, while his interior train set had to give the impression of optimism, speed and opulence. “There was certainly more slamming of doors than any play I’ve ever worked on.”.
However, I’m a bit surprised that the many singers, performers, waitresses and dance partners — who volunteered their services and talents at the nation’s widespread USO canteens and merchant seamen’s clubs for soldiers and seamen — are totally ignored, as if they never existed, I sang at both most weekends during the war, plus at war bond rallies, When the war was over, I was pleasantly surprised by a phone call from the Manhattan USO, They offered and sent me their big Steinway upright piano, which had the names of the performers (famous silver alloy angel wing ballet shoes bell bead pendant big hole beads loose bead fit european charm bracelets craft and unknowns) written and scratched along the side facing the audiences..
“What we’re really talking about is how to behave as human beings,” King says. “Other than questions of justice, when you want to be fixed and unmovable, we need to be flexible. Art is telling us how to live. You’re meeting people, and if you’re going to have a conversation, you have to listen. And listening is not easy. Have to get out of the way and let the music talk. You have to put aside all of your superior knowledge and observe another culture and point of view.”. In Kronos Quartet, King has found fellow practitioners of radical empathy.
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Marie’s eyes stayed on her cellphone as they rushed past. She didn’t have her home number saved, and as she tried to dial it, her hands wouldn’t stop shaking. “Marie, what’s wrong?” answered her mother, Susan. “There’s a shooting. There’s a shooting. Shooter, shooter,” she blurted, barely able to pronounce the words. “You have to stop. What are you saying?” Susan asked. Still on the phone with her mom, she and Summer escaped the venue and hurried across Giles Street, where they reached the edge of a church parking lot enclosed by a seven-foot-high wrought-iron fence.