Senator William Borah, an Idaho Republican, put it piquantly in 1923.
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" Another consultant made the point more piquantly: "It's become like a clown car.
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" We also learn piquantly that "in Clementine's mind what happened would forever be tied up with sex.
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But the character who registers most piquantly is one I scarcely remembered from the film: Travis the stoner.
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On tonight's menu: a platter of hot, steaming man meat, followed by a delightful compote of piquantly dressed fruits and nuts.
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These piquantly pixelated scenes are often inspired by worldly events or by conversations that conjure up complex imagery in the artist's head.
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Rather, taking literary license with the title character's documented history, Palmer spins a cracking tale that, despite its disconcerting subject, is piquantly cheerful and compassionate.
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Long fabled as a director, script doctor and dramatist, Ms. May first became famous as a master of improvisational comedy, instantly inventing fully detailed, piquantly neurotic characters who always leaned slightly off-kilter.
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The five-member group that most people know as the Temptations is embodied with piquantly detailed individuality by charismatic, supple-voiced actors who astutely convey the imbalanced equations of ego and accommodation in their characters.
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There are schisms and antagonisms based on territory and belief — most piquantly represented by the enmity between a bagel (Edward Norton) and a lavash (David Krumholtz) — and a repressive sexual morality underwritten by fear of the gods.
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People will carp that the movie glorifies an Asian stereotype, piquantly accented pidgin English, but Ms. Chau makes a vivid person of the part, using physical and verbal comedy and emotional understatement to go only for glory.
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The most celebrated — and reviled — of the lot is the Princeton pathologist, Thomas Harvey (a piquantly, feverishly defensive Mr. Spector), who winds up schlepping Einstein's brain all over the place (often in the trunk of his car) and never does manage to crack its (metaphoric) contents.
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Capua, pp. 148–49 New York Times reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow Times critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".
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By traveling to spa resorts and residing in warm weather however, she was able to overcome any signs of sickness. Once source stated right before her marriage that Sophia Charlotte had "developed into a thoroughly healthy and happy woman, whose fair hair and blue eyes, so entirely German, are somewhat piquantly associated with a delicacy of feature that suggests the Latin rather than the Teutonic origin". According to another account, Sophia Charlotte was considered slim and graceful with pale, regular features. Contemporaries state she inherited some of the good looks and charm of her mother.
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In 2011 Peter Schjeldahl, reviewing Meryle Secrest's book Modigliani: A Life, wrote: > I recall my thrilled first exposure, as a teenager, to one of his long- > necked women, with their piquantly tipped heads and mask-like faces. The > rakish stylization and the succulent color were easy to enjoy, and the > payoff was sanguinely erotic in a way that endorsed my personal wishes to be > bold and tender and noble, overcoming the wimp that I was. In that moment, I > used up Modigliani's value for my life. But in museums ever since I have > been happy to salute his pictures with residually grateful, quick > looks.
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Many of the best-known London couturiers designed costumes for stage productions. The illustrated periodicals were eager to publish photographs of the actresses in the latest stage hits, and so the theatre became an excellent way for clothiers to publicise their latest fashions. The Gaiety Girls were, as The Sketch noted in its 1896 review of The Geisha, "clothed in accordance with the very latest and most extreme modes of the moment, and the result is a piquantly striking contrast, as you may imagine."Information about the famous costume designs of the musicals The next musical for the Hall, Greenbank and Jones team moved from Japan to Ancient Rome, with A Greek Slave. The Geisha was also an immediate success abroad, with an 1896–97 production in New York at Daly's Theatre (starring Dorothy Morton, replaced by Nancy McIntosh in November),Brown, Thomas Allston.
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