Question:
Oklahoma! is the first musical written by the team of composer Richard Rodgers and librettist Oscar Hammerstein II. The musical is based on Lynn Riggs' 1931 play, Green Grow the Lilacs. Set in Oklahoma Territory outside the town of Claremore in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancee, Ado Annie.
The original production of Oklahoma! was an unprecedented critical and popular success. John Anderson of the New York Journal American pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything". In the New York Herald Tribune, Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship." Louis Kronenberger of PM opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."  In the New York Daily News, Burns Mantle declared that "Oklahoma! really is different - beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, Oklahoma! seems to me to be the most thoroughly and attractively American musical comedy since Edna Ferber's Show Boat". New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights.... They are spinetingling, out of this world." In The New York Sun, Ward Morehouse commented that "Oklahoma! is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B." Lorenz Hart himself "pushed his way through the crowd at the after-show party in Sardi's restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."  The only negative review of the musical appeared in the New York Post: The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."
Answer this question using a quote from the text above:

Did anyone else give a notable review?

Answer:
". New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography,


Question:
Bjorn Borg was born in Stockholm, Sweden, on 6 June 1956, as the only child of Rune and Margaretha Borg. He grew up in nearby Sodertalje. As a child, Borg became fascinated with a golden tennis racket that his father won at a table-tennis tournament. His father gave him the racket, beginning his tennis career.
Borg had one of the most distinctive playing styles in the Open Era. He played from the baseline, with powerful ground-strokes. His highly unorthodox backhand involved taking his racket back with both hands but actually generating his power with his dominant right hand, letting go of the grip with his left hand around point of contact, and following through with his swing as a one-hander. He hit the ball hard and high from the back of the court and brought it down with considerable topspin, which made his ground strokes very consistent. There had been other players, particularly Rod Laver and Arthur Ashe, who played with topspin on both the forehand and backhand, yet Laver and Ashe used topspin only as a way to mix up their shots to pass their opponents at the net easily. Borg was one of the first top players to use heavy topspin on his shots consistently.  Complementing his consistent ground-strokes was his fitness. Both of these factors allowed Borg to be dominant at the French Open.  One of the factors that made Borg unique was his dominance on the grass courts of Wimbledon, where baseliners since World War II did not usually succeed. Some experts attributed his dominance on this surface to his consistency, an underrated serve, equally underrated volleys, and his adaptation to grass courts. Against the best players, he almost always served-and-volleyed on his first serves (but he naturally played from the baseline after his second serves).  Another trait usually associated with Borg is his grace under pressure. His calm court demeanor earned him the nickname of the "Ice Man" or "Ice-Borg."  Borg's physical conditioning was legendary and unrivalled. He could outlast most of his opponents under the most grueling conditions. Contrary to popular belief, however, this wasn't due to his exceptionally low resting heart rate, often reported to be near 35 beats per minute. In his introduction to Borg's autobiography My Life and Game, Eugene Scott relates that this rumor arose from a medical exam the 18-year-old Borg once took for military service, where his pulse was recorded as 38. Scott goes on to reveal Borg's true pulse rate as "about 50 when he wakes up and around 60 in the afternoon." Borg is credited with helping to develop the style of play that has come to dominate the game today.
Answer this question using a quote from the text above:

Are there any other interesting aspects about this article?

Answer:
a medical exam the 18-year-old Borg once took for military service, where his pulse was recorded as 38.