Word: accents
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Dates: during 1990-1999
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...than the Lowell JCR stage should have to endure. The most abominable aspect of their performances was the pseudodialect of the male servant, Alain (Bliss Dake). One could never be sure whether he derived his verbal twang from the deep South, southern California or the center of London. The accent quickly became so distracting that the servant follies never attained their potential hilarity...
Vuke's Great White North accent was a sharp contrast to stodgy Hahvahd rapport. His simple values didn't seem to fit in with the hustle-bustle of the nation's top university. His friendliness and down-to-earth personality were a far cry from the Hobbesian world of urban Boston...
Elements entirely absent from Ibsen's original play have been introduced: Irene's character has been split into two persons, one dressed in white and the other in black. Ulfheim, originally a Scandanavian squire, has acquired a thick Texas accent. A spear, brandied about by various characters, becomes the production's major focus for over an hour. And three "knee plays", short musical skits devised by talented singer/dancer Charles "Honi" Coles (who also plays the spa's manager), precede each...
Glenn Kessler '92 plays Maximillian Bucks, the gruff producer with a South Side accent. Like Ed McMahon, Kessler is condemned by this script to be the set-up guy--a great personality and few funny lines...
Pulling down the curve is Richard Claflin '91 as Ivan Tuthrey. The character says he's old. You can't tell it from his movements. He is supposed to be Russian. You can't tell it from his accent. He is supposed to be a choreographer. You can't tell it from his dancing. We kept waiting for the moment when he would cross his arms, squat down on the stage and do the Russian folk dance that would justify his presence in the show, but it never happened...