Word: actorsã
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...tendency to look for love in all the wrong places. The actors playing her five children also double as the five adults in Hester’s life that used her for their sexual pleasure and left her with the burden of raising children by herself. The actors?? dual portrayal of children and adults solidified the connection between the exploitative acts Hester’s peers and her “chosen” lifestyle. Ayers did an excellent job of conveying the internal turmoil plaguing Hester. She convincingly conveyed the feelings of maternal affection, vulnerable emotion...
...quite achieve that level of drama. A few of the stylistic touches seem strange, like the jarring jazzy music and lighting cue (by lighting designer Blase E. Ur ’07) during the climax of the play. All in all, though, the poise of the leading actors??who almost always manage to speak with the right balance of dandified aplomb and thoughtful sincerity—and the excellent support provided by characters like Cecil Graham (Zachary B. S. Sniderman ’09), make the production a thoroughly beguiling one. Despite some imperfections, the cast and crew...
...adventurous approach. There was something too literal about her direction. The play desperately called for a crazy, surrealist approach that never materialized. Nonetheless, Pastel made sure that the most important elements of the play—the allusions and intertexuality of quotations—were clearly emphasized through the actors?? clean delivery of their lines.Stoppard’s “A Separate Peace,” the second play in the program, is a comedy centered on a mysterious man, John Brown (Sean R. Fredricks ’07). Brown checks himself into a hospital, despite...
Thankfully, as with “Annie Hall” and some of Allen’s other films, it is the director’s nervous tics that drive “Scoop” to hilarity. The other actors?? performances aren’t quite on-par with those of earlier Woody pieces—Jackman’s Australian accent occasionally surfaces, and Johansson’s Sondra is uneven—but they never cause the film to lose comic traction...
...actors?? adroit work is bolstered by a well-calculated set design: no prop, from TVs to teacups, is without purpose. The repetitive techno-remix score follows the same path, deliberately building tension—at least, when Madonna isn’t singing. However, the costumes are the production’s piece de resistance; to imagine the maids without them is to imagine Roxanne without her red dress...