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...seems forced, almost hurried, although Bonn tries to lessen the perfunctory note with sensitive staging. Hannah's prominent grief, for example, nicely mitigates the atmosphere of mechanical, happily-ever-after celebration. Nevertheless, the production could have punched or prolonged the moment--brought in the chorus, perhaps, to ooh and ah as Robin explains how he's "broken" the curse...
...Ah, frippery. Light as whipped cream, sparkling as champagne, frivolous as a Rococco ceiling, Beaumarchais' Figaro spices the Loeb mainstage this weekend. Intellectual content? Probably very little (but if you need an excuse to gambol the first weekend of Reading Period, try to trace the Moliere influences). Scholarly substance? Come now (though if you insist, this was the primary source for both Mozart's "Marriage of Figaro" and Rossini's "Barber of Seville"). Profundity? Not a smidgen, I hope. But for you brain-becobwebbed hordes, here's energy and elegance, a jewel-box set and pure Goya costumes...
Back to the bunt. Ah, the bunt. To set the stage, Brown had just retired the MIT leadoff man on a grounder to second. Rick Pearce, the Crimson's stellar third baseman, inched up toward the grass, since the book on speedy MIT second baseman Jeff Felton was that he could bunt...
When the movie opens we see Dylan singing onstage. He's traded in the whiteface for a Nixon mask, which he pulls off. Dylan grins--the first of may shots of his incredibly bad teeth--but revealing...ah hah, this is art now mind you...masks within masks. You see, Dylan doesn't play Dylan in this film; corpulent Ronnie Hawkins does. Dylan plays Renaldo, a somewhat logical cross between the Jack of Hearts and the lone rider of "Romance in Durango"--"Hot chile peppers in the blistering sun/Dust in my face..." Sara Loundes Dylan plays Clara, while Ronnie Blakelee...
...Ah, but alas poor Richard. No applause from the "critic section." And there he went and spent five weeks under a sunlamp so he could be good and tanned for his acceptance speech...