Word: ardor
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Dates: during 1980-1989
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...sins and to have come to tolerate capitalism) has explained how it was necessary to incite fanatical hatred against the North Vietnamese in order "to unite our compatriots through the party, to bring our workers up to their highest level of productivity, and to make the yotheas (young soldiers) ardor and valor in combat even greater...
...vocally demanding role of the minstrel Elsie, Lisa Sheldon is convincing. Though polished and powerful, her soprano unfortunately lapses occasionally into an operatic ardor and intensity out of place in a light opera at the tiny Agassiz Theater. Her enunciation is murky, at times, with the result that she swallows many of Gilbert's swifter lyrics. Still, her opening duet with Jack Point "I Have a Song to Sing O" is the operetta's high point: sorrowful, simple, and affecting...
They occupy an imaginary booth. Oliver begins plying Carrie with sweet talk, and intimacy becomes ardor. Swept away by their playacting, they end the scene clinging and kissing. What is doubly enchanting about this moment is that Jean Kerr has shown us in miniature precisely how the dramatic imagination works, how we as playgoers are carried across the threshold from reality to illusion in the twinkling of a craftsmaster...
...Jekyll and Mr. Hyde. By the same token, he somewhat underrates Jane Austen, who, despite her "pert, precise and polished" prose, is so deeply rooted in the quotidian that he misses her enchantment. Yet he celebrates his own aesthetic, the "capacity to wonder at trifles," with an ardor that is irresistible. "These asides of the spirit, these footnotes in the volume of life are the highest forms of consciousness," he maintains, "and it is in this childishly speculative state of mind, so different from commonsense and its logic, that we know the world to be good...
...women, Cherry Jones's Rosalind clearly deserves her position as Shakespeare's ringmaster. The most commanding of the performers, she plays woman or man with equal ardor, courtly fixture or cottager with equal ease. Karen MacDonald's Celia matches Jones movement for movement with a perfectly synchronized body and a beautifully tuned voice. But the most ingratiating of the performances is Gerry Bamman's Jaques, a tall forest roamer in a grass toga, unfazed by even the most outrageous of Belgrader's devices, with a pouting, resonant voice that undoubtedly reminded more than one member of the audience of Tony...