Word: awkwardnesses
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Dates: during 1960-1969
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...Agassiz the book occasionally takes it in the ear. First of all, the extra songs (an innovation borrowed from the recent off-Broadway revival) are preceeded and followed by predictably awkward transitions. Also it helps not at all that each musical number, when the dancing is over, has gone on so long you forget whatever plot-point led into it. Worse yet, director Porter and his company are plainly more comfortable when the music is playing than when it's not; when there's no dancing, no orchestra, and no flashy movement, everything falls a little flat...
McCarthy speaks slowly and thoughtfully. As he speaks, he glances occasionally at his hands which seem in a constant awkward motion. He projects a hint of uneasiness and a strong sense of modesty...
Visual Haiku. Signing can be awkward and slow-paced in plays that depend heavily on dialogue, such as Saroyan's The Man with the Heart in the Highlands, which leads off the current show. But the medium is perfectly suited to such stylized theatrical forms as the Kabuki play The Tale of Kasane, which the group performs with the flow and precision of fine ballet. The company's most striking performances are its "recitations" of poetry. Through such simple gestures as twisting her fingers over her heart to show grief, stunning Audree Norton manages to evoke...
...separate reality and fantasy, now feel guilty for the death, as if they had willed it. In the film's most subtle and affecting sequence, Warrendale focuses on the grieving faces of children at the cook's funeral. There is a hint here that these innocent, awkward, suffering creatures are at last inching closer to normal human response-thus providing this powerful movie with that most elusive of cinematic conclusions, the truly happy ending...
Faced with O'Neill's rhetorical soliloquies and the awkward device of having characters utter their unspoken thoughts, Director José Quintero apparently folded his hands in slothful reverence. When it came to cutting the script by three hours, however, he became indiscriminately agile, severing vital tendons of continuity, meaning, mood and theme. O'Neill had specified that the play be destroyed if he could not revise it, and after a fashion, Quintero has obliged. What remains is a remnant of O'Neill's melancholy conviction that hell hath no fury quite like a human...