Word: backlit
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...paparazzo's flash ruptures privacy. A photographer's strobe can be softer: illusion backlit in short bursts. It is not glamour flashing in Stephanie's haunted blue-green eyes, though. Whatever she wears, however she holds herself, she seems to stare straight past the lens, resisting any easy truce...
...efficiently evokes the backstage of a rundown vaudeville house, with three large panels of circus-patterned scrim backstage. At several points, backlit actors pantomime the offstage action of the play, alleviating the inevitable boredom of this regrettable Elizabethean convention. But McDonough cannot stop with this modest tactic; he has to include pantomimed metaphor's of the onstage action. Of many egregious examples, the backstage portrayal of a catfight during Bianca's and Katherina's second-act sparring manages to be as insulting as it is cliched...
...teacher was already talking about Yeats. No mention of exams or papers or grading policies, or even a syllabus. And a bad stammer marred his soft brogue as he spoke briefly of gyres and regenerative cycles and Cuchulain and the Easter rising. But he was a dramatic figure, backlit by the sun through the room's only window. And when he started to read poems--when his stammer disappeared in the steady flow of rich, musical verse--the students were enchanted, as much by him as his subject...
...guitar cords on stage--he looks like a kid who has some inborn style but doesn't have the time or money or desire to get properly duded up. The lighting for the act also helps to create this image: during some songs, the stage is hazily backlit, giving the impression that Springsteen is hanging out on a corner under a street-lamp in the early morning, trying his best to be like Brando or James Dean; during others, garishly bright colored lights are used, lie at an amusement park along the Boardwalk...
...level irritant than a dramatic advantage, and the occasional snippets of music seem too often either obvious or inappropriate. The actor's chief virtues are as objects rather than performers: Robin Woodard as Sally has an appropriately blank countenance, and a fascinating profile, which Edlestein uses repeatedly, often backlit, to suggest her mysterious vacuity; Hope Wilson as Kate is blessed with straightforward beauty and a rare up-from-under smile; Eric Sherman as John has a face which suggests a different value from every angle, by turns smug or harassed, depressed, or elated, dull or clever. Edlestein himself, playing Kate...