Word: brenerã
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...work with Sunken Gardens Children’s Theater, an organization that puts on a show for kids every spring, as a major source of enjoyment. “Really important work is what I’d call it,” he says. While Harvard was not Brener??s first choice, he ultimately came to enjoy his time here. “I knew I wanted to go to school and do theater and arts so I really wanted to go to Yale, but Yale really didn’t want me to go to Yale...
...Bette and Boo’s son Skippy, who also serves as the narrator of the play. Brener shows growth in Skippy’s character, which we don’t see as clearly in the rest of the cast, and does so with skill and subtlety.At first, Brener??s narration seems over-serious and solemn. He references obscure literary texts in an attempt to distance himself from the problems of his family through logical analysis. Yet eventually, as those attempts break down, Skippy accepts the weaknesses of his parents and comes to terms with their flaws...
...stage presence. Shanahan seems truly lovelorn, showing sharp but plausible shifts between wistfulness, anger, and ambivalence both through her physical acting and her emotive voice. Brener, who is more animated, counterbalances her overt sadness. Jamie is full of hubris, but he also has a charming frankness about him, and Brener??s interpretation blends both aspects of his character fluidly. Together, the two convince the audience that both Jamie and Catherine wanted something that the other couldn’t give, and that each feels distressed by the painful falling out. Also commendable is Lauren L. Jackson...
Many fans in the audience coordinated their outfits with their preferred performer, as they had done in the first show. Brener??s supporters wore cowboy hats, while Shanahan’s fans sported red t-shirts...
Particularly outstanding was Joshua M. Brener ’07 as Lloyd, the director of Nothing On; Brener??s exasperation, exhaustion and manic self-dramatizing perfectly captured Lloyd’s overwhelmed and overeducated personality. Margaret A. Weathers ’04 was fine as Belinda, the play’s straight woman and Nothing On’s only cast member without major physical or emotional problems; her constant attempts to restore the squabbling cast to order were accompanied by a businesslike aplomb and a tight, cheery grin. And Sara E. O’Brien...
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