Word: brickã
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...literary map of Cambridge, highlighting spots like Weeks Footbridge—the site of Quentin Compson’s suicide in The Sound and the Fury, (Faulkner wrote that Harvard was a place “where the best of thought clings like dead ivy vines upon old dead brick??). Alongside it stands a display on Harvard’s poets, which chronicles the lives of Eliot, Frost, Lowell, and Stevens, and reveals that Gertrude Stein did not, in spite of the popular myth, receive an “A” for writing that...
Although there are only a few moments in which there is actually only one character on stage, the drama nevertheless centers around an individual performance. In Maggie and Brick??s first scene, Rich rattles off an impressive soliloquy. Brick lies listlessly on the bed and the relatives make a hullabaloo back stage, but Rich seems to be the only person in the theater. While Rich initially over-dramatizes her frustration, her character becomes increasingly real over the course of the play...
...immaculate characterization in the show is marred only by the ghostly presence of Brick??s dead best friend Skipper, played by William D. Kehler ’11. Rather than a problem of acting or character—Kehler never speaks—it seems to be more a problem of blocking and technically-produced ambiance. Rather than a ghost who sporadically interrupts Brick??s consciousness, Skipper seems to be a sketchy stranger who just happens to pop into the plantation house from time to time and fondle Brick...
...Folds, the man behind such feel-good pop hits as the maudlin “Brick?? and the more recent upbeat solo hit, “Rockin’ the Suburbs,” added a slightly less commercially palatable track to his repertoire Sunday night at Harvard Yardfest (formerly known as Springfest). The extemporaneous ditty, in which Folds proclaimed alternately that “Eliot House sucks big donkey dicks” and that “Eliot House is not that bad” in minor and major keys, was prompted by a miniature inflated beach...
...large enough to build an entirely low-rise building (which would have been brick) and still accommodate the designated number of students, so Carlhian had to design a high-rise. For structural and aesthetic reasons, Carlhian explained, it made no sense to design a 14-story high-rise of brick??thus the concrete-aggregate form and revolution in Harvard dormitory housing. The interiors were purposefully designed as bare concrete: ever-changing blank canvases upon which, in the suites, the students could express their tasteful creativity (Carlhian said he envisioned “tapestries”). In the public...