Word: caplan
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However, these pirates do not disappoint. The Pirate King (Ilan J. Caplan ’10) has a gravitas that makes one of the show’s many exuberant refrains infectious: “But I’ll be true to the song I sing, and live and die a Pirate King.” The strength of the supporting cast sometimes threatens to overwhelm Frederic’s character—which Nelson, either purposefully or not, imbues with a sense of weakness—but that is, perhaps, the point. Frederic—who stubbornly holds...
...pirate trade. In the opening scenes of the play, he meets the beautiful Mabel (Bridget Haile ’11) and, after falling in love with her, promises to marry her on completing his apprenticeship. But to the distress of the fated lovers, the Pirate King (Ilan J. Caplan ’10) informs Frederic that he will be released from his adventures not when he turns 21, but on his 21st birthday...
Cusack and Duke’s characters, however, are less compelling. Adam gets bogged down in an uninspiring relationship with a music journalist (Lizzy Caplan), musing on predestination at odd, seemingly random points in the story. It’s as if Pink tried to dispense with the heavy, emotional baggage of the film as quickly as possible, which eventually bogs down the film’s pacing. Jacob, having not been alive in 1986, spends the majority of the film running around frantically, trying to figure out how to get back to the present...
However, Arthur Caplan, Ph.D., director of the Center for Bioethics at the University of Pennsylvania, doesn't think the trial will have much consequence for the questionable doctors who are enlisted by celebrities when they can't get aboveboard practitioners to pander to their needs. "Even with those tough charges, the combination of extraordinary wealth, lavish lifestyle and doctors who operate on the fringes of their profession almost guarantees a replay at some point down the road," he says. "Medicine hasn't figured out how to weed out the fringe operators, and celebrities haven't figured out that...
...Caplan, who is pursuing a Ph.D. in Yiddish Literature, and Raker are attempting to bring this traditional play to life in a modern context. “What feels ‘modern’ about our interpretation of ‘Shulamis’ is simply that we’re not striving to reproduce a 19th century operetta as it was performed in the 1880s,” Caplan writes in an email. “We opted to bring ‘Shulamis’ into a 21st century theatrical framework.” Among other changes...