Word: cardboarded
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Dates: during 1980-1989
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Apollonia Kotero as Apollonia manages to carry off a remarkable yardage of black leather and five-inch heels without coming across as a cardboard pin-up. Supposedly ambitious and bright, she is also quite vulnerable, particularly in her relationship with the Kid, a seductive imp who insists on a Kid-centered universe and turns nasty when his supremacy is threatened. The love between the two frequently reenacts the relationship between the Kid's parents, a failed-musician Black father whose frustration leads him to beat his white wife viciously. When Apollonia announces that she plans to accept a place...
...makes the difference between one funeral home and another. The death of a loved one is often a shocking experience. How a family chooses to handle it is based on personal idiosyncrasies, which are the funeral director's responsibility to interpret. The decision to have a casket of cardboard or solid bronze is left to the relatives. What funeral directors give of themselves to families in need will never be put on paper except by those who often write in appreciation...
...untalented prima donna whose injury opens the road to fame for our heroine Peggy Sawyer, although she often appears a bit too secure for a little girl who just got off the bus from Allentown. Pa. Finally, Bibi Osterwald brings a certain spunky energy to a rather cardboard character of singing coach. Unfortunately, despite the fine performances, this production is still plagued by some technical difficulties with sound and music levels, but such problems no doubt will be worked out soon...
...moments that amount to nothing more than bad taste. Examples include a young woman with a back brace who is constantly tripping or drenching her face in water fountains, and the Asian exchange student whose name--Long Duck Dong--alone should demonstrate the racist stereotyping of his character. Equally cardboard is Jake's beautiful but shallow girlfriend, who tells Jake: "I fantasize that I'm your wife and we're like the richest, most popular adults in town...
Broadway audiences may have more trouble than George stepping into this austere, demanding concept. No high-kicking razzmatazz here; in fact, no choreography. No heart-pummeling sentiment; in fact, virtually no characters, as Author-Director James Lapine follows Seurat's lead and dehydrates his actors into cardboard stereotypes. Nor is there a surfeit of "humma-mamumma-mamum-mable melodies," Stephen Sondheim's derisively witty phrase from his last show, Merrily We Roll Along. Sondheim long ago renounced such simple show-biz pleasures; neither Dot nor the audience gets to go to the Follies. This score is often doggedly...