Word: carousels
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Dates: during 1990-1999
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More than any other Cirque show, O incorporates these acts into its expansive design. A quartet of carousel horses canters through the air. Angels, hunchbacks, giant toucans materialize as cameo apparitions. Anything may navigate the pool: a bathtub, a giant inverted umbrella, a wayward iceberg, a shark fin that turns out to be the top of a crescent moon. At the end the hunchback plays a grand piano as the princess reclines on it--art, love and beauty in one heartbreaking image--and then, slowly, it dissolves into the water. Here and throughout, O achieves a goal of the highest...
...evoking images of the Coliseum and sky as Prodhumme--with a surprisingly sexy voice that moves effortlessly between innocence, vulnerability and purposeful passion--pushes the music to one of the few full climaxes of the album. "My melting snowman" is a short and eerie instrumental piece featuring slow, distorted carousel music, and "never comin' back" conjures up the freedom of dry Wyoming highways as Prodhumme belts about the open road with a slightly affected yet humorous western twang...
...developing other new tools, such as a digital slide carousel and a quiz maker, that would make it easy for teaching staff unfamiliar with computers to create a quiz that would be administered, timed and graded electronically...
Just now Crowley, 45, is the Gershwin of designers. With his 1987 Broadway debut, Les Liaisons Dangereuses (all those elegant, suffocating drapes!), and 1994's Tony-winning Carousel (a small town in idyllic greens and blues), the kid from Cork, Ireland, showed the breadth and iridescence of his gifts. This year he had three new Broadway shows: Twelfth Night, the Oscar Wilde bio-play The Judas Kiss and Paul Simon's The Capeman. Amid the rubble of Capeman's reviews, Crowley earned praise for his expressionistic perspectives of uptown tenements and upstate jails. He is now at work on four...
Hytner, the first of this generation of Brit boy-wonder directors, says he wouldn't have done Carousel or Twelfth Night without Crowley. "Bob's aesthetic is mine as well: that a theater world should be poetic, a world of the imagination; that it should be hospitable to actors; that it should be bold in the use of colors." That would account for the glorious pools, and the pathways that slide together at the end to bring the lovers together. As Hytner says, "We are also both totally shameless about feeling that now and then you have to give...