Word: caste
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Dates: during 1990-1999
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...Christians who feel they can serve both God and Mammon--resulting in too many people left in poverty. The Rev. Robert Sirico qualified Christ's admonition as being against only the "unjustly" rich, and accused Wehner of trying to win attention by "bashing rich Christians." As aspersions were cast and tax credits argued, heaven fell to the wayside...
...deep grimaces. Weary of exactly such grand concepts and heavy emotions, the young Brecht wrote this play as a mild satire of late-nineteenth-century symbolist drama. This is not to say that the play is not be treated seriously but certainly not with the solemnity that the cast of Baal at the Loeb Ex did. In fact, many, especially amateurs, stay away from lyrical, intense tragedies on stage these days precisely because of the danger of ending up as hollow, over-choreographed melodrama...
...They don't want those bones to talk because we know they brutally tortured him, so much so that he spent the last days of his life in a full body cast," he said...
...brilliant performances of the ensemble cast that ultimately makes this show such a complete and unique success. Lorenzo Moreno '00, as the "wise fool" Touchstone, handles the rapid-fire patter and the physical burlesque of the Renaissance clown with an ease, energy and good humor that's little short of astonishing. In the great Shakespearean tradition, Erik Amblad '98 dashes in and out of three different roles and is scenestealingly hilarious in the tiny part of the bumpkin rustic, Corin. Chuck O'Toole '97 plays Orlando's usurping elder brother Oliver as a marvelously villainous fop in the first...
...single performer among this excellent cast can be said to steal the show, it is the phenomenal Sarah Burt-Kinderman '97, playing Jacques, the "melancholic" clown. A character who usually lurks in the corners of Shakespeare's text, Jacques has been slightly recast by Zayas into an interestingly post-modern role of the isolated intellectual. His sardonic commentary and constant observations on the rest of the play draw the line between the fantastic and the real, bringing the viewpoint of a modern, cynical viewer into the play. In his battered black suit, derby hat and worn-out umbrella, Burt-Kinderman...