Word: chorus
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...final moments of the 1997-98 season's opening performance at the American Repertory Theater find an entire cast and orchestra of a musical in a unified and resounding chorus. With actors half in two costumes, a clarinet player nearly leaping off the stage and an energy that defies all known limits of family gatherings, it is a shame that such intensity is wasted on the absurd and over-the-top musical "Shlemiel the First...
...track on Butterfly is "Close My Eyes," a hushed, low-register meditation on (believe it!) her own immaturity and poor self-image. Scary how remembering a messy childhood can force spareness, honesty, even eloquence on an unlikely source. She describes the "woman-child" she feels "falling inside," and the chorus acknowledges, "Still I feel like a child when I look at the moon/Maybe I grew up a little too soon...
Personally, I think Meredith Brooks arranged the most appealing female offering of the season with "Bitch." Opening with a fragile, babyish voice in every verse, Brooks pleads with her listeners to accept her good and bad sides. Then enter the courageous chorus, "I'm a bitch, I'm a lover..." and the song breaks loose, ready to be subdued by her lilting voice once again. Also, I can't forget to mention my favorite lyric which appears in the bridge-"when you hurt, when you suffer, I'm your angel undercover...
Today, rewinding to him in Of Mice and Men (1939) alongside Lon Chaney Jr. or Second Chorus (1940) with Fred Astaire is unsettling; the resemblance is evident, yet it seems somehow not to be him. But that other Burgess Meredith was everything else, from a Shakespearean actor to the quacking Penguin in TV's Batman. He directed himself and Charles Laughton in The Man on the Eiffel Tower, co-produced On Our Merry Way with Henry Fonda and James Stewart, and made three Twilight Zone episodes in 1959. He was married four times, served in the Air Force, and crusaded...
...Here Now. The first single, D'You Know What I Mean?, is a fun, if frothy, rock anthem; The Girl in the Dirty Shirt has a cool, clomping beat and playful but passionate vocals; and Stand by Me, with its big, sweet guitar licks and hand-clapping chorus, has pop appeal. So far, though, Oasis hasn't come close to creating a body of work that will make the young, hot, upstart rock bands of the future want to borrow from it. But the band is still a fairly new one. And there's a long and winding road ahead...