Word: comical
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Dates: during 1990-1999
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David Ives's All in the Timing is a fast-paced comic slap in the face. Ives's collection of highly original skits--on topics as assorted as the death of Leon Trotsky and the plays of David Mamet--makes one realize just how predictable and sappy most modern comedy is. Even when writing about a commonplace subject like a couple's first meeting in a cafe, Ives maintains a hilarious, cleverly crafted style, free of cliches. Happily, first-time directors Jeremy McCarter '98, who is a Crimson editor, and Adam Stein '99 brought Ives's hilarity to life last...
Such fast-paced exchange made good use of the actors' perfect comic timing. At one point, the two even changed personalities as they make conflicting attempts to further, or avoid, the conversation...
...medium Madam Arcati (Mara Clark) to perform a seance in his home. Through some mysterious circumstances, his first wife Elvira (Dee Nelson) appears--and refuses to leave. One disaster after another ensues as Elvira and Ruth fight it out for their husband--fertile ground for Coward to flex his comic muscle...
...museum, although there are faint signs that he might have seen reproductions of Gauguin. He made it all up as he went along, according to the dictates of his compulsion. Since he couldn't draw the human body, he traced his muffin heroines and victims from children's books, comic strips and advertisements. He would then give the naked ones tiny penises and sometimes, even more puzzling, horns...
...procrastinated up to the last moment. Such haste, though, was not evident in the H&H's sparkling performance. The piece is highly whimsical and melodramatic in an almost burlesque manner, making it easy to see why Rossini overtures figure so prominently in cartoon soundtracks. Despite the overture's comic nature, the beautiful oboe solo at the beginning of the piece was highly expressive. A flute and oboe duet later in the piece was equally haunting, and reminiscent of Rossini's famous Overture to The Barber of Seville...