Word: criticize
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Dates: during 2000-2009
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Frank H. Rich ’71, currently a New York Times columnist and formerly their chief theater critic, first met Sondheim after writing a Harvard Crimson review of “Follies,” a Boston production for which Sondheim wrote the music and lyrics...
...female characters play roles consistent in their appearances as Anne throughout the show. Ella Gibson ’13 pierces the show with a stern cool that permeates her part as the pessimistic narrator in scene three (“Faith in Ourselves”); as the disparaging art critic in “Untitled”; as the skeptical interrogator in scene 15 (“The Statement”); and as the seemingly sweet but aggressively homophobic, racist young mother in scene 10 (“Kinda Funny”). Rebecca Feinberg ’13 elicits sympathy...
...during “Faith in Ourselves,” and then, scenes later, the sleek curves of a new model vehicle in “The New Anny.” “What fascinates me is her use of textures,” offers one art critic during “Untitled.” “I think there’s a great sensitivity here in the juxtaposition of materials.” The entire performance presents a similarly impressive layering and contrasts of sparseness and chaotic engagements; in scene...
...This critic may be concerned with the inconvenience of making multiple trips to the sometimes anxiety-inducing entrée line, the danger of carrying hot plates, or may just be lazy—all of which were mentioned as turn-offs by a handful of tray-advocates in Annenberg...
From the moment we learn that Austerlitz was evacuated to England, the Holocaust haunts almost every page of the novel, but the novel never lapses into hysteria. This is partly attributable to Sebald’s deliberate prose style—described by critic James Wood as “densely agitated”—which renders even the most psychologically disordered states with forensic lucidity: “reason was powerless against the sense of rejection and annihilation which I had always suppressed, and which was now breaking through the walls of its confinement...