Word: deux
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Dates: during 1990-1999
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Holmes' version does regain its gusto by the final scene, when Kitri and Basilio marry after successfully foiling Gamache and Lorenzo. The townspeople join in the extravagant celebration with waving fans and clattering castanets, but the highlight of the finale is the grande pas de deux. Sevillano enchants Armand with her coquetishness and bedazzles the audience with her technical skill. She skips delicately across the stage en pointe, slices through the air with split-second leaps and performs multiple pirouettes and fouette turns with luscious ease. Armand tosses his head more sexily than ever while leaping in furious circles about...
Their hesitant courtship becomes an exquisite pas de deux between Josette Day and Jean Marais. Cocteau was blessed to have two such accomplished actors playing the lead roles. Day, with her delicate cheekbones and tremulous lovliness, is radiant; the other-wordly image of Beauty in a dark cloak stays in one's memory for days. Marais is triumphant as the Beast. In Berard's makeup and ornate costumes, he displays a flair not present in any of his other performances. He looks at once noble and ridiculous, menacing and silly, and his resonant, incantatory voice is unforgettable...
...great Left Bank establishments, such as Les Deux Magots and Le Flore, thrive by serving up literary nostalgia to tourists; even off the beaten track, visitors still find the city bristling with humble neighborhood cafes and their newer manifestation, the wine bar. But among the natives, the statistics of decline have prompted a cry of alarm, with newspaper articles and even a television special deploring the slow extinction of le zinc. A government poll showed that 62% of the French feel cafes are an "indispensable" part of life. A festival at the Paris Videotheque inventoried 110 films centered on cafes...
...able to mount a handsome production, with especially lavish costumes. The largesse makes it even more unfortunate that in the end the choreographer's imagination is defeated by Tchaikovsky. In the second act the music expands opulently, demanding matching grandeur onstage. But Morris wastes the grand pas de deux on a routine group number and sets the explosive coda as a small- scale duet for Marie, the heroine, and the Nutcracker Prince. It's a bad letdown...
OUTSIDE, ON THE STREETS, THE Saigon of the 1920s bustles. Inside, a 15-year- old French girl and a Chinese man begin a bedroom pas de deux. Her back arches as prettily as the chords in the lush background music. His buttocks tense as his passion surges. He kisses her; she permits it. He murmurs, "I love you." She claims to feel . . . nothing...