Word: drunkenness
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...Game approaches, Harvard students find themselves desperately seeking a place to lay down their heads after a drunken night of revelry to prepare for even drunker revelry to come on Game day. Young men and women turn to friends, family, or anyone really, in search of a place to stay, hoping they won’t find themselves turned out on the streets. Don’t worry—FM helps keep the Harvard homeless off the crazy streets of New Haven...
Onto this scene stumbles Poe (Ronny Pompeo), seemingly in a drunken stupor. Pompeo successfully inhabits the role with a wild look in his dark, sunken eyes. Five women file in behind him, the five most influential women in his life, ranging from his mother to a whore with whom he forms a relationship. The women circle Poe—who collapses—and begin quietly singing adaptations of his most famous poems in unison, including “Annabelle Lee” and “Alone.” Each woman seemingly competes for Poe?...
Imagine for a moment that on the lonely Friday night depicted in the Strokes’ 2003 single “12:51,” frontman Julian Casablancas decided to hit up a dance club rather than crash the drunken house party mentioned in the lyrics. The result would sound something like “11th Dimension,” the first single from Casablancas’ premiere solo album “Phrazes For the Young.” Featuring a bubbling electronic beat layered with disco sheen and synths torn from the Human League?...
...sort of meta-theatrical framing device. This prelude to the show drops us into a typical bar atmosphere, complete with pretzels. A drunk stumbles in off the street, and the staff of the Wild Cat decides to play a prank on him, invoking the help of a drunken entourage who are forced to act out a play as punishment for not paying their...
...acting is consistent, with a few standout performances. Benjamin Evett does admirably as both the drunken Christopher Sly and Petruchio, the conniving, arrogant man who weds Kate against her will and then domesticates her. He plays the obnoxious male bravado of the role to perfection, but again, this directorial move seems to invoke the ideas of gender relations in the play above themes of transformation. Beyond that, the casting (which includes eight men and only one woman, playing Kate) seems to play towards the gender themes as well. Bensussen may have been intrigued by Kate’s transformation rather...