Word: duet
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Despite these setbacks, the charisma of the players carried the production through with verve. Catherine deLima, playing the spirited Rosalinda, dominated the production with her dynamic voice and smirking facial expressions. Particularly charming was the duet in which deLima seduces Edward Upton (Eisenstein, Rosalinda's husband) in disguise, wielding a Hungarian accent and faintly pouting demeanor to entrap him. Upton provided a good counter-weight to deLima's antics, playing the impish and persecuted husband with an infallible good nature. Although Upton's voice suffered under the daunting orchestra and paled in comparison to his buoyant coplayers, his cutesy acting...
...While strong on her own Gelfand proved to have even more range in her movement in a pas de deux with her talented partner Paul Thrussell (dancing as the Cavalier). A small and subtle suspension of time prior to Thrussell's lifts of Gelfand increased the energy of the duet, resulting in a final climax to the performance...
...horn -- is one of the most distinctive singers in rock, and his prowess is on display throughout the album. He and guest singer Michael Monroe (formerly of the band Hanoi Rocks) take the Dead Boys' 1978 tribute to nihilism, Ain't It Fun, and reinvent it as a duet, infusing the song with new energy through the interplay of their voices. "I punch my fist right through the glass," they sing together. "I didn't even feel it, it hurt me so bad. Such fun. Such fun." Rose also performs a passionate rendition of Since I Don't Have...
...advantage the group numbers have, of course, is that you can actually hear them. Under the direction of Steve Huang, the orchestra drowns out many of the solo and duet numbers. In one particularly egregious example, the brilliant rendition of "Two Sides of the Coin" by Sneeringer and Feldman, the only way the audience knows the two are singing the rapid-fire chorus is by watching their lips move. This problem, a common one at the Agassiz, would at least be forgivable if the orchestra played well. Due probably to poor rehearsal rather than lack of talent, the orchestra stumbles...
...Heidi and in his response to the AIDS crisis--both dealt with in the midst of a play so laden with feminist concerns--Efron holds his own with captivating power. Efron's convincing combination of wit, cynicism and vulnerability made his character especially sympathetic to the audience. His final duet with Poreba in the hospital reduced many to tears...