Word: ests
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...that, it seems, is Cox's point. It's time to welcome magical mystery back into the world. (Could that chain link fence then represent the limitations of the human situation? C'est possible.) Except that Godspell's magic seems to stem from a much more earthly source. Godspell is more about show bizz than it is about Christ. All those allusions inevitably take their toll; the message is overwhelmed by the medium. John-Michael Tebelak, who conceived the show (as part of a Masters program at Carnegie Tech, no less), and Nina Faso, who directed this Boston production, have...
Deep Colors. The experts do not phrase it precisely that way. "I would use the words deeper and more vibrant to describe the look," says the beauty editor of one of the leading fashion magazines. "It involves the forthright use of makeup and more colors." The house of Estée Lauder, which first introduced what it calls the "civilized look" in 1969 and has heavily advertised it ever since, heralds it as "the return to real makeup." Revlon followed with deep brown cream rouges and nail lacquers in startling shades, from brown and purple to bright red, a color...
That range, in fact, has sent the manufacturers into an orgy of name giving. Charles Revson has come up with such goodies as Baby Biscuit and Raisins for his Etherea line. Estée Lauder has picked Coffee Brandy and Ginger Brandy for her nail polishes and Ripe Plum for her blushers. On the theory that a French phrase or two is equally intoxicating, Christian Dior has countered with Chataigne Doré eye shadow and Brume de Rose lipstick...
...ballet begins in darkness. A pianist (Gordon Beelzner) sounds the delicate, unobtrusive theme upon which Bach built his variations. Onstage, as the curtain rises, are a couple (Michael Steele and Renee Estópinal) in period attire: he in black frock coat and breeches, she in a white bell-shaped dress. Their movements together are as much mime as dance: a conversation of courtly gestures, expressed more by arm and hand than by the deceptively easy steps that subtly accent Bach's limpid line...
...allusions, accounts of the distortions of love in the fourth dimension of time. In its way it was the end of a line that could not be continued on the page-that needed the liberation of the camera. Directors such as Karel Reisz (Isadora) and Alain Renais (La Guerre Est Finie) acknowledge their debt to the master in every temporal experiment. Rohmer is no less a disciple, but much less a film maker. His work is sterile in its perfection; it lacks nothing but passion. And without that Proustian quality, all drama, all conflict, however witty or profound, becomes mere...