Word: finalities
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Dates: during 1990-1999
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...such. But this is not to say that Egan's role was carried on the shoulders of another. Throughout the play, Egan remains the most believable. In spite of the attempt to detract from the religious overtones, it would be difficult to not symphatize with Dr. Faustus in his final attempt for redemption. Here, director McClelland '02 divvied up Faustus's last soliloquy to the cast who in some literal and figurative sense stole Fautus's final plea for God. Equally appropriate was McClelland's decision to impart the additional role of Chorus to vigilant Lucifer (Peter Richards '01), giving...
...These nuances constitute a pleasure, but the inclusion of the touches of modernization is nonetheless slightly problematic. An understanding of McClelland's final vision counts more on some level than the exhibition of the play. I am not speaking of the portrayal but more of the device. But this criticism aside, Dr. Faustus was a thoroughly engaging piece that brought some of the highest possibilities of innovative theater back to the Loeb Experimental Theater...
Last season, the Crimson swept the pair on the road, coming away from that weekend with a 4-2 victory over Dartmouth, and a 7-6 shootout over Vermont. The Big Green and the Catamounts again fell prey to Harvard at home in the final weekend of the regular season. The Crimson used its sweep to secure the eighth seed for the playoffs...
...novel dissolves rapidly after Sashie gives birth to her daughter, Mara, and it continues to unravel with the later insertion of Mara's niece, Naomi, as the final narrator. The work changes from a mythical tract to a soap opera of human fallibility. In the last section of the novel, one gets the impression that Budnitz wants to explore every facet of the human experience: mother and daughter, east and west, moral dilemmas and cheap symbolism...
...Agins doesn't suggest that mannequins and boutiques, from Rodeo Drive to Newbury Street, are going to start spontaneously combusting in celebration of the new year. Rather, Agins crafts an incredibly selective history of twentieth-century fashion, concluding that haute couture has taken 40 years to die and the final funeral peals only happen to coincide with the end of the world. Escalating operating costs, conglomeration and insidious in-fighting, when coupled with "democratic" trends in the market, sealed fashion's fate...