Word: gilbert
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Some plays are obscure for obvious reasons; with others, the fact that they’re not more well-known seems outrageously unfair once you’ve seen them. Gilbert and Sullivan’s “Utopia, Limited” is of the latter category...
...unresolved side plots, self-slander, sex, finance, and mutton chops (I could go on), the duo’s penultimate Savoy opera is a work that would lend itself to variation after variation. But until the show’s reputation gets the boost it deserves, the Harvard-Radcliffe Gilbert and Sullivan Players’ (HRG&SP) new production of “Utopia, Limited,” directed by Jeremy R. Steinemann ’08 (an incredible debut) and produced by Ryder B. Kessler ’08 and Benjamin T. Morris ’09, will...
...months ago, Nigerian religion expert Abieyuwa Ogbemudia said to my colleague Gilbert daCosta, "It is incredible for any church to even tolerate homosexuality and survive in Nigeria. Your church would be dead in the water." Akinola, however, has proven himself in the past to be a brave man. He took a strong and important stance against Nigerian President Olusegun Obasanjo's bid for an extraconstitutional third term. He needs to be brave again and speak out against the penalties in the Nigerian bill. If he truly has concerns about human rights, he should express them with vigor. Failure...
DIED. Peggy Gilbert, 102, pioneering jazz saxophonist and bandleader of the 1920s, '30s and '40s who led her most recent band, the Dixie Belles, until she was in her 90s; in Burbank, Calif. As a jazz-obsessed high school student, she ignored her teachers' insistence that girls should stick to the violin and piano and took sax lessons from a local musician. Gilbert upped her national profile in 1937, when her all-girl band opened the Second Hollywood Swing Concert at Los Angeles' storied Palomar Ballroom, sharing billing with fellow bandleaders Benny Goodman and Louis Prima. A year later...
...Even before you break open the shrink wrap, it feels like Fall Out Boy just isn’t trying. It’s unfortunate, since the record displays the same high-gloss, meat-and-potatoes instrumentalism of FOB’s other work. Guitarists Ryan Ross and Chad Gilbert still treat the palm mute like a magic trick, and vocalists Patrick Stump and Pete Wentz wield the same saccharine croon. Granted, the disc is stuffed with studio effects; I’d be shocked to learn that the drummer can keep time without a click track or that...