Word: gracefully
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...know this, but JACQUELINE KENNEDY ONASSIS was American royalty. So Sarah Bradford's reverential America's Queen won't shock anyone with its conclusion that Jackie still hovers over us as a model of poise and grace. What's new are revelations about Jackie from folks a bit closer to her than a thrice-removed Kennedy cousin. Gore Vidal, Arthur Schlesinger Jr., Richard Goodwin, Jackie's ultracompetitive sister Lee Radziwill Ross and several of Jackie's ex-lovers comment on, among other things, her romantic issues with father figures, her intense, loving relationship with Bobby Kennedy, and her father "Black...
...fault the stars. Fraser is that lovely commodity, a big man with physical grace and an underdog charm. He's drollest in his early scenes as the consummate loser with a coprophagous grin--a character perilously close to Rob Schneider's needy-nerdy copy-machine guy on Saturday Night Live years ago. (Similarly, O'Connor looks so much like the younger Kathie Lee Gifford that she could be accused of face-lifting.) Hurley slinks through her role with the purr and swagger of a dominatrix in the Profumo years. Her lithe body has the sexy lines that are often missing...
...divine comedy: Can it be that God bursts into the heart like a comic - like a hilarious surprise? Grace administered as schtick? Could be. God is a storyteller. Why shouldn't the story be funny...
...Mendelssohn, the audience exploded in nonstop applause and shouts of "Bravo!" They were rewarded as the trio sat down once more for an encore. The last movement of the E major Haydn Piano Trio proved to be a delightful, almost giddy, piece, with quirky and crisp grace notes passing among each member of the trio. The group members were obviously having great fun throughout this encore. In jest, Pressler deliberately drew out one note, heightening the anticipation with flair, charm and beautifully clean technique. As the enthusiastic audience once again applauded the brilliant and passionate performance, the trio departed from...
...Sergiy Spevyakin dominate the second act, delivering a full offering of the company's diverse talents. The divertissements, although all delightfully and correctly danced, lack any real display of virtuosity. In the role of the Golden Idol, Christopher Budzynski's aerial jumps are imbued with a natural sense of grace but lack any dynamic in movement or musicality. Alexandra Kochis's charming performance as the whimsical Manu also seems to fall just short of true technical precision. But commendations go to the male ensembles for clean, effortless dancing and solid formations...