Word: halperns
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...just a building to expand the capacity to hold Harvard art...but it's rather unattractive," said Thomas Halpern...
AMONG, THE PERFORMERS Heather Johnston's mellow and throaty gave depth and emotion to her excellent renditions of Monk and Holiday Christina Wheeler as particularly strong and energetic in her powerful solos. Both Andrea Burke and Belle Linda Halpern gave virbrant performances exploring the sensuality of the music; especially memorable was Halpern's sassy "Wild Women Don't Get the Blues" Finally, there was Stephanie Wilford-Foster, who maintained the most compelling presence throughout the evening, drawing the subtle meaning out of the prose selections in a superior performance. In her closing number, evoking the Southern Baptist spirituals from which...
Belle-Linda Halpern, who plays Charlotte Corday, the fiery young woman who stabs Marat to death is at the same time a groggy somnambulist who can barely wield a knife: she shuffles about in circles and slumps to the floor while delivering impassioned soliloquies. Funny yet frightening, pitiful yet majestic, Halpern's performance is haunting. Christopher Moore is the "lucky paranoiac" who gets to play Marat. Suffering from a skin disease, the feeble and pinched looking Marat crouches in a bathtub. His fervent speeches sound simultaneously noble and pathetic as he bleats them in a madman's wavering voice. Although...
...Berlin, a city rich with parties and nightlife. There, he is naively introduced to the subculture of the Kit Kat Klub by a pleasant-seeming young German smuggler, Ernst Ludwig (David Kirach). Calmly watching the stageshow. Cliff is masterfully seduced by its star-performer Sally Bowles (Belle Linda Halpern). And while the first act only hints at the rising Nazi power, focusing on Cliff and Sally's ensuing love affair, the second reveals the unavoidable reality of the times. For every scene of usually low-keyed dramatic action, there follows a glitzy of bizarre song and dance number, revealing...
Despite solid performances--and Halpern's bewitchery--the overall production suffers from a languor that is too palpable to capture effectively even the extreme decadence of Hitler-ascendant Berlin. The band makes more bearable the probably unavoidable but still awkward pauses between scenes with quite rousing renditions of music hall and dixieland-flavored tunes. And while Kevin Jennings' direction is clearly competant and clear, a freshness and originality is missing. The direction is not highly memorable, visually striking or evocative because, for one thing, Jennings relies too heavily on the stark symbol of the swastika to shock and draw forth...