Word: idealizations
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Dates: during 1990-1999
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...already compromised advisors, Rudenstine will need all the help he can get to exercise his own healthy instincts. Being ethically clean and preserving his impeccable personal integrity may be necessary, but no longer a sufficient condition, for the Harvard presidency, otherwise Mother Theresa would be an ideal candidate for this position. Rudenstine needs the guts to ask penetrating questions of his top administrators and demand their full disclosure of their personal financial status and possible conflict of interest with respect to their positions...
...most often think of political correctness as a philosophy by which we can't offend others and must be infinitely aware of others' sensibilities. This awareness has also come to be the ideal of an all-inclusive world over the last few years. Everyone must be included, whether or not he or she is qualified or needed...
...ideal inclusive vision is very close to the vision of the first European settlers who came to this continent hoping only for a chance to earn a better life through their own efforts. They wanted no handouts and expected no entitlements. That spirit has made our country great. America is built on the idea of providing equal opportunity, not a guarantee of equality...
Cohn is the ideal villain. He stole from clients. He corrupted the political system. He illegally lobbied a judge to secure the execution of Ethel Rosenberg (who haunts Cohn in his dying days, then says the Kaddish over his corpse, ending with a blasphemous but heartfelt "son of a bitch"). But for Kushner's polemical purposes, Cohn's greatest evil was his willingness to tolerate, in fact promote, discrimination against gays even as he secretly enjoyed boundless gay sex. He is embodied with robust humor and seductive malevolence by Kushner and actor Ron Leibman, who make Cohn a villain...
Altman, whose only previous operatic staging was a 1983 Rake's Progress at the University of Michigan-Ann Arbor, proves to be an ideal directorial choice. Especially noteworthy is Trina's erotic soliloquy as she lies in bed showered with her gold pieces, a latter-day Danae. And surely the opening scene of Act II, in which the maid Maria (mezzo Emily Golden) hymns the joy of wealth while experiencing the joy of sex up against a fence, is an operatic first...