Word: kalappa
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...power of the four narrators, who throughout the play substituted in various small roles and aided in the time and place change sequences, comes to full circle at the end of the play. Though the show is traditionally cast as all male, Janiak and Kalappa don't even make gender an issue. Instead, the narrators aid to the ensemble nature of the play, most evident in its closing minutes. A throbbing heartbeat, a single spot and green sidelights illuminate Wilde as he grovels for mercy though he has done nothing wrong. The full cast, a phrase at a time, relates...
...heroines, Gwendolyn Fairfax (Ahana Kalappa '01), the erudite, cosmopolitan salon lady and Cecily Cardew (Britanni Sonnenberg '03), the eighteen-year-old ward of John Worthing, also have their moments. As the fiancees of John and Algy, they are demanding women. They cause their men to play at being Ernest since they cannot love those who are not earnest in character, not to mention Ernest by law and sacrament. Britanni Sonnenburg is a light breeze on stage as a mischievous, innocent Cecily. Ahana Kalappa contrasts nicely as the precocious, urbane Gwendolyn, whose malapropisms are enough to throw a dictionary at. Kathryn...
...long hours started much earlier than they do for normal plays," says cast member Ahana Kalappa '01, who plays the Marquis of Dorset...
...life decisions. Shaw's Mr. Chamberlayne is perhaps the weakest link in the play, if only because his character is so demanding, bearing the brunt of the "Unidentified Guest's" whirling-dervish style of philosophy. But his reactions seem a bit overawed with the grossness of his situation. Ahanna Kalappa '01, on the other hand, plays an utterly confident Lavinia Chamberlayne with masterful posture. She takes advantage of a relatively late entrance by immediately assuming the dignified air of a whimsical aristocrat who has left her husband and then come back, without regret...
...scenes, Roulleau's and Clamence's back-and-forth arguments grow repetitive, leaving the audience with the feeling that not much new ground is being covered. Similarly, the condensed performance of Hamlet that the players provide seems at times unnecessary: though elegantly presented (with notable performances by Ahana Kalappa '01 as Gertrude and Jay Chaffin '00 as Laertes), it perhaps presumes too much ignorance of the plot on the audience's part. But whether seen by a Shakespearean novice or aficionado, Groundlings contributes greatly to our understanding of Hamlet and all its many meta-dramatic implications...
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