Word: letting
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Dates: during 1970-1979
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...President, let me speak frankly. I could accept your argument for political neutrality more easily if our teaching and research really gave the weight to a "continuing critique" of our society that your open letter suggests...
...Let me conclude, Mr. President, with a statement of my own views on the specific question of divestiture. I have heard it said that divestiture is but a gesture, an empty statement. Gestures are not to be dismissed as merely symbolic. We live by symbols and the symbolic value of this university's collective gestures is orders of magnitude greater than the value of individual gestures we might make. We can choose, Mr. President, collective silence that implies either collective consent or collective indifference. Or we can take a stand that publicizes our collective opposition to the institutional racism...
...Isham's mugging is confined to the one simple expression he is capable of making--severe pain--although, to be fair, he has one of the nicest voices in the show. There are painfully few singers in this show; some are barely able to carry a tune let alone handle phrasing. Sonia Dula, as the ingenue Neferbinkist, is the most obvious example of this. Her performance as a sweet young thing depends on a pretty face and a lack of presence. Apparently, almost no one can dance either, to judge from the few steps Kay Stone choreographed. It's difficult...
...talent is obscured by routines which emphasize coordination en masse; with so many different levels of skill on stage together, more winced than waltzed. Fred Barton's music is some of the best around, but when every piece is accompanied by the same movements and played too loud to let the lyrics come through, something gets lost in the translation. If you really want to hear the lyrics--or as few of them as the chorus enunciates--don't sit in the balcony. Most of the voices are too weak to carry. Like Borowitz, the director and choreographer work...
...that the members of the Grant-in-Aid board (many of whom orchestrated this show) can't seem to divorce themselves from the shows they select. What they need is some artistic distance. And what Andy Borowitz really needs is a good editor. In No Net, he's let loose and with the cost of this production he should have been leashed. As Bucks says when he describes the audience's reaction to his circus, I haven't seen such a disappointed crowd since the Chicago Fire." (Joke...