Word: lorenzo
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Candida, by George Bernard Shaw, directed by Lorenzo Mariani, is at the Loeb Mainstage Thursday through Saturday at 8 p.m. Tickets can be bought at the Loeb...
...central problem with Lorenzo Mariani's direction is his mishandling of an obviously talented cast. Both Jonathan Epstein as Morell and Jonathan Emerson as Marchbanks deliver perfectly consistent, self-contained performances; unfortunately, the two characterizations are completely out of synch with each other. Epstein's Parson Morell partakes of the tragic stature of Pastor Manders in Ibsen's Ghosts, a part Epstein played last year. It is a moving, sympathetic portrayal, but its naturalism stands in uneasy contrast to Emerson's frenetic, histrionic, almost self-parodying Marchbanks. As the timid poet, Emerson shrinks, flinches and mugs...
...center of Rome in the middle of the day. He [Pound] was photographed at the head of a neo-Fascist, May Day parade, stepping their way up the Via del Corso from the Piazza di San Lorenzo in Lucina to the Piazza Venezia and the Vittoriana. They wore jack boots and black arm bands. They flaunted banners and shouted anti-Semitic slogans. They gave the Roman salute and displayed the swastika. They heaved rocks and bottles at the crowd, overturned cars, attacked bystanders...
...Poggetto began wondering whether he could devise some alternative entry through one of the chapel's other doors. There are eight in all, two on each wall, but four of them are blank. A sealed door leads to the adjacent Church of San Lorenzo, and the last two open into small unused rooms on either side of the altar (Michelangelo called them lavamani, or washrooms). One of these lavamani had traces of various 16th century sketches under its old whitewash. The other had a trap door in its floor leading to a long, narrow storeroom. Perhaps, Dal Poggetto thought...
...tradition, the great sculptor, who was then at work on the Medici tombs, hid in the bell tower of a church on the other side of the Arno. But ten years ago, a memoir was discovered in the handwriting of Giovanni Battista Figiovanni, the prior of San Lorenzo who was in charge of the Medici tombs project. "I saved him from death," the prior wrote of Michelangelo, "and I saved his belongings too." It was in this very room-well hidden by its trap door, but at street level and adequately lit, even furnished with a cistern for water-that...