Word: loudnesses
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Though "Bach-Pratt" may never achieve the hyphenated ubiquity of "Bach-Busoni," the pianist's realization of the organ music was good, particularly in the translation of pedal points and high-register fireworks. In the Passacaglia, his loud, turbo righthand octaves were sensational, though there seemed to be some rhythmic slipping and sliding. The first fugal episode was marvelous, and it was interesting to consider just how well the Hall worked as church space. Sometimes the texture of the fugue became too dense or blurred for comprehension, but the forceful, toccata-style ending was astonishingly clear...
...differently, or smile any less. They do, however, make lots of silly ghost sounds and giggly cackles. They hiss a great deal, as well, as they bound about the stage, apparently carrying out very complex, though incomprehensible, choreography. Unfortunately their bumping and stomping is very loud on the hollow wood stage, and distracts from the sorcerer and main witches. One can only wonder at the lack of discernment which allowed the director either to encourage or to tolerate these devices. Dimpled and angelically beaming, the chorus' strange behavior during the witches' seance only heightened the viewer's impression that...
...portions of the audience. However, Puff Daddy used this contraption only briefly during the show when he had a contest to see which section of the Centrum was the loudest. For nearly 15 minutes Puffy hovered above the crowd asking fans stage left, center and right to scream as loud as they could. Having declared that the audience was the loudest he had ever seen, Puff Daddy had all of his fans do the wave around the auditorium. Another large portion of the show was taken up by an obviously staged, sexually explicit argument between Lil' Kim and Puff Daddy...
...large problem with the performance was the poor acoustic quality of the sound system. The volume seemed to be turned up as loud as possible and sounded extremely muffled. Puffy's characteristically smooth deliveries were drowned out by the electric drum beats and prerecorded background tracks...
Director Michael Caton-Jones has created a confused jumble of bad accents, loud music, stale techno-babble and Richard Gere in a lifeless remake of the 1973 hit The Day of the Jackal. Traveling by minivan and rotating haircolors faster than Dennis Rodman, The Jackal (Bruce Willis) stalks a mystery target while the FBI scrambles to catch up with him, using the expertise of former IRA terrorist Declan Mulqueen (Richard Gere). When Mulqueen and Jackal finally meet, sparks fly...and a gay kiss occurs. OK, not really, but it sure would make this dopey flick a lot more interesting...