Word: lucia
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...tourist guides make little mention of it, but no island is free from the new influence of the drug cartels. They stash cocaine on the U.S. Virgin Islands, and their boats lurk in the waters off St. Eustatius and Cuba. St. Lucia has a growing population of cocaine addicts and the second highest murder rate in the world. Drug gangs terrorize Trinidad. St. Martin is the new meeting place for the Colombian and Italian drug Mafias--a real Star Wars bar of drug riffraff, claim DEA agents. Antigua has become the newest offshore banking center for shady American and Russian...
...play's plot is complex. Jane (Lucia Brawley '99) and Tarik (Aaron Mathes '98), a young Arab-American couple, return to the house where Jane grew up in order to pack up her remaining belongings before her move to New York, where she is going to be a professional dancer. As soon as Tarik leaves Jane's room, the ghost of Deedee (Melissa Gibson '99), Jane's best friend from high school who died seven years earlier, appears and demands that Jane paint a portrait...
...other hand, Lucia Brawley's Jane was pleasant to watch. Well cast as a beautiful, sweet dancer, Brawley was the most able of the cast to hold the stage. Unfortunately she was forced to say some of the most ridiculous lines of the play, mostly concerning the plight of the Arab-American woman. Sometimes one wondered whether or not Shamieh was making fun of Jane: "I'm neither Arab nor American. I'm myself...
This quartet stands a good chance to prevail and bring excitement back to the ballet world. After the dreary years, these women are needed. Why has ballet had troubles recently? Martins points to the loss of Balanchine, ballet's presiding genius, and of such grand figures as Lucia Chase, who ran American Ballet Theatre for 35 years. Further, he notes that some of the mystery went out of the art with the breakup of the Soviet Union-no more defectors with their fathomless melancholy, struggling for a free artistic life...
...based all-male company called La Gran Scena. This rare--and rarefied--troupe recognizes that opera thrives on the tension between the sublime and the silly. After all, when a 90-kg soprano trips down the castle steps trilling like a half-kilo canary in the mad scene in Lucia di Lammermoor, should one weep at her character's insanity or howl at the absurdity? La Gran Scena's answer is: both. As they see it, loving opera and laughing at it are one and the same thing...