Word: lyra
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Dates: during 1990-1999
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...prolonged tumble and the past two months recovering from a stress fracture of her left toe, showed no sign of faltering. Seven of nine judges deemed her presentation perfection, awarding the first 6.0s ever at the Nationals in the ladies' short program. And then, transported by Lyra Angelica, she seemed to float through every jump of her long program on Saturday night, even the triple toe loop that placed painful pressure on her toe. "I was like, I'm free and I'm gone," she said. "Cloud nine, here I come." The judges seemed giddy too, giving her eight...
...Chapel Series--The Lyra Duo:Robin Baker, flute and Joseph Scott, guitar will perform the works of C.P.E. Bach, Bartok and others. MIT Chapel Thursday, Feb. 6, noon. Free...
Hopkin's Huml is not a man of great introspection. As Dr. Balcar (Lyra O. Barrera) says of Pazook, "He doesn't know what's going on inside him." He is most chipper when he abuses his wife, Vlasta (Forbes), his mistress, Renata (Bina Martin), or his secretary, Blanka (Magda Hernandez). Witness the scene when, without a flinch or trace of anger, he asks Vlasta, "Will you stop speaking for all womankind and see about starting dinner...
...supporting actresses all give strong performances. Lyra O. Barrera has great sexual energy as Susan, and though she garbles some lines at the microphone, her delivery is well targeted. Bina Martin clomps convincingly through her role as tragi-comic Sally. Her porcelain face betrays just the right amount of suffering. The women do well in the go-go dances, as they bump and grind chairs on stage to the tune of some mean music; their opportunities to do so are unfortunately limited...
...main foci of his energies in this audition are Paul (Erik Anderson), an emotionally troubled dancer, and Cassie (Jacqueline Sloan), a fallen star and Zach's former lover. But the other dancers, especially Sheila (Lyra O. Barrera) and Diana (Susan Levine) do not escape his scrutiny. Much of the text of the musical seems dated, especially some of the material on homosexuality; but the power of the script is a timeless power based in poignant statements about the nature of performance and, not coincidentally, pain...