Word: magdalens
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Dates: during 1980-1989
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Lloyd Webber attended Magdalen College at Oxford, in part because he had heard it harbored some of Britain's most promising lyricists. But the man who turned out to be the Oscar Hammerstein to his Rodgers came in the person of Tim Rice, a London law student with a penchant for pop music. Introduced by a London publisher, the pair hit it off at once, and Andrew promptly dropped out of Oxford. To hone his technique, he enrolled at the Royal College of Music. His father, surprisingly, warned him not to let the school educate away his natural gifts...
...sublimely concrete work of the tragic imagination painted between the death of Michelangelo and the maturity of Rembrandt), are not here. So it is best to treat the Met's show as a preparation for pilgrimage and to ignore the blatant copies, pastiches and restored wrecks, such as The Magdalen in Ecstasy, The Toothpuller and The Martyrdom of St. Ursula, with which its closing rooms are unfortunately padded...
...Oxford and Cambridge universities gave books for the library. The British influence is still strong. Gothic-style buildings are topped by battlements and covered with ivy. Faculty and honors students stroll along arched walkways in black academic gowns. The bell in Breslin Tower, modeled after Oxford's Magdalen, strikes each hour. The school's 10,000-acre "domain" is something of a feudal fief. In addition to the campus, quadrangle, bluffs and forests, Sewanee owns the town (pop. 1,900). The university's vice chancellor and president serves as mayor and city manager, overseeing municipal services...
...ends before the Resurrection) is to portray a "human Jesus," and, by neither revering nor blaspheming, to explore the problems the Christ stars poses for modern youth. In performance, though, while the company takes some stabs in that direction emphasizing the sensual in Jesus's relationship with Mary Magdalen, for instance, and painting a startlingly sympathetic Judas-- they prove unable to maintain an even enough tone for such analysis Jesus's followers come across as suitably starry-eyed, dutifully and competently executing just a trifle too muchchoreography; the Apostles, confusingly enough, are written as insensitive, wine-soaked and opportunistic sods...
...provides the single most powerful head of steam to keep the show moving through these cloudinesses of interpretation. His stage presence and confident characterization are matched by Chad Hummel as Pontius Pilate, who pads on and offstage like a lion, and Suzanne Tanner as a warm and believable Mary Magdalen. Isaacs, unfortunately, adds little to the pivotal role of Jesus besides his face; his voice and assurance improve markedly toward the end of the show, but his projection of any moral leadership or savior-like attributes at all wavers...