Word: mimed
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...exciting event, even though the quality of the dancing and the pieces varied considerably. The subject matter ranged from an interpretation of different phases of the night by Liz Wilkerson '78, to a dramatic portrayal of a one-legged incarnate animal spirit by Connie Chin '79, to a mime-like solo by former Radcliffe student Gail Casson of a woman apparently giving birth...
...Engelhardt's and Shiels' similar production of A Midsummer Night's Dream last spring), tried very hard, perhaps a bit too hard, to make this production original. Their innovations, which include a cast with three Prosperos, three Calibans and three Mirandas (one to act, one to dance, one to mime), are interesting but unwieldy. The cast seems unable to overcome the problems presented by this proliferation of main characters, although two of the three speaking leads and several strong supporting performances save the show. They make it an interesting, if somewhat weird, evening of theater...
...illusion. This splendid confusion provides a perfect setting for avant-garde theater, in countless scenes where bizarre happenings become the norm. Thus the multiplication of leads is justifiable, even if it does not really work. The triumvirate of directors makes an honest stab at bringing elements of dance and mime into the production. but their efforts tend to be too confusing and ineffective. For example, many of the lines spoken by Miranda (Andrea Eisenberg) and Caliban (Marc Baum) are repeated a bear or two later by their doubles and/or triples. The result is a boring, seemingly endless round-robin effect...
...blading. Joe White, as Sebastian, gets off some well-delivered lines, and Paul Rosta is a perfectly doddering, if one-dimensional, old fool as Gonzalo. The rest of the sailors and nobles are adequate, as is the troupe of harpies who pop up sporadically and deliver the most effective mime in the production...
...uninhabited, enchanted desert isle, The Tempest is often seen as the Englishman's version of America or as Shakespeare's testament to the belief that, starting with nothing, good people can create a new world. By diversifying the roles within the play and adding lots of mime and dance, directors Laura Shiels and Rick Engelhart hope to construct in the Adams/Quincy production of Tempest more than just another alternative to society's mistakes. On this island, they hope, a grand Christmas-time spectacle will occur. Performances begin tonight and run through Saturday, and also next weekend, in the Quincy dining...