Word: munger
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Scarlett J. Marquette '93 said the two male leads in "Mirandolina" told the play's producer, Konstantinos Tsakonas '93, that they would quit if Marquette did not resign. The students, Phil Munger '92 and Julian F. Von Loesch '93, made this demand after Munger unsuccessfully "tried to seduce [her]," she said...
...vagrants, Vladimir (Marc Jones) and Estragon (Dave Ardell), pass the time near a tree by the side of a country road, waiting for Godot. The reason for the appointment is never given. A passerby named Pozzo (Philip Munger) eventually strolls by with Lucky (Mark Fish), his slave. Later a boy enters to relay the message that Godot will come tomorrow, "Tomorrow" is the second act, but Godot never arrives...
...Munger offers a passable performance as Pozzo, though he tends to slip in and out of an English accent from line to line. Munger also lapses into repetitive mannerisms that limit his character's depth. As Lucky, Fish offers a hilariously disturbing rendition of his character's famous speech in the first act. Jung A-Choi gives a monochromatic performance as Godot's messenger, adding little to the show...
...circumstances were not horrendous enough, Bette and Boo's parents exacerbate the couple's marital troubles. Bette's mother, Margaret (Sheila McDonald), derives a certain pleasure from the disintegration of her daughter's marriage. Boo's parents Soot (Randi Wolkenbreit) and Karl (Philip Munger) are not exactly paragons of familial support. And in Marriage, as in other Durang works, the Catholic Church assumes a patriarchal role. Like the other parent figures in the play, the parish priest, Father Donnally (Tom Chick), cannot give them constructive advice...
...superficial; most subtlety is abandoned for effect. Though the characters are unable to see the fanaticism in their lives, the directors have a responsibilty not only to recognize it, but to flesh it out. But in this play, there is no theatrical middle ground--if Javerbaum underplays his role, Munger and Wolkenbreit more than compensate with their overacting. Munger's portrayal of the crude misogynist, Karl, is far too simplistic; he wears a foolish leer on his face throughout the play. Wolkenbreit flatly renders Soot as the stereotypically silly woman...