Word: musicalization
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Dates: during 1970-1979
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...Eight on the Loeb mainstage, and Out of the Reach of Children at Kirkland House: there were many flaws of an obvious kind in both shows--the rare ability of the Ellington singers to sing just off-key and just too quiet to be heard; the fact that the music of Out of the Reach of Children was not so much derivative as rehashed--yet there were more important reasons why Out of the Reach of Children was in its own terms a great show, and why Ellington at Eight so poor...
...egoism and talent (they all sang superbly) that held the audience's attention completely--and having got that attention, proceeded to milk it with considerable charm--none more so than Maggie-Meg, of course. By this energy and charisma, they helped us pass by the rehashed Coca-Cola advertisement music, a fair number of trite lyrics and a structure which threatened to be as repetitious as Ellington. Part of this danger was averted by the element of directionality introduced--first, there was a temporal narrative: the growing up from adolescence of five girls. Although adolescent literature is usually of interest...
Assault on Precinct 13 and Halloween develop out of the simple, steady building up and then the furious release of pressure implicit in their plots. Carpenter wrote and directed both films, and composed his own music. He is especially skillful in constructing and sustaining situations that can cause an audience to yell, and, watching these films, there is the peculiar pleasure of being in a crowd that can't keep its mouth shut for excitement...
...staging focus on the sweeping, impersonal forces that deprive the characters of happiness, Sellars does not neglect the dense psychology of the play. In a flash of inspiration, Sellars enlisted Roy Kogan '80, to play Chopin preludes and nocturnes throughout Three Sisters. Kogan's forceful and sensitive musical interpretation adds new emotional dimension. Kogan and Sellars have obviously collaborated to fuse the music with the staging to intensify or soothe the action. In the opening of Act III, as a huge fire rages throught the town and the family's restrained tensions burst into open conflict, Kogan pounds a demonic...
...lighting and the music immeasurably enhance the performance's emotional atmosphere, but the production escapes detachment and coldness chiefly because of uniformly excellent acting. Every actor crafts and sustains a character; even the bit parts are people with distinct--if annoying--personalities. Heitzi Epstein (Olga), Jenny Cornuelle (Masha) and Anne Clark (Irina) turn in carefully sustained and sensitive performances as the three sisters whose emotional foibles and frustrations are the play's heart. Clark as the youngest sister deftly moves from lighthearted young girl to pensive despairing woman. In one scene she darts across the stage, childishly reveling...