Word: notes
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Dates: during 1990-1999
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...unannounced and wreak havoc. So rude! Not 1997 XF11, as the scientists so imaginatively named our space Kevorkian. It made a reservation. We were provided the exact date of arrival: Oct. 26, 2028. A Thursday. Gives you time to clear some space on your calendar, pencil in the appointment. Note to Self: Thursday--run amuck in sheer terror before being blown to smithereens along with everyone and everything I've ever known and loved...
Many of these issues come fully to light only in the play's well-developed final scene, which ends on a surprising, thought-provoking note. Margulies is careful to spend most of the play's duration developing an intimate, caring relationship between Ruth and Lisa, showing that two writers can interact positively, at least for a while. Because Ruth and Lisa seem to complement each other so well throughout most of the play, the emotional explosion in the end carries a great deal of power. Both characters are appealing in their own way, so the audience is confronted with...
...orchestra jumped right into the traditional long intro to Mozart's Concerto while Russell--a dark figure--was silhouetted against the stage lights. After he awaited the long introduction, with one swaying motion Russell presented himself clearly with the unique and melodious tone of the clarinet. Sixteenth-note runs effortlessly double-tongued in this Allegro, Russell had complete control over his instrument, fingers moving rapidly yet delicately on the keys. Sixteenth run after sixteenth run, Russell set up the orchestra for a colorful and vivid interlude as he quickly tried to get rid of water stuck...
...soloist, but during the interludes, the Bach Soc seemed a soloist by itself. Ever so delicately, Russell and the orchestra started the Adagio, the orchestra gently backing up Russell's beautifully fragile tone. A soul's love song, the Adagio, became Russell's song, putting heartfelt emotion into each note as he rocked gently back and forth to the music. What was most beautiful about this movement was the way in which Russell sustained the upper register notes, almost "sighing" over to the next measure and continuing on with his song. Because of Tipler's control over the orchestra, Russell...
...awaking from eighteen years of slumber, describes how suddenly "nobody seems to be able to endure being by themselves...but at the same time they're isolated. People work much more, only to go home and surf the Internet and send e-mail rather than calling or writing a note or visiting each other." Yet as the story plows on, the barrage of philosophical ramblings begin to take on a preachy tone which descends into irritating evangelism. In the end, ghost-jock Jared returns to heal his lost friends one by one, bringing them hope for the future and divulging...