Word: numbers
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Dates: during 1970-1979
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Some fault may lie with Moliere. The plot is typically weak. The main action consists of an endless cocktail party, a number of ephemeral, off-stage lawsuits, and Alceste's failure to snare the insincere coquette, Celimene, on his terms of absolute sincerity...
...sweet young thing depends on a pretty face and a lack of presence. Apparently, almost no one can dance either, to judge from the few steps Kay Stone choreographed. It's difficult to judge her abilities, although people could have at least been drilled to allieviate sloppy execution. One number, "Sahara Stomp" was good, using well-rehearsed, technically simple ensemble movements. The music to this, with its heavy beat, was also more successful, avoiding the blandness Schulman often fell into...
...Child look to the shit-eating grin. Amy Acquino as Maureen Bad complements Eisenberg very well. Cast against the blond frizzy dumb-dumb, Acquino makes a perfect villain; eyes drifting to the sky, slinking on the edges of the stage, and scheming her way through the show. Her solo number "I'm a Bitch" is probably the best of the evening...
Thebes Like Us. Misdirected and acted with varying amounts of ease, this Leverett House show almost makes it. Andy Sellon's words and Andrew Schulman's music intermittently entertain, but the production borders on the amateurish rather than the amateur. This show harbors yet another tap number, yet another '50s song, and puns galore. Dr. Livingstone I. Presume and his nubile but crackers assistant, Rosetta Stone (Jon Isham and Dede Schmeiser), set out to solve the energy crisis, but land in ancient Thebes. The satire's often undirected, and Brigadoon did the end better. Still, audience response has been good...
...very few were lucky enough to retain some following without compromising their musical ideals. Many were forced to resort to a) "crossing over" to the lucrative popular music field; b) giving up on music and starving as recluses; or c) simply dying young. Jaki Byard represents a growing number of jazz figures who have averted both personal and artistic disaster by "taking it easy" and weathering this hyper decade as music educators and occasional low-key local performers...