Word: p
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Dates: during 2000-2009
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...minutes? One would think not. Luckily for Harvard theatergoers, the writers of the original musical “The Life and Deaths of Mr. Plumb”—Michael C. Mitnick ’06, Robert M. Pennoyer ’05, and Kiernan P. Schmitt ’06—thought differently. Their show inarguably takes a substantial risk in concerning itself with the gritty happenings of an end-of-life care facility, including, by its end, two deaths. Yet even in such a setting the writers, cast, and crew manage to treat these events with...
...natural catastrophe are staged with increasing frequency. These Presidential stars will continue to shine, and when in Washington they soon may have some exclusive overnight digs next to Blair House, across from the White House. Funds are being raised for what will be called Trowbridge House, after William P. Trowbrige, the original builder in 1861. The house, hooked up to Blair House services, will be at the ready for former Presidents...
...rule, A + P are at their best when they choose control over effect and subtlety over staginess. In the last two songs, “While You Were Asleep” and “duPatios (epic),” Wilkis’ voice never strains or shouts and the lyrics never try for punch lines or catchy hooks, but both songs achieve a foggy dreaminess that begs another listen...
Belying the band’s Harvard roots, as an album A + P feels like an application supplement. Wilkis and Kennedy are clearly eager to show their range, from silly to bleak, up-tempo to slow jam, distortion-heavy to crystal clear. They can do three-chord blues (“The Optimist”). They can play with time signatures (“little gigi”). They can be quasi-political (“America”). The rookie nature of the album is further evinced by its acoustics; lamentably, you can often hear just how small their...
Taken for what it is, though—a band trying to find itself—A + P shows enough moments of promise that I sincerely hope they get another crack at it. If Wilkins can find a way to unite clarity, specificity, and immediacy in his lyrics—usually one is present; rarely all three—and if Wilkins and Kennedy can accept that volume and shock are not always synonymous with impact, A + P can develop a sound good enough to transcend self-reference...