Word: playfully
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...relegation of minorities performers to minstrelsy. Hood mistakenly asserts that "African-American drama did not come about until Langston Hughes in the 1920s." "African-American drama started a long time before that,"says Professor Henry Louis Gates, Jr., chair of the Afro-American Studies Department. Indeed, the first published play by a black writer dates...
...After, which opened at Harvard last weekend is an original adaptation by Ryan McGee '98 of two literary pieces, "Shattered Skulls," a chapter from NYU professor Peggy Phelan's book Mourning Sex and Tony Kushner's poem "The Second Month of Mourning." Taking place in only two scenes, the play focuses on complex mourning processes by allowing the audience to witness the private monologues of the characters which are directed towards those persons whom they mourn...
...ambitious undertaking. At times, the viewer who is unfamiliar with the works of Phelan and Kushner may feel lost, but the skill McGee employs in producing such a complex work, the talent of the actors and the universal themes of mourning effected through the bold monologues make seeing this play very worth while...
...McGee's directorial skills sparkle in the play's first act, in which he successfully exhibits the complex issues and themes presented in Phelan's work. Great challenges are posed, clearly relating to an audience one woman's intricate mourning of her husband's death. She becomes obsessed with the images of death in Holbein's painting "The Ambassadors" and the Rodney King incident as they relate to her loss. Such challenges are met by McGee's decision to divide the woman's voice into three distinct roles: the grieving wife, the part of her consciousness obsessed with the painting...
...immense talent of actors Kate Agresta '02, Karin Alexander '02 and Jim Augustine '01 keeps the audience entranced throughout the play. Without such stellar performances it is likely that scenes or elements of confusion would lose the attention of viewers, thus making the play ineffective. This is especially applicable to Augustine, who entrances the audience with his sincere display of emotion in an extremely complex and confusing second act. As the main voice of the widow in the first act, Kate Agresta's ability to dazzle audiences, even when delivering somber testimony, becomes apparent. Her impeccable delivery is a triumph...