Word: plotted
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Dates: during 2000-2009
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Even less of a coherent universe was provided in Crimp’s original script. There is no plot, no intended them, no designated setting or designated speakers—just lines of dialogue with dashes to signal a change of voice, or ellipses to suggest a pause. Without dictated sexes or any guidelines for gathering an “appropriately” composed cast, though, long narrative passages (indicated as belonging to a single speaker in the script) can be manipulated and divided at the director’s discretion, just as all non-lingual elements must be. It?...
...Petrushka.” Petrushka, which was first performed by Diaghlilev’s Ballet Russes in 1911, provides a delightful contrast to the composer’s later, seminal work Le Sacru du Printemps (“The Rite of Spring”). Petrushka’s plot line of musical puppets cavorting on a fairground cannot begin to compete with Stravinsky’s story of a maiden who is chosen to dance herself to death for the fertility of the earth in “The Rite of Spring,” nor does it presume...
Other details, like plot and character lines, are pending...
...only criticism of this episode is how Becky is introduced, and as usual, we feel a need to gripe about how fast some plots occur on this show. We meet her; then two scenes later she’s a plot point...
...success of a show like “The Sorcerer,” with a fundamentally weak plot only resolved by a deus ex machina, depends largely on its soloists, whom stage director Davida Fernandez-Barkan ’11 manages effectively. The role of Alexis is well handled by Nelson (in last Saturday’s matinee performance). His strong tenor and zestful portrayal of his foppish, affected character provides many of the performance’s most rewarding moments. In particular, his over-the-top exchanges with his father, played with great aplomb by Yashinsky, are delightful...