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...armrest positioning. Using micro-details of space and time and addressing her audience in the second person, the Medinger created palpable sexual tension among audience members, released only somewhat by laughter at strategic intervals. The mood changed considerably when another reader from M.I.T. softly read a "work in progress" poem about a stern father who kills himself, teaching his obedient daughter to "fight back when somebody hits you." Although she read with less force and theatricality than some of the other poets, this eerily autobiographical poem stood on its own. Her small voice and the small room enhanced the intimacy...

Author: By Elizabeth S. Mahler, CONTRIBUTING WRITER | Title: Not Yet in Norton: College Poets Live | 3/10/2000 | See Source »

...people probably knew those lines a few weeks ago, but they are about to become the most familiar on Broadway. They're the opening couplet of The Wild Party, a book-length narrative poem by Joseph Moncure March published in 1928. The author was a former New Yorker editor, and the poem caused something of a scandal in its day (it was banned--no fooling--in Boston). But it was long out of print until a new edition, illustrated by the cartoonist Art Spiegelman, appeared in 1994. In the introduction, Spiegelman reported that a big fan of the poem...

Author: /time Magazine | Title: Theater: Cocktails for Two | 3/6/2000 | See Source »

...this happen? Lippa says he discovered the poem in a bookstore in 1995 and saw it as a chance to write "my Cats," referring to the soon-to-close Andrew Lloyd Webber show based on T.S. Eliot's poetry. LaChiusa says he first read the poem even earlier--1994, so there!--though he didn't start to work on it for nearly three years. Lippa's version was the first to be staged, in a workshop production at the Eugene O'Neill Theater Center in Connecticut in the summer of 1997. (LaChiusa's had its first reading a few months...

Author: /time Magazine | Title: Theater: Cocktails for Two | 3/6/2000 | See Source »

...clichs, and their work is just as obvious as the stereotype. Many artists reiterate the woman equals doll equation without Leviten's adroitness. But Joe Fekieta, Bloody Chiclitz and Dale Kaplan use sharper instruments: humor, enigma, insight. Fekieta's grotesque pen-and-inks, each accompanied by a six-line poem, lampoon sex and relationships as often tangled and ridiculous-think lots of vines and anthropomorphic gourds. Overall, "Sex, Sexism, and Society" puts up a good fight, whether hitting you over the head or searing you with images of injustice, then stitching you up with laughter...

Author: By Diane W. Lewis, CONTRIBUTING WRITER | Title: Visual Arts Review: | 3/3/2000 | See Source »

...clichs, and their work is just as obvious as the stereotype. Many artists reiterate the woman equals doll equation without Leviten's adroitness. But Joe Fekieta, Bloody Chiclitz and Dale Kaplan use sharper instruments: humor, enigma, insight. Fekieta's grotesque pen-and-inks, each accompanied by a six-line poem, lampoon sex and relationships as often tangled and ridiculous-think lots of vines and anthropomorphic gourds. Overall, "Sex, Sexism, and Society" puts up a good fight, whether hitting you over the head or searing you with images of injustice, then stitching you up with laughter...

Author: By Diane W. Lewis, CONTRIBUTING WRITER | Title: Visual Arts Review: "Sex, Sexism, and Society" | 3/3/2000 | See Source »

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