Word: portering
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Dates: during 1990-1999
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While Robert R. Porter '02, chair of Harvard Students for Bush, criticized McCain's "unfortunate obsession" with campaign finance reform, McCain seemed to appeal a number of Democrats in the audience...
...those titles aren't as familiar as Gershwin's or Porter's, there's reason for it. Historically, standards became standards by dint of three forces: cast albums and revivals of the musicals they arise from; jazz musicians mining the repertoire; and Frank Sinatra. But Coward's musicals are theatrically his weakest work; the harmonic simplicity of his tunes--one of the elements that give them their charm--provides scant inspiration for improvisers. And Sinatra recorded only two Coward songs...
...that towards the reviled presence of Dick Deadeye, little animosity. There is tension to be sure, because Corcoran's daughter Josephine is in love with a seaman, Ralf Rackstraw, but she is betrothed instead to a much, much older man, Admiral of the Queen's Navy, Sir Joseph Porter. The Captain himself is in love with dear little Buttercup, but cannot marry her because she is a poorly Bumboat woman, of a lower class than he. So, these characters try to find love and belonging amid a chorus of grinning, gallivanting sailors, brightly dressed sisters, cousins and aunts...
...starring role in the new Broadway revival of Kiss Me, Kate. Playing the head of an acting troupe performing The Taming of the Shrew, Mitchell is the undisputed star of both the show and the show within a show. Yet he has to cede most of the best Cole Porter numbers (Why Can't You Behave?, Too Darn Hot) to others and spends most of his time playing mock Shakespeare and bickering with his ex-wife and co-star, deliciously played by Marin Mazzie. That's one reason Mitchell never much liked the musical. "I thought the show...
...Mitchell has found the heart--and the laughs and the sexiness too--in a knockout follow-up to his career-making role two seasons ago as Coalhouse Walker in Ragtime. His crystal-clear baritone brings out all the graceful intricacy of Porter's lyrics, and he moves from Shakespearean verse to comic pratfalls with ease. It would be demeaning to point out that Mitchell has the best posture on Broadway, but there's something about that lean, ramrod-straight bearing that manages to both poke fun at itself and radiate real stage charisma. This new Kiss Me, Kate (Broadway...