Word: presleys
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...Winners ELVIS PRESLEY He left the building?but not the bank. The King tops Forbes' list of the richest dead celebrities OLIVER STONE U.S. judge rejects suit blaming director's film for killings. Now sue him for Any Given Sunday BOB THE BUILDER Animated British construction worker takes U.S. TV by storm. Payback...
...Celebrities already lined up include an eclectic mix ranging from Jeff Bridges, Rob Reiner, Halle Berry and Jennifer Jason Leigh to Jon Voight, Priscilla Presley, Forrest Whitaker, Martin Landau and Arnold Schwarzenegger. Throw in such disparate names as pop group Hanson and George W. Bush's ambassador in Hollywood, Bo Derek, and you have an eclectic mix of celebrities to turn most heads. And with all those people to network with, that's why very few people in Hollywood will remember who won the Oscars by Monday morning...
...origin of the Stray children’s predicament is never overtly articulated. All that we know is that their parents are long dead or disappeared, and that Presley and Haley have since languished in their house as intellectual and emotional preteens. Did they kill their parents? Red blotches around the set’s living room hint at some bloody work done in the past. Yet the mystery is a red herring. The play, by British scribe Philip Ridley, is more interested in exploring the ins and outs of the characters’ skewed psyches, notably as depicted...
...form of the smooth-voiced and sardonic Cosmo Disney (Thomas H. Price ’02), who works as one half of a two-man freak show. Decked out in a black tuxedo, ordinary save for a flamboyant red coat, Disney proceeds to intimidate the portly, oft-timid Presley in a lengthy, riveting sequence of interplay. Price, for a good while, is sublime, manipulating Presley’s feeble mind with fine skill, shifting between master and mollifier as he holds forth on his personal philosophies. Johnson, his shoulders submissively hunched forward and his voice high and breathy, counters...
Ridley writes himself into a hole, however. Pitchfork’s characters and dialogue support a network of intertwined symbols that grows increasingly complex as the play progresses. Presley in particular is overburdened with thematic importance, and this production additionally sprinkles Presley-as-Christ imagery throughout. Eventually, Presley requires a 15-minute monologue to sort out everything that his character represents. Johnson makes the speech work, no question, but here, as elsewhere, Ridley’s work does not always lend itself to non-thematic nuance...