Word: priour
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...says “Children of Eden,” the first musical and student production to run in the recently finished New College Theatre. Directed by Nelson T. Greaves and Jonah C. Priour ’09 and produced by Laura S. Hirschberg ’09, “Children of Eden,” which ran through Jan. 12, presented a modern reinterpretation of the Book of Genesis that nonetheless adhered fairly closely to Biblical tradition. The play’s script left the cast little room for creativity, but provided the foundation for a stunning production...
...Crimson magazine staff writer, was the unsung star of the show. She worked well within the confines of the spare set (designed by Sally H. Rinehart ’09) to create scenes that were both visually interesting and dramatically effective. The collective efforts of Ezura, Greaves and Priour were especially commendable for their use of a large group of narrators as the primary dancers of the show...
...College Theatre from Jan. 7-12. “The musical is fresh, fun, and glitzy—along the lines of ‘Wicked,’” says Nelson T. Greaves ’10, who is directing along with Jonah C. Priour ’09. “Snakes dance in kick lines, God throws lightening bolts, and Noah builds an ark—while singing and dancing.”“The show is particularly moving for me because it acknowledges that out of the indelible mystery...
...Dad” doesn’t have a plot so much as a set of relationships that provide a pretext for mounting hysteria. There’s Madame Rosepettle (Alexandra C. Palma ’08) and her emotionally stunted son Jonathan (Jonah C. Priour ’09), whose excessively tight-knit relationship makes Norman Bates look well-adjusted. Intruding into their claustrophobic domesticity in a hotel in Havana are Rosalie (Sophie C. Kargman ’08), in love with Jonathan, and Commodore Roseabove (S. Adam Goldenberg ’08), in love with Rosepettle. The main...
...Jonathan, a sheltered, stuttering slayer of plants, Priour is painful to watch in the best possible way. His Jonathan seems to physically struggle to get each word out, moving awkwardly and practically exuding the fear and awe he has for his mother even when she isn’t present. Priour gives a nuanced performance as a sympathetic character who often seems simply sheltered and odd, but who is also infuriating in his utter spinelessness—while hinting at being seriously imbalanced. Despite these handicaps, Priour and Kargman work together to make Rosalie’s love...