Word: priour
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
When a jabbering, flourescently-dressed Marielle E. Woods ’08 first strutted onto the stage of “Reception” with a shell-shocked Jonah C. Priour ’09 in tow, I followed Priour’s example and settled back into my seat in chagrined resignation. Woods’ schizophrenic movements within the confines of the bedroom set was quickly making me claustrophobic, and I thought that the rest of the play would be similarly overdone...
...Reception,” a play by L.M. Vincent, a young psychologist, Blair (Priour), comes to Meg’s (Woods) Boston apartment. He plans to sabotage the engagement of Meg’s daughter Melissa (Anna I. Polonyi ’10), for whom Meg is throwing an engagement party and with whom Blair has been in love since high school. A delightfully quirky mix of guests arrives throughout the day, including a broke businessman turned porn writer (Steve Sweeney), a giggly southern belle whose past is not as chaste as it seems (Rebecca M. Harrington...
...there was a central point of interest, it would be Priour. The experienced student actor was captivating as soon as he stepped onstage, adorably polite and awkward as he endured Meg’s incessant chattering. When Priour was on stage, the stage belonged to him—even if he was only sitting in a chair twiddling his thumbs at stage right, while two of his clients were in the throes of passion upon the bed at stage center...
...lighting, designed by Nicholas J. Shearer ’09, is highly nuanced, suggesting the emotional tone of each mini-drama with varying degrees of harshness. The music, chosen by sound operators Natalie J. Peters ’09 and Jonah C. Priour ’09, is well-selected and enhances the other aspects of the show nicely...
...Veldt” centers on the newest gee-whiz gadget that an overworked father of the “Father Knows Best” ilk (Jonah C. Priour ’09) gets for his parentally-neglected kids (Carolyn A. McCandlish ’07 and Zachary B. S. Sniderman ’09): a playroom which perfectly reproduces any place one could wish to go. It comes to represent the children’s resentment toward their parents, eventually allowing their emotions to take murderous form, despite the worries of their mother (Victoria J. Crutchfield...