Word: productionã
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Turner describes the production??s musical tone as somewhere in the genre of “late ’90s Japanese hardcore.” According to him, the musical styling, created by sound designer Jim L. Fingal ’05, reflects the relationship between the “two sets of characters with completely different world views” by using diverse musical juxtapositions in a “play of light and dark music.” As no play about the turn of the 21st century could be complete without Prince?...
...recording a follow-up to “Charm,” entitled “Clementines.” Rudder promises an improved, if familiar, experience: “I guess [‘Clementines’] is similar to the last record, but better. It has better production??not slicker—just richer, fuller, and livelier...
...Shady Business” is not a play for the ages, but it doesn’t count that achievement among its goals. If slight in both running time and content, “Shady Business” achieves when it functions as an entertaining production??pleasant, if not particularly memorable and amusing, if not uproariously hilarious...
...excellent. Jack E. Fishburn’s ’08 Agamemnon is riveting in his tortured grandeur; his rage and despair tears through the scenery. As Clytemnestra, Erica R. Lipez ’05 swings plausibly from vengeance-crazed virago to shrill housewife (one of the production??s conceits is the coy use of Americana nuclear-family trappings). Lauren L. Jackson ’07, as the Leader of the Furies, exudes menace and dances wonderfully; Scottie Thompson ’05, as the doomed Trojan seer Cassandra, is eerie and compelling. Sara L. Bartel...
Likewise, Jess R. Burkle’s ’06 video design (though it occasionally upstages dancers) and Casey M. Lurtz’s ’07 incredible costumes do wonders for the ambience. Finally, kudos to Simon E. Chin ’05, the production??s dramaturg, for condensing Aesychlus’ trilogy and other works of the cycle into a whole that, though fast-paced and at times elliptical, functions dramatically within time constraints...