Word: productionã
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...primary drawback of the show, however, derives from the abstract stylization of the production??a stylization that does not always agree with the somber tone of the play. To be fair, some of the abstraction works well: the aforementioned background wall is effective and reminds one of a similar style of setting discussed in the stage directions for Cat on a Hot Tin Roof. The tilting planes of the two-tiered stage also jar the audience in a fashion aptly representative of the distorted dreams of the Prozorovs...
That Dot-Comedy’s plot is shallow and not always terribly interesting is excusable—it adds to the light-hearted tone of the evening and does not stand in the way of the telegraphed punch lines. Less excusable is the mediocre execution of the production??s many musical numbers. The characters (even the iMacs impersonated by actors and prominently featured in the advertisements) are constantly breaking into song and dance. Their zany numbers are littered with puns and intended as the pinnacle of the show’s mockery of the internet world...
...three Harvard amigos actually wrote their first project in 1958, a comedy about the ongoing space race called “Countdown!,” which debuted in 1960 as a “modest production?? in Leverett House. Carl remembers, “I grew up in a home with musical theater–my father was a piano player, and I sang in the high school Glee Club, so I knew about 2000 songs by the time I got here. I then found Steve [Price] who loved musical theater as well, and we got together...
...only imagine what the Puritanical inhabitants of Cambridge were practicing in this space. Looming above the tub, is a bizarre 25 spout water dispersal array which appears to have served as the shower head. Anachronistically placed among this grandeur is a garish post-modern emblem of mass production??a Scott’s hand towel dispenser. This haphazard addition has clearly been an unthoughtful juxtaposition to this otherwise palatial facility...
Given the merits of the production??s highest points of ingenuity and creativity, it comes as a disappointment that the show’s culminating achievement—the oft-cited descent of a crepe paper ceiling that swallows the audience into a psychadellic human collage—rests solely (and literally) in the hands of the audience. The performers demonstrate that they are capable of carrying the experience on their own performative merits, so we must wonder why they do not even attempt to do so in the equivalent of their 11 o’clock number...