Word: quilici
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Christian P. Quilici '01, a BGLTSA publicity chair, said the organization is busy planning April's Queer Harvard Month, which will commence April 1 with a "Big Splash" awareness...
...that so much time need be spent on such trivial matters when we should be furthering queer visibility and life on campus. The elections have since been nullified (with the consent of all parties involved) and new public elections will be held in the coming weeks. CHRISTIAN PHILIPPE QUILICI '01 Chair, publicity, Harvard-Radcliffe BGLTSA...
...performances of Cannon and Oh do much toward the production's redemption, but ultimately cannot compensate for the rest of the cast. Much of Bruckmann's singing, when she's not grimacing or missing her note in a dramatic squawk, is also worthwhile, as are many of Quilici's passages. But neither lead is ultimately compelling as a character or performer. And many of the choral members are simply liabilities to the production--their varying quality of vocal contributions fail to outweigh the ridiculous mugging and noise-making which someone apparently considered lively or endearing. In a fourth-grade production...
Dido's acting problems do not end with the minor characters. Aeneas (Christian Quilici '01) smirks slyly to himself all the way through the scene in which he is first introduced to Dido. Coyly, he looks off to the side, away from Dido and all the other actors with whom he is supposed to be interacting. He beams like a bridegroom, embarrassed but already certain of his prize. Fortunately both the fated lovers sing better than they act, delivering consistently competent, and sometimes lovely passages. However, neither lead ever wins the audience's heart. The end of Dido...
Once up in his room, Quilici's mother further irked him when she almost got into a "spat" with his roommate's mother...