Word: rainbowed
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...more than made up for it by tossing a five-hit shutout. Twisting and turning on the mound like a particularly well-fed cobra, the portly Tiant mesmerized the Reds with his dizzying motion, then drove them to desperation with an improbable assortment of pitches and speeds, including a rainbow curve that seemed to take 30 seconds to reach the plate. As if his pitching were not enough, he also produced a hit-and some madcap base running that climaxed when, on the first pass, he missed home plate in trying to score a run. "I know I miss...
...observing the earth from outside. I was in great empty space and saw the planets rolling quietly. After that it was difficult to come back to the trivia of everyday life . . ." The connection between such experiences-or hallucinations-and the airy spaces of his paintings, filled with rainbow arches and planet-like balls, is obvious. (He also liked to frequent the Paris Observatory.) Kupka's belief in binding energy-a theosophical equivalent of Dante's "Love which moves the Sun and the other stars"-could not be contained in everyday objects. "Alas," he wrote, "nature is ever changing...
...debased in the service of such perversions. The book generates a cacophony of banalities and corruptions that drown out love, art, and whatever other human activities can be heard struggling beneath the din. At such moments, JR seems derivative of Thomas Pynchon's V and Gravity's Rainbow. But it is more likely that Pynchon was influenced by Gaddis' earlier Recognitions...
...this production succeeds, however, much of the credit belongs to O.C. Walker, who plays Jim O'Connor, the emissary from reality who is Laura's long-hoped for gentleman caller. Unlike O'Neill and DeLorme, who are occasionally stagy, Walker is totally convincing as the "deceptive rainbow" in whose person seems to lurk the treasure trove with which the Wingfields plan to buy escape. O'Connor's scene with Laura, the climax of the play, is by far the best in this production...
...opera, has given Treemonisha a dreamy, timeless feel that softens its awkward edges and enlarges its fable. He and Designer Franco Colavecchia have conceived sets that underline that aura of make-believe. The plantation cabins, for example, are shells that are held up on poles by supers. The rainbow that greets Treemonisha's ascendancy to leadership is an arch of ribbons. Dancers with alligator and bear masks move in and out of the voodoo scene. Louis Johnson's choreography does have a touch of Broadway pizazz. But when those good plantation folks turn from corn husking to "goin...