Word: reproachers
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...looking for a solemn play then see something else. If you're looking for a rocking good time and entertainment at its best, Stomp caters to your needs. The experience begins when Shaka Opare leads the audience into the world of Stomp. With only a stare of approval or reproach, he periodically incorporates the clapping audience into the performance itself. In fact, the entire encore focuses on audience involvement. And you never know what's going to happen next. The players respond directly to the audience, so you may end up with an impromptu player running into the audience...
...fully understand their current function. Let me also say that, although I am writing from a liberal, critical corner of the arena, I don't hate them--or at least, and more to the point, I certainly don't hate the guys who join them. I don't reproach them for their decision, because I definitely understand the appeal. I've often been almost glad I didn't have to face the dilemma myself (although here at the dawn of the age of Seneca, these days of exemption may be numbered); it's been tricky enough deciding whether...
...news of the arrest, local civil rights leader E.D. Nixon exclaimed, "My God, look what segregation has put in my hands!" Parks was not only above moral reproach (securely married, reasonably employed) but possessed a quiet fortitude as well as political savvy--in short, she was the ideal plaintiff for a test case...
Clarke is magnificent as the third Richard, slowly loosing grip on the kingdom and his sanity. He bounces around the stage in a fury of guilt and reproach as the valiant Richmond moves to retake the throne. Parris perfectly complements Clarke as the righteous force of good that inevitably defeats the evil Richard. The play ends with a gloriously choreographed battle between the forces of Richard and Richmond. But although the choreography, music and set are spectacular, the real engine that moves Richard III to success is the solid, intense, and complementary performances of the three Richards...
...ferocious key depth without forgetting the harsh sounds it sometimes produced. A stricter observance of tempi would also have been in order; this was Chopin, not Debussy. In any case the risks he took at high speeds were admirable, and his confident, blind leaps across three octaves are a reproach to showier pianists who conduct their business at unnecessary altitudes above the keyboard. The Three Mazurkas Op. 56 were a satisfying palate cleanser, so to speak. The first sounded at one moment like the bustling "Of Foreign Lands and Peoples" from Schumann's "Scenes from Childhood," and the second...