Word: romeos
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Dates: during 1990-1999
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...allows Harvard students to flesh out those suspicions they'd always been too pretentious to discuss in the open. Who hasn't thought that the comedies would have been better off as a feature presentation rather than 15 episodes with indistinguishably silly plots? Are we really supposed to take Romeo and Juliet seriously...
...preceded by two excellent performances--opening acts--that much of the crowd missed while milling around and jockeying for perfect viewing positions. The first was a spirited performance of classical favorites--Verdi's Overture to The Force of Destiny, Bach's Air from Orchestral Suite No. 3, Tchaikovsky's Romeo and Juliet, and Beethoven's Egmont Overture--by the Greater Boston Youth Symphony Orchestras under the direction of David Commanday. The youth orchestra's performance was exuberant and technically sound; they played with a finesse one might not have expected to hear from a youth orchestra. The youth orchestra...
...romance, it left something to be desired. there was none of the mythic sweep of Tristan and Isolde, not a glimmer of the mystical intensity of Heathcliff and Catherine, nothing akin to Romeo and Juliet's tragic inevitability. But the affair between Bill and Monica--if affair is the appropriate word for an "inappropriate relationship"--has something to teach us anyway, in unexpected ways...
...spent much of his time working on Broadway, staging such landmark productions as Gypsy and Fiddler on the Roof; he made Mary Martin fly in Peter Pan and taught the Jets and the Sharks how to rumble in West Side Story, the urban updating of Romeo and Juliet that was his (and Bernstein's) most enduring contribution to the American musical. But classical dance was his true love, and in 1969 he turned his back on the commercial theater to devote himself solely to George Balanchine's New York City Ballet, for which he made a string of masterpieces--among...
...clever, speedy but dead serious reading of the play. As Juliet, Daniel J. Shore softens his features and gestures, but doesn't camp it up, and when he kisses Romeo (Greg Shamie) full on the lips, you are forced to see their love not as the linking of two particular people, or even two particular genders, but as love in the abstract, the essence of all-consuming passion...