Word: roundness
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Dates: during 1990-1999
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...muted-red harpsichord held a central position, both musically and physically, upon the stage. A small carillon played arpeggios to accompany L'Allegro's "O let the merry bells ring round," near the end of Part I. The bells were beautiful, but unfortunately rather too loud and bright, and overpowered the richer tones of Brandes. Very effectively used, by contrast, were the cello solos which broke up the different airs and recitatives of Part II, and which twice exchanged echoing dialogue with a warbling Saffer. The cellos, too, seemed not to be standard, modern cellos, but rather like those...
...probe that fired the imagination of the American public is shivering in sub-zero Martian temperatures, cut off from home, unable to send home pictures or receive the orders programmers are sending it to hit its restart button. The plucky Sojourner rover is left to run aimless circles round the craft ? and now NASA is about to give up on both of them...
After playing Dartmouth, the Crimson will have only one more game in its regular season against Brown before the NCAA first round teams are announced. The only way Harvard can make it into the NCAA's is if they win the Ivy League--thus assuring itself an automatic bid--so the significance of this weekend's matchup against the Big Green is obvious...
...retrospective show of the work of Robert Rauschenberg, which fills the uptown and SoHo branches of New York City's Guggenheim Museum and, as if that were not enough, the Ace Gallery in SoHo as well, is too big, too profuse, too sprawling--too damned much all round--to take in with any sort of ease. Curated by Walter Hopps and Susan Davidson, its bulk (some 400 works in all media) creates the fatigued impression that everything in Rauschenberg's vast and uneven output has been dumped into the hopper and left for the individual viewer to sort out. Which...
...Roxanne Lanzot '99 with two moving arches, swinging doors, a pole and a curtain, a single rough-hewn dais at the back. And the shifting light cast onto the Loeb's backdrop pulls us quite compellingly into a world of perpetual twilight, as the pale red sun and the round white moon become difficult to distinguish from each other. The play also uses the simple but effective trick of a changing color palette to express a shifting emotional atmosphere; the black and white of Macbeth's and his Lady's original clothing and castle is transformed into a solid...