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...Smoking.” Surprisingly enough, Reitman is relieved to be through with the production of the film. “Making the movie sucks,” he says, “I liked writing the movie more.” He explains that to write a good script, all you need is a never-ending imagination and a knack for finding the right words to express situations and emotions. Reitman insists that he gained the majority of his inspiration from Christopher Buckley’s acclaimed 1994 novel of the same title. When asked if he?...

Author: By Erin A. May, CRIMSON STAFF WRITER | Title: Reitman Savors 'Smoking' Debut | 3/15/2006 | See Source »

...only had fourteen days between the end of Common Casting and Opening Night, which is virtually unthinkable. Somehow we managed to create a really wonderful piece of theatre.” Unfortunately, Dorin felt somewhat constrained by the rigid dictates of the play’s script. “It was a good choice for a directorial debut, because Albee spells out a lot of details—B stands here, C says this line in this fashion—but it does make it harder to leave your own imprint on the play,” he explains...

Author: By Margot E. Edelman, CONTRIBUTING WRITER | Title: Spotlight: Rowan W. Dorin '07 | 3/15/2006 | See Source »

...been working on Indy 4 for ten years. So I?ve been more involved, so no matter how you count it on this one I?ll be more involved than I?ll have ever been on the other three put together. It?s taken forever to get a script of it. That?s my part...

Author: /time Magazine | Title: A Conversation with George Lucas | 3/14/2006 | See Source »

...Chicago: A Musical Vaudeville,” the immediate impression was a blinding burst of glamour—glittering costumes, vibrant music, colored lighting. Yet despite all the components of what should be a great show—Frank Ebb and Bob Fosse’s script, John Kander’s music, stunning choreography, and an impressive set—the performance does not live up to its potential...

Author: By April B. Wang, CRIMSON STAFF WRITER | Title: 'Chicago' Falls Short of Potential | 3/13/2006 | See Source »

...spoken-word acting is powerful and eloquent.The most thematically challenging parts of the story (the fake happy ending, the “Useless Song”) are perfectly executed, but the intentional attempt by the performers and the stage director to alienate the audience and complicate the script often obscure the basic storyline. Very rarely do the actors interact with each other, choosing instead to act for the audience. Weill and Brecht do write scenes of the opera intended to be addressed to the audience, but the LHO actors tend to do it all too often.While titled...

Author: By J. samuel Abbott, CRIMSON STAFF WRITER | Title: Modern Opera Seems Distant | 3/13/2006 | See Source »

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