Word: scripting
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Dates: during 1990-1999
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...characters do have. With the exception of Bryan W. Leach '00 as the staunchly paranoid Yossariar everyone in the cast exhudes two distinct talents: the ability to play a number of extremely different characters, and the ability to make each of them as delightfully absurd as possible. The script itself a tight-laced tango of double entendred and hysterically ironic scenarios, could only be mastered by a group of actor with impeccable comic timing and greaversatility. Particularly notable are Jame A. Carmichael '01 as the dry Lt. Co-Korn; Michael P. Davidson '00 as the stereotypical Italian brother; Mattias Frey...
First-time director Andrew Niccol, who also wrote the script, brings considerable visual style and an intriguing, only-too-timely premise to this story of a Brave New Worldish society in which the preplanned, genetically made-to-order elite get all the honors and opportunities, and the "natural" births are relegated to the grunt work. Ethan Hawke plays Vincent Freeman, a natural who borrows the identity of one of the elite to fulfill his lifelong dream of leading a mission to outer space. The film suffers from unevenness, sketchy characters and muted acting; however, Niccol's striking images make...
...spotlight line such as, "You're the best show in town, Sam," might have amounted to little more than a melodramatic leer in the hands of a less talented actor; Hoffman delivers it quietly, almost swallowing the words, and the effect is chilling. To its own detriment, the script fails to learn from his example. Writers Tom Matthews and Eric Williams, journalists themselves, cannot resist hammering home their message. "I don't want to cross the line," Brackett tells his boss; Lou, at the beginning of the movie, "I just want to move the line." Cheesy, perhaps, but certainly forgivable...
...original. These additions, mostly accounts of Anne's developing sexuality and her stormy relations with her mother and sister, were edited out of the original publication of the diary by Anne's father Otto Frank, the sole survivor of the family. Since Frances Goodrich and Albert Hackett's original script already portrayed Anne as a disarmingly "real" character, Kesselman's adaptation doesn't enhance the play with much new emotional depth. Yet it certainly doesn't prevent this production from being a cleanly performed and eloquently realized retelling of Anne Frank's story...
...much of the action confusing. The play's program does provide scene summaries in English, and large LED boards flanking the stage periodically show abbreviated English translations of the dialogue. Frustratingly, the boards are seldom used: most of the dialogue remains untranslated. This is a shame, as the actual script of Umabatha contains some remarkably poetic language, even after translation...