Word: sevening
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Dates: during 2000-2009
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...think there’s a great sensitivity here in the juxtaposition of materials.” The entire performance presents a similarly impressive layering and contrasts of sparseness and chaotic engagements; in scene 14 (“Girl Next Door”) the movement of all seven players and their various intonations are in unison, yet they trip up the rhythm of the play by seeming to trip over each other in the small space. Still, stutters and stammers—both vocal and technical—are forgivable in the context of the play’s various...
Despite finishing with typically impressive offensive numbers of 24 points and seven assists, it took some time for Jeremy Lin to get things going...
...50th minute, Penn hit the crossbar. Seven minutes later, the Quakers again came inches away from taking the lead...
Amid a few less exciting TAPS numbers, Driscoll’s vision of “Seven Seas of Rhye,” by Queen, stood out for its lightheartedness. Dancers lined up, silhouetted by the glowing blue background of the lighted screen. Then the dancers—Driscoll, Jennifer N. Kurdyla ’11, Rachel N. Moda ’13, Elisa M. Orr ’10 (who is also a Crimson designer), Elena M. Pepe ’13, and H. Zane B. Wruble ’11 (who is also a Crimson magazine editor...
...While “Seven Seas of Rhye” was loud and boisterous, Driscoll’s choreography to The Cordettes’ “Mr. Sandman” was an excellent example of the beauty of slower, exacting, and quieter tap-dancing. Driscoll, Kurdyla, and Wruble performed tight tap rhythms that counterbalanced the choreography’s whimsical use of gestures such as yawning, stretching, and falling asleep. The three dancers precisely and calmly complemented the mellow song with their footwork, infusing the piece with effervescence without being overbearing...