Word: sexpots
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...performance is delivered by JoJo S. Karlin ’05, as Frank’s second wife, Gussie. Karlin succeeds in conveying the conniving qualities of a superficial, obnoxious and conceited actress. As the play unfolds, she turns back from a past-her-prime star to a dangerous sexpot, and Karlin is always on the right, albeit detestable, note...
...generally think of Cleopatra as the cunning sexpot who took the world by storm, spangled herself in gold and bent powerful men to her will. In other words, we think of her as Elizabeth Taylor. "Cleopatra of Egypt: From History to Myth" would have us remember her first as the sober-minded and politically adroit monarch who confronted the growing might of Rome. Following a highly successful run at the British Museum in London, this show brings its ancient treasures and new insights to Chicago's Field Museum. In statuary of the 1st century B.C., Cleopatra is voluptuous but coldly...
...eastern American origins. One of the few intentionally funny paintings in the show - there are plenty that look funny but weren't meant to be - is Barse Miller's 1932 view of a downtown temple in L.A. over which floats the apparition of Aimee Semple McPherson, evangelist and sexpot, flanked by figures of Venus, her lover in a straw hat, and little top-hatted putti clutching sacks of dollars like teeny refugees from a Popular Front cartoon of bosses...
...white streak running through the front of her manelike hair, clad in a series of outlandish, eye-catching outfits. Her songs were the next aspect to register - an assortment of well-crafted pop tunes with clearly salacious overtones. The coup de grace was the interview segment, in which the sexpot singer talked quietly and sweetly about her career, her fans and her then controversial image. The show's apparently minimal budget, erratic choreography and abysmal sound quality made the experience all the more charming. Thalía's one number in English was a heavily accented version of "Diamonds...
...eastern American origins. One of the few intentionally funny paintings in the show--there are plenty that look funny but weren't meant to be--is Barse Miller's 1932 view of a downtown temple in L.A. over which floats the apparition of Aimee Semple McPherson, evangelist and sexpot, flanked by figures of Venus, her lover in a straw hat, and little top-hatted putti clutching sacks of dollars like teeny refugees from a Popular Front cartoon of bosses...