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...effectiveness lies in the way we identify with Daisy's choice. When a rhinoceros runs across the stage in scene one, taking shape as a green spotlight and brought to life by the amazed stares of the cast, it seems farcical. In the final scene, when the green lights shine at the windows of Berenger's little apartment and we can hear the thunder and the braying of the herd outside, they become a terrifying symbol of the inhumanity our human weakness can create. It is not the rhinoceroses outside Berenger's apartment that are so threatening...

Author: By Jerome L. Martin, CONTRIBUTING WRITER | Title: Rhino Hysteria in an Absurdist World | 1/8/1999 | See Source »

...Peter Scolari, Hanks' co-star on his first prominent gig, the engaging '80s sitcom Bosom Buddies: "It's not like there's a movie-star thing with Tom. There's not big aura. O.K., there is an aura, but he doesn't shine it in your eyes...

Author: /time Magazine | Title: Cinema: Tom Terrific | 12/21/1998 | See Source »

Days may be cloudy or sunny. We might be in or we might be out of the money, but I'm with you always. I'm with you rain or shine. "Come Rain or Come Shine...

Author: By James P. Mcfadden, | Title: With Frank, Always | 12/14/1998 | See Source »

...balance his beloved crap game and his doll Adelaide, goofs things up to near disaster but remains one of the most hysterically funny--and sweetly romantic--'guys' in the entire production. Mills, no stranger to the Hasty Pudding stage, lets the less farcical side of his acting abilities shine through while still making the audience howl with laugher and exuding a voice to swoon over...

Author: By Sarah A. Rodriguez, CRIMSON STAFF WRITER | Title: GUYS & dolls | 12/11/1998 | See Source »

...mean, but it feels like little more than a twig compared to the corpus of Grosz's works. The same is true of the representation given of Beckmann, Feiniger, Albers, Schlemmer and other Weimar stars. The only artist who has enough pieces in The Laboratory of Modernity to shine within its gray walls is L'aszl'o Moholy-Nagy, whose work finds a place in each of the exhibits three sections: "Montage," "The Modern Subject" and "Urban Visions." For a period that is already more academically interesting than anything, a more generous sampling would have been appropriate. Additionally, most...

Author: By Benjamin E. Lytal, CRIMSON STAFF WRITER | Title: WEIMAR at the BUSCH-REISINGER | 12/4/1998 | See Source »

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