Word: showã
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...surface, the two creative directors’ segments of the show??an exploration of the growing phenomenon of androgyny and a fanciful study of the college campus in thirty years—appear similarly detached from cultural roots. “Both have this futuristic theme, but both also look at what it means to be Asian in this structure,” says Nara M. Lee ’11, co-producer of Identities, adding that the directors looked closely at Asian design and fashion history during the creative process...
...show??s score, though used sparingly, enhances the production’s chilling tone. In Katurian’s confession scene, a spooky, romping rock riff injects the play with electric energy. At other times, the faint, haunting sounds of a children’s choir waft over Katurian narrating his horrid tales or characters recounting painful memories...
However, these pirates do not disappoint. The Pirate King (Ilan J. Caplan ’10) has a gravitas that makes one of the show??s many exuberant refrains infectious: “But I’ll be true to the song I sing, and live and die a Pirate King.” The strength of the supporting cast sometimes threatens to overwhelm Frederic’s character—which Nelson, either purposefully or not, imbues with a sense of weakness—but that is, perhaps, the point. Frederic—who stubbornly holds...
...cast’s near-absolute success undoubtedly owes much to the show??s orchestra, conducted by music director Jesse C. Wong ’12. The overture is a highlight, tracing the course of the story in its movement from a gentle beginning to an adventurous final section, underscored by a mood of light cheer. The entire production is an outgrowth of this delightful music, and the orchestra’s vigorous playing and professional—yet relaxed—attitude make them an integral part of the show. When “Pirates?...
Other elements of the show??s design are subdued, helping the performers establish the celebratory atmosphere. The costume design of Janice J. He ’11 is all simplicity and pastels—bright, but understated. Likewise, the set pieces designed by Matthew B. Bird ’10 are blocky and cartoonish, supplementing the play’s feeling of unreality. The pirates’ boat onstage as the play begins points to this abstract, yet effective impression. These designs rightly place the focus on the performers themselves—as one particularly memorable episode...