Word: showing
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Dates: during 1990-1999
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Jesus may be pretty fly for a white guy, but some argue that the best reason to see Jesus Christ Superstar is the flygirls, the troupe of seven hot-to-trot female dancers who really spice things up throughout the show with their sexy moves and even sexier costumes. They are like the fabled "cherry on top" of an already tasty treat of a show: they sing, they dance (do they ever!), at times they even kickbox, and they do it all in crop-tops and hip-huggers. The flygirls are a "character" or "presence" in the show as much...
...flygirls are not an entirely new creation: the original script by Lord Andrew Lloyd Webber and Tim Rice calls for a small group of singer-dancers called "Soul Girls" to appear ever so often in the show. However, it was James A. Carmichael '01, the choreographer for this production of Jesus Christ Superstar, who really gave the "Soul Girls" some soul: he added a dash of 'tude, a handful of sexy moves, and really transformed them into the hot-n-spicy, no-holds-barred flygirls they are today. (That's fly with a "ph," as in "Phlygurlz," their self-proclaimed...
...doing the scene where Jesus comes before Herod in dominatrix-chic, complete with fishnet stockings and rhinestone brassieres (the scene was often treated in previous productions as a cross between a vaudeville soft-shoe and soft-core porn as envisioned by the cast of The Rocky Horror Picture Show). In the scene where Jesus is flagellated prior to his crucifixion, the flygirls re-enact what can only be described as climaxing, sensually twisting and turning in sync with the cracks of the whip...
...them (Sabrina K. Blum '03, Shelby J. Braxton-Brooks '03, Jody E. Flader '02, Juliene James '00, Sofia A. Lidskog '01, Yayoi J. Shionoiri '00, and Jennie D. Tarr '01) are just plain nice. What these seven girls share most with the flygirls is their unbridled enthusiasm for the show. Despite the fact that they have one of the most rigorous rehearsal schedules in the cast--they have been excited about the show since the first time they came in contact with it--the "incredible" dance audition during Common Casting (one of the flygirls who initially had not wanted...
...that there is still an American dream. McCourt, at age 66 and after finding the strength to write from the voices of three African-American writers, ultimately achieves that dream with the publication of Angela's Ashes. But the undercurrents of anger and resentment that reverberate through the book show us the raw underbelly of that dream: the humiliation, the loneliness, the despair and the jealousy. McCourt's second novel does not exist as an extension of his first book, devoid of any meaning. Rather, it shows us that the American dream--romantic though it may be--is still very...