Word: showings
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Dates: during 2000-2009
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...debut on a boxing show - which he won by decision - made him a local star. After that, energy alone seemed to carry him through six inconsistent years, a period in which he still managed to win two world titles in fights in Southeast Asia. Finally, a Cinderella-like twist got him noticed in the U.S. market. In June 2001, Pacquiao stepped in as a last-minute replacement at a fight in Las Vegas to win the IBF super-bantamweight title by TKO. Soon after, he walked into the Wild Card Gym in Hollywood and met the owner, Freddie Roach...
...suddenly becomes an accomplice, mutually guilty of his invasion into the presumably fictitious reality created by the girl on the pedestal; All are at least partially responsible for her furrowed brow and the arms she has arranged protectively across her front as she shivers from the violation. The entire show is uncomfortable in its emotional, if not spatial, proximity—its intensity dull and ever-present, though not entirely unbearable. “We need to feel what we’re seeing is real,” shouts a male character in scene five...
...initial discomfort caused and expressed by Napier cracks the divide between the reality of the audience’s pre-show chatterings and that of the play’s. Stone ties a knot around this introductory tension between voyeuristic guilt and pleasure. He engages the audience in his challenge to untangle the thread which he proceeds to reveal in glimpses throughout the show’s “17 Scenarios for Theatre,” the play’s subtitle. However, this strand proves to be so complexly woven through and around itself that its fragments suggest...
...lead role (the three males play more static supporting characters, filling roles as “anyman”), but each has her own personality—a strain of Anne’s personality—that is carried along with her physical representation throughout the show...
Napier is sexy but painfully conflicted internally; the basic vulnerability she established at the very beginning lingers throughout the show. As the voiceless artist, writhing in blood, chocolate, and saliva during scene 11 (“Untitled (100 Words)”), her body contorts, suggesting an inner beast yearning to escape. As Anne, moments of anger cause her eyes to glaze over and her mouth to froth. Such strong displays of emotion capitalize on the fuzzy space between internal and external theatrical reality...