Word: showings
(lookup in dictionary)
(lookup stats)
Dates: during 2000-2009
Sort By: most recent first
(reverse)
...really a charming little piece. It’s really funny, really cute. It’s all about love and magic,” says stage director Davida Fernandez-Barkan ’11. “I think it’s a really beautiful show.” Though the show was originally conceived in Victorian England, this particular production’s styling and costume will be decidedly more Elizabethan. “Shows get taken to the present a lot, and I thought it would be fun to take a show back...
...He’s convinced that love will solve all problems. He’s obsessed with the notion of love being indiscriminate to age, rank, beauty, fortune, and [of it being] the cure for all ills,” he says. Those who attend the show on both weekends of its run will get to see two different takes on the role, however. Scheduling conflicts necessitated that Ben J. Nelson ’11 covers the part for the first weekend, while MacQuitty will play the part next weekend...
Noting the hard work the entire cast and crew have put in, Sofia M. Selowsky ’12, a campus opera veteran who plays Lady Sangazure, is very confident about the show. “The whole crew has been absolutely fantastic and very efficient and organized. I’m hoping people will find it funny and we’re working with some special effects this year, which will be cool,” she says. These effect-laden sequences, which include a scene where one character is swallowed into the fires of hell, help add action...
While productions of “The Taming of the Shrew” traditionally focus on the play’s portrayal of gender stereotypes and the domestication of women, what intrigues Bensussen about the show is the idea of transformation. In the director’s notes, she writes, “Within the world of ‘Shrew,’ everyone is playing at what they are not, and class, as well as gender, are exposed as performances in which performer and viewer are complicit...
...with all this emphasis on themes of change, the end product somehow seems stagnant throughout most of the evening. Bensussen uses Shakespeare’s lesser-known induction to the play as a sort of meta-theatrical framing device. This prelude to the show drops us into a typical bar atmosphere, complete with pretzels. A drunk stumbles in off the street, and the staff of the Wild Cat decides to play a prank on him, invoking the help of a drunken entourage who are forced to act out a play as punishment for not paying their...