Word: shows
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Dates: during 1970-1979
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...tens of thousands, or even a hundred thousand people show up and they're angry, and scared, and feel used by the government, then the May 6 demo may be looked back on as the beginning of the end of nuclear power in the U.S. That end is already in sight, because no one is planning on building any new reactors. But the reactors now in use continue to turn out in their deadly radiation, and the cancers don't show up until long after the profits do. Besides, nuclear power is a world problem, and the peoples...
...clearly in the ACSR reports of last March and this January. I think what we're looking for is a more aggressive, forward posture on behalf of the University, toward this issue, one that makes it clear to the corporations that the burden of proof rests on them to show their activities actively promote, actively serve to undermine the South African apartheid system...
...took no pains to hide that fact. Bass lacks the stage presence to carry it off, and in striving after open evil loses the chance to convey the more understated evil of Daltry's Queen. She never manages to portray a character that can convincingly sing "I'll show him what he could be now/just give me one night/I'm the gypsy, the Acid Queen/Pay before we start." Finally the chorus, though it can sing, never displays much passion or dynamic range as actors until the final scene of the show...
...ABOVE and beyond the rest of the cast loomed Richard Westelman's Tommy. Throughout the first half of the show, when he is physically and sexually assaulted, Westelman retains catatonic self-control. In the second half he is the driving force of the show. "I'm Free" is a triumphant cry of joy. With that song too, Westelman begins the most difficult task before any actor in the show. Within ten minutes he jumps from total isolation to cult leadership. Without injecting more than the songs will bear, Westelman manages to convey Tommy's simple message: follow me and achieve...
...that sincerity is of course met by followers who cannot face the discipline required on the road to truth and beauty by way of pinball and multiple handicaps. The denoument is the most powerful moment of the show. The chorus finally breaks from its orderly line and rises to destroy Tommy, singing, "We're Not Going to Take It." And Westelman, alone, singing the most famous line of them all, "See me, feel me, touch me, heal me," gives the show its final, genuine power...