Word: shows
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Dates: during 1970-1979
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Some of the players do play their parts traditionally, adding to the general lack of direction. Ellen Gambulos's Adele, the chambermaid who wants to be a star, showed a delicate voice and solid acting, except on occasions when she allows her pride in her steely top notes show. Brumit brings a rich, deep voice and commanding presence to Frank, the jailer; and Corey Stone '79 plays Falke, the "Dr. Fledermaus" bent on revenge, with flair, though his voice is comparatively bland...
Producing opera at the college level takes guts, and it would be patently unfair to expect professional quality singing and playing from a group like Lowell House Opera. What's frustrating about this Fledermaus, though, is that the singing is the strongest part of the show. If the orchestra were better prepared and the director had replaced Strauss's Vienna coherently, Lowell's Fledermaus could please everyone. As it stands, the program lists the show's time-setting as "uncertain"--a word you might better apply to the whole affair...
REMEMBER WHEN you were young and you went to the circus? And you saw every side show? Twice. And you played every game and watched the clowns do the same thing over and over again--but you laughed each time anyway. And you ate Cracker Jack. And cotton candy. And then you got sick. Well, those days are back again--and they're as close as Radcliffe Yard and the Grant-in-Aid production...
...story of the turn-of-the-century Circus Maximillian (pun)--"the second greatest show on earth" (joke) whose low net profits (pun) are forcing it into the red. Alas, says owner Maximillian Bucks (pun), the show needs $1 million or the big top will flop. To raise the money, Bucks calls upon Natalie Yellowbud, tightropist, singer and airhead extraordinaire, to star in an extravaganza in honor of President Woodrow Wilson. Meanwhile, Walter Wall (pun), decides he can't bear life at the stockmarket any longer. After embezzling $1 million, the stockbroker splits (pun) with his secretary and runs...
...script is a Hasty Pudding reject and it reeks of it. Unfortunately, shows that work at the Pudding don't always work elsewhere. Without the big stage and the real half-men, half-women, Oh No, No Net! limps along toward its less-than-satisfying finale. Director Marisa Silver and choreographer Linda Hammett have conspired to crowd as much on the tiny stage as is possible--and more. The chorus line is massive; maybe just right to command attention on the Holyoke St. stage, but needlessly cumbersome at Agassiz. The director was in a bind--she needed the extra voice...