Word: shrews
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Dates: during 1990-1999
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Some of the multiple-player scenes did succeed in pacing themselves successfully. Such was the case in a scene from The Taming of the Shrew: Steindler, a ferocious Kate, and Hanson, as a positively alarming Petruchio, managed somehow to give the comic scene a deeply sinister overcast. A more complete success was the closing selection, Lady Macbeth's famous sleepwalking episode from Macbeth, in which Staniunas as the somnabulant homicide and Wood as her Gentlewoman gave a deeply disturbing performance. The JCR's lighting was fully exploited to create a frighteningly shadowy scene...
...building. Sometimes they also show old movies on a giant screen. But the Boston Ballet is also quite good. In addition to their traditional Christmas performance of "The Nutcracker" (which was completely overhauled last winter), they do innovative works. Last year they performed Shakespeare's comedy "Taming of the Shrew...
...Boston Ballet has an eclectic agenda for its 31st season. The company's program includes traditional ballets which feature three radically different kinds of heroines--the betrayed in "Giselle," the doll which comes to life in "Coppelia," and the spunky Kate in "The Taming of the Shrew." In addition, the Boston Ballet's 1994-95 season blends the classic with the modern in American Festival I and II, two ballets which feature the works of recent American ballet luminaries like Cunningham, Feld, Balanchine, Taylor, and Tharp...
...Khouri, it's work -- and actresses aren't getting much of that, in good roles or bad. Writers and directors will still make room for women's roles if they fit the new conventions of "nurturer or shrew," as comedian % Ann Magnuson defines them in her new one-woman show. "Basically, I vacillate between those two roles," she says. "The dialogue boils down to either 'Fme' or 'Fyou...
Lars Mellander (Ali), Dorothy Morris (Elvira), and Janine Wanee (Zulma) turn in performance of technical aplomb but little else. Mellander's inexpressive mime doesn't go beyond the essentials. Morris's Elvira is appropriately pitiful, but comes across more contentious than helpless, more an evil shrew than a hapless victim of a inane husband's scorn. And Wanee's Zulma, although not a major part, fades too easily into inconsequence...