Word: soliloquys
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...becomes a sort of tragic hero, bound to the stereotype of the Jewish usurer, who can only mourn the loss of his daughter by mourning the money she takes with her in her flight. Foley commands the attention of his audience, charging his "hath not a Jew eyes" soliloquy with a vindictive conviction, skillfully opening up Shylock as a man who has learned hatred from hatred; whose suffering is channeled into vengeance...
...play begins powerfully, as the first Richard (Monteleoni) crouches in an eerie green light in the center of the stage and delivers the difficult "I shall prove myself a villain" soliloquy with a brilliant sense of introverted evil. The first Richard, the so-called Master of Ceremonies, hobbles around the stage in a whirlwind of action, murdering his way to the English throne. Monteleoni's performance is particularly pointed during Richard's outrageous, paradoxical, yet effective, seduction of Lady Anne (Amy Piper '99), who plays her role with convincing passion, reacting to the death of her husband at the hands...
...comes as no surprise that she was a social outcast in high school and subsequently built a psychological cave for herself that has relegated her to being a social outcast for life. As a result, she has, as the movie title proclaims, never been kissed. Yet from her soliloquy at the outset of the film pondering the fantasy of one day discovering the Right Man, we know exactly what will come true by the end of the production. How she gets to that point and the inevitable obstacles she must endure along the way are what make Never Been Kissed...
...larger historical epoch and brilliantly describes the horror of all wars. The arrival of the Advisor (Karin Alexander), interrupting the speech signals the beginning of the denouement of the play; it reproduces on a individual level the horrific, senseless violence that the general recalls in his soliloquy...
...that forms the keystone of the production. David Skeist '02, haggard, unkempt and unshaven, hunches his tall, thin frame into an attitude of perpetual anxiety and guilt. From beginning to end he imbues the play with a seemingly bottomless paranoic energy. This reaches its climax in the final, frightening soliloquy in which he attempts himself to become a rhinoceros, and failing, realizes he must resign himself to his uniqueness, his monstrosity, his humanity...