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Will His Kingdom Come? Pacquiao crosses himself before digging into dinner amid the Corinthian columns of Capitale, an old bank turned party space, just about where Chinatown starts in Manhattan. It is early June, and he is there to receive his second Fighter of the Year award from The Ring magazine. Even as old palookas cuss up a storm, he prays before his meal. His mother says he was always "very disciplined and God-fearing" - taking after her, of course. Her front garden features a coral-lined altar to the Virgin Mary, and an entire shelf in her living room...
...under house arrest. He and his family returned to China in exchange for U.S. pilots captured during the Korean War. In China, Qian used his skills to promote and organize scientific bodies as well as develop the missile programs that laid the groundwork for China's first manned space mission in 2003. But he remained bitter over his treatment by the U.S. "It was the stupidest thing this country ever did," said former Navy Secretary Dan Kimball, according to Iris Chang's 1995 biography of Qian. "He was no more a Communist than I was--and we forced...
...intimate black vacuum of the Loeb Experimental Theater, an all-white catwalk begins at a delicate white backdrop, subtly slanting downward across the space to nearly cut the room diagonally. The audience sits along either side in small bleacher clusters, the noticeably comfortable space between their seats an appreciated—and probably intentional—detail. After all, it could not have been lost on director Matthew C. Stone ’11 that British playwright Martin Crimp’s “Attempts on Her Life” is not a play that makes anyone feel like...
...saliva during scene 11 (“Untitled (100 Words)”), her body contorts, suggesting an inner beast yearning to escape. As Anne, moments of anger cause her eyes to glaze over and her mouth to froth. Such strong displays of emotion capitalize on the fuzzy space between internal and external theatrical reality...
...contrasts of sparseness and chaotic engagements; in scene 14 (“Girl Next Door”) the movement of all seven players and their various intonations are in unison, yet they trip up the rhythm of the play by seeming to trip over each other in the small space. Still, stutters and stammers—both vocal and technical—are forgivable in the context of the play’s various moves to crack the fourth wall...