Word: statically
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Dates: during 1970-1979
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...interconnectedness, continuity, but which confers on each moment the character of a mystery." Photography isolates: it cannot narrate. "Strictly speaking, one never understands anything from a photograph .. . Only that which narrates can make us understand." Here, one may feel. Sontag exaggerates too sweepingly. If only narration gives cognition, every static visual image, from the bulls of Lascaux to the horse in Guernica, is condemned, by implication, to muteness. Goya's Third of May is an instant that epitomizes a massacre, not a narrative of the whole event. It shares that with photography, but who could say it does...
...cues essential to good comedy. The blocking is generally excellent, and the comic scenes are very well-conceived. One of the rare problems is a somewhat distorted sound system--in a critical scene when Murray listens to his boss over an intercom systvm, the words are marred by static...
These comments that The Gondoliers seems static and low key are not intended to be harsh. I had to attend the Sunday matinee performance at which half the audience was either over seventy or under ten. They are not particularly responsive age groups: one not prone to belly laughs, the other a little slow on puns. But even septegenarians, kindergardenians and stray matinee-goers--in the words of W.S. Gilbert himself--beg, desire, demand a show with gusto. Still, this production of The Gondoliers is enjoyable. On bad days, it is at least beautiful pictures set to well-performed music...
...overly critical. Gallo's play bears the marks of a talented young playwright, yet at the same time it bears the scars that usually mar a first work, albeit in a somewhat unusual fashion. The production itself has some very strong points, but also some weak acting, an annoyingly static plot, and seemingly uninspired direction, all of which leave it somewhat lifeless...
...their obvious success, the actors in the Leverett production, like the philanthropists of the British middle class, pay a price. While their brisk delivery, faithful to the rhythms of dry British humor, works to maintain what is essentially a static play in lively motion, this fast-clipped pace skims over the surface of deeper meanings. Part of the problem here is built into the play itself which shows Eliza Doolittle before and after while leaving out the tranformation process. But part of the problem is Bloomfield's decision to emphasize the constraints of class rather than the human beings...