Word: suggest
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Dates: during 1980-1989
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...Business Day" [April 28], I suggest...
...advocate strict non-violence is not to demand, or even suggest, passivity. Sharp lists 198 historical methods of nonviolent policital activity, from making speeches to occupying nuclear power plants to skywriting messages. At Seabrook, next week, it may mean joining the blockade effort, an attempt to block traffic on and off the site. The handbook suggestions for tactics sound vaguely menacing here too, however--hints for success ripping up pavement, driving spikes into the road, and parking old cars in the street to block traffic. "We should make every effort to be creative and effective, while minimizing...
...rescues Happy End from triteness. Casey provides one of the few bits of effective social commentary with her jabs at the hypocrisy of the Army hierarchy. Her sure, colorful voice invests the Weill/Brecht songs with an emotional depth that shames the plot's cliches. Casey uses the songs to suggest contradictions in Lil's character that the script brushes over. In the biting "Sailor's Tango"--sung to convert Bill-the evangelist smolders with sexual invitation. She turns the haunting denunciation of love into its tender yet rueful opposite--a declaration of her feelings for Bill in "Surabaya Johnny...
While Happy End is not--and should not necessarily be--a Threepenny Opera, Brecht and Weill's songs suggest that Happy End could have another face. The gang's pettiness and cowardice, the naivete and condescension of the Salvation Army sermons, Bill's amorality, Lil's sexuality--these elements of Feingold's adaptation should have been emphasized in the production. The Brecht and Weill characters, as revealed in their songs, are not the cute bumblers of Jones' production. The two paint a much crueler, darker world, a world in which the little guys squander their energies fighting each other instead...
...Americana might have provided a successful point of departure for After Hours, better than the barely discernable and categorically almost infinite topic of Love, with which all the numbers have at least a vague connection (but what about "My Favorite Things"?). Perhaps it is even straining a bit to suggest that anything as cohesive as a theme holds this revue together; it seems likely that McIntosh deferred to musical merit in his selections...