Word: sung
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...melodrama is often heavy-handed. What transforms the show is Coleman's vital, jazzy score--his best since Sweet Charity--and Michael Blakemore's crisp, less-is-more staging. The show starts out in high gear with an infectiously cynical ode to self-interest (Use What You Got), sung by hustler-narrator Jojo (the excellent Sam Harris), and keeps topping itself. Lillias White, as an over-the-hill hooker, brings vivacity and soul to Gasman's clever lyrics ("I'm getting too old/ For the oldest profession"), and the driving, up-tempo number Why Don't They Leave Us Alone...
...good time--fun fun fun for sweet little 16 at the hop. But that was before guys who knew three guitar chords were dubbed artists and, as such, had to suffer out loud for their muse. Consumers of pop have become so used to dirges about life's rottenness, sung by grungesters crushed under the weight of money, fame, drugs and women, that any happy music seems like ad jingles. Even female singers, traditionally dainty types, got the message. Doesn't Alanis Morissette sound as if she's performing at riflepoint in a gulag...
...Fair Harvard, the daughters in jubilee throng." The two versions are sung simultaneously. The divergence of three syllables takes no more than two seconds, beat and meter match perfectly, and the song goes on. The two versions unite like a marriage, not jarring the ears like the dozens of other suggestions...
...final work of the first gallery is an imposing monumental image attributed to the Northern Sung painter Fan Kuan, one of the acknowledged masters of Northern Sung landscape painting. Even under the dim lighting to protect the fragile works, one can still discern the painstaking brushwork and elaborate design that many associate with the austerity of Daoism and the harsh climate of Northern China...
Reminiscent more of a high school theatrical than an HRDC production, No Bull was undeniably amateurish, both in its script and its staging. The sung lyrics were adequately funny, but the spoken dialogue, in its attempts at wittiness, wanted the finesse that characterizes even the most canned Broadway concoctions. The music was for the most part deftly scored and generally quite suitable for the purposes of musical comedy. Unfortunately, it ended up sounding dismayingly cacophonous in the hands of the orchestra, which was consistently squeaky, poorly unified and out of tune. Most of the cast members were obviously not experienced...