Word: tharon
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Aldredge's costumes, which tend towards satin and well-tailored fits, flatter the actors well, as do David Mitchell's sets and Tharon Musser's skillful lighting Mitchell creates a lovely art-deco Parisian living room, with a satin chaise, modernist artwork and large, slanted windows. And Katselas also surrounds his principals with accomplished performers Cullum, who won Tony Awards for Shenandoah and On the Twentieth Century, blends naivete with an almost treacly love for Amanda to create a character who seems unbeatable despite his efforts to the contrary. With a breathless voice, and a fey, almost stupid demeanor. Walker...
...texture blanches the text. Robin Wagner's scenic design consists of stark metal, light-crammed towers that move and revolve to form a kaleidoscope of geometric patterns. Costumer Theoni V. Aldredge must have purchased her swatches from a rainbow merchant to fashion the slinky, sequined gowns, and Tharon Musser's lighting is a palette of explosive colors...
...report card, Hamlisch's music and Sager's lyrics score no higher than Bs, but they possess a finger-snapping vitality that turns explosive in the title number. A well-earned A goes to Douglas W. Schmidt's stunningly sophisticated sets, Tharon Musser's evocative lighting and Ann Roth's clever costumes. Great joy has come to Shubert Alley...
...also invokes splendid, precise comic timing from the entire cast. William Ritman's split-level set is sheer genius, both aesthetically and thematically. Like Scottie, it has something for everyone: paneled walls, lots of framed photos, ultra-modern but ultra-comfortable furniture, all in attractive browns and beiges. Only Tharon Musser's lighting, full of jerky, conspicuous floods and obtrusive mood-breakers, needs toning down...
...outset, Androcles' name in Greek-alphabet capitals hovers over the stage. A yellow scrim hangs in front, with sunflowers traced on it. As Tharon Musser's lighting changes, suggestions of a lion's head appear; and shortly some slinky jazz with a perky clarinet over a tonic-dominant ostinato ushers in the Lion (Ted Graeber) with a lioness (Jane Farnol). The two animals perform a semidance pantomime, until the Lion gets rid of his partner. Shaw's script calls for no lioness, but this seems a quite acceptable bit of directorial padding. When alone, the Lion does some pushups, indulges...