Word: thespians
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Dates: during 1990-1999
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There are so many other interesting Harvard personages worthy of description: the math/Physics genius who lives on another planet, the Eliot House power-monger, the Milk-Toast achiever who lacks a personality but gets the grade, and the pre-thespian exhibitionist whose personality is always on display...
...emotions and situations actually better conveyed the intended mood of this piece. The consistently frivolous chorus, played with great flamboyance, brings the lighter mood back into play. Everyone succeeds in putting great fun into the flouncy pop score by Stephen Sondheim. His lyrics and expression are what the hardcore thespian would disparagingly lable witty; they nevertheless succeed in drawing the players up from their dramatic doldrums. But while de Lima and Upton stand out with rich, impressive voices, several other performances are inconsistent with their standard, preventing the music from carrying the production...
...real battle here is between two generations of acting styles: meticulous method vs. star quality. On offense is Malkovich the master thespian, building a character with wigs and fake noses, gunning the menace by alternating a spooky stillness with violent shifts of his wispy, lispy voice. On defense is Clint the listener, the reactor, whose worn, handsome face is his technique. In these moments, you see agitated Actor and aging Star in a hot war of wits. The shoot-out is wonderful to watch...
...Thespian Restraint Clause: There can be no more plays/musical operas running at Harvard at any given time than there are on Broadway...
Leafing through the program for Skin and Bone before the show, I feared the worst. It promised everything I dread in a Harvard production. The play was set in "Italy or nowhere"; "William Shakespear" wrote the additional dialogue. Skin and Bone threatened 100 agonizing minutes of soul-destroying thespian pretense...