Word: unevennesses
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...decidedly uneven show to which Lithgow lends his gifts is The Sweet Smell of Success, a musical adapted from the cult favorite film of the same title. Its protagonist, Sidney Falco (assayed by Tony Curtis on film and the up-and-coming Brian D’arcy James onstage) is a youngster consumed with a lust for power. Much like Leo Bloom in The Producers, he wants everything he’s ever seen in the movies. His key to the bright lights is the most powerful gossip columnist in the country, a vicious, preening Walter Winchel-like monster named...
...Crimson’s reporting on ethnic studies has been somewhat uneven this current academic year. After some incomplete coverage in the fall, an excellent account of the issues by Richard T. Halvorson ’03 appeared in February (News: “Protests Targets Course Diversity,” Feb. 13) and a thoughtful opinion piece by Stephen E. Sachs ’02 (Column: “A Different Ethnic Studies,” March 5) followed. These pieces notwithstanding, some older and some more recent reporting and opinion pieces deserve a few words of clarification...
...Flashback Month, a good time to remember that McCarthyism may be gone but witch-hunts will always be with us. A good time, too, for The Crucible, Arthur Miller's 1953 warning against communal hysteria, which uses the Salem witch trials as its model for hypocrisy. This lucid if uneven Broadway staging stars a ferocious Liam Neeson, still the thinking man's hunk. Laura Linney has the more subdued role as his suffering wife. But her gift for finding fire in the quietest corners of normality makes her Neeson's equal...
...opening night in London, the play was greeted with nothing more sensational than polite, slightly disappointed applause. It's neither as bad nor as worthy of prolonged debate as the Irish media suggested, but turns out to be a frustratingly uneven outing from a writer whose 1995 play The Steward of Christendom marked him out as a special talent...
...Most galleries don’t take many risks,” contributing artist Dale Kaplan told The Crimson. “There is the major line of serious fine art, and everything else is ancillary. [At the GSPA], you get an uneven level of work because it brings in work by anyone with a political statement to make...