Word: verbalizations
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Dates: during 1990-1999
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...this production. At many points, Haahr ceases to be lovable and becomes merely annoying. Selig and Haahr spend too much time wandering around the set with no apparent purpose, screaming their lines at each other in an excited shriek. Both characters often seem to be engaged less in witty verbal sparring than in shrewish quarreling. The fault here lies with director Alexander Franklin and Elisabeth Mayer, who seem to lose control of the play's pace. The dialogue moves beyond hectic into overload. The tension and excitement, rather than growing gradually between them, has built too fast and too early...
Phil Munger as Rosencrantz, and Jacob Broder as Guildenstern almost lose control of the fast-moving dialogue. At times the audience cannot keep pace with the bouts of verbal jousting because of inadequate into-national nuance. But they more than compensate with their frenetic motion and lively delivery. Broder especially appears more comfortable with physical rather than vocal acting, and his facial and bodily contortions bring the house down. In particular, his protracted death rattle during Munger's meditations on burial has the audience chortling merrily...
With the controversy surrounding former cook and union steward Darryl Hicks, the Harvard Union dining hall has been transformed in recent weeks into a verbal battleground, rife with allegations, counter allegations and counter-counter allegations. And regardless of the merit of any accusation, one thing is clear: The Union is an unduly harsh working environment. As one employee told The Crimson, "morale sucks...
...Violence against women is not just physical brutality," said Deborah J. Wexler '95, co-president of the Radcliffe Union of Students. Verbal sexual harassment is often down-played in discussions about the abuse of women, Wexler said...
Directing Arsenic and Old Lace is a challenge, requiring the coordination of physical farce and fast-paced verbal humor. Scott Schwartz incorporates eleborate action and even acrobatics into his production; characters prowl and struggle in the dark with corpses on their backs, and Officer Brophy even performs a spiffy cartwheel before pinning Jonathan Brewster...