Word: weak
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Dates: during 2000-2009
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...Cardona’s Billy Lawlor. While Cardona’s dancing is acceptable, his acting and singing are not suited for this role. Great songs like “Dames” and “Young and Healthy” fall flat, Cardona’s too-weak tenor voice drowned out by the lovely orchestra.The work of the fantastic ensemble sometimes suffers from technical glitches like delayed light cues, but overall their performance only adds to the dynamism of the show. In particular, Jennifer Cohen shines as Maggie Jones, a role that could read as too over...
...diminishes artistic freedom. A play this rich with pointed banter, absurd characters, and meaningful, open-ended questions needs no grand re-interpretation to be as effective and poignant as it is in this production. Perhaps some of the play’s emotional resonance is lost through a weak performance by MacDonald, whose Nell never hits the right note despite the actress’ considerable talents. However, the rest of the actors make up for this shortcoming. LeBow in particular is brilliant as Hamm, especially considering the challenge of being stationary and unable to express himself through his covered eyes...
...Texas drought: "The dry spell continues to grip much of the District. Wheat and oat crops are suffering from lack of moisture. Grazing conditions are poor as well...Hay stocks are low and feed costs remain high, forcing some ranchers to cull their herds. District dairy producers report weak conditions...
...over. Industrial production has plunged. Even Embraer, the aircraft maker whose jets sell to scores of airlines, and which has become a symbol of Brazil's newfound confidence, recently announced plans to lay off 4,000 employees, almost one-fifth of its workforce. Commodity exports - soybeans, steel - are weak. The main stock market is down 25% since September. But Lula, a former shoe-shine boy who heads the leftist Workers Party (PT), has so far kept the good times from becoming a hellish bust. In Brazil, that's nothing short of miraculous...
...years, the ambitiously titled “The Bridge: Concept of a Culture,” Saddler exposes this tension in its harshest light. The legendary turntablist struggles to remain relevant in the culture that he created and falters consistently, alternating between brilliant displays of his forte and a weak compliance with cliched notions of marketable hip-hop songs. The grand master consistently becomes ensnared in sounds and influences that are not his own. Saddler, who debuted his craft at block parties and nightclubs throughout the South Bronx in the 1970s, puzzlingly indulges in bass-laden, ominous beats that elicit...