Word: zuber
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...awkwardly twisted so that their backs are turned to the audience, their faces hidden in the mock-wall of the set. At numerous other times, listening characters have their backs to the audience so that their facial reactions are hidden. Michael H. Yeargen's set design and Catherine Zuber's costumes have conspired to trap both house and family in one totalitarian color scheme, a choking beige, perhaps literalizing the overwhelming entrapment the characters feel-- certainly forcing the audience to want to escape...
...sure which category Eros belongs to, but NEAR should be able to solve that mystery. Says M.I.T. planetary scientist Maria Zuber, who is working on the laser-mapping experiment: "The topography of Eros reflects the object's whole history--it will tell us a lot about how it formed. And combined with the gravity measurements, it will tell us what the density is." That's important because in a large object like a planetesimal, iron and other metals sink to the core under gravity, while lighter rock stays closer to the surface. A very dense or a relatively light Eros...
...purely formal level, the production works. The actor's timing keeps the pace clipping along and the audience laughing. Led briskly by Margaret Gibson, playing Mrs. Prentice, the cast adheres strictly to the whimsical spirit of Orton's text. The set (designed by Derek McLane) and costumes (by Catherine Zuber) reinforce the historical context of the play. Under the direction of David Wheeler, the A.R.T. production is seamless, except for a few chaotic moments when the stage order unnecessarily falls apart. Overall, however, the play is well excecuted...
Catherine Zuber's costume design comes close to salvaging the play. The lampshade dresses trail and flow and shimmer, and their colors serve to accentuate the personalities of the characters--who, considering the quality of the acting, need all the buttressing that they...
...same can be said of Catherine Zuber's costume design. There is blatant symbolism at work: in one scene Arkadina is dressed in red, innocent Nina in white and morbid Masha in black. Although hardly a surprise when Nina turns up in the second act dressed in red, one's concentration is only momentarily diverted...