Word: aplomb
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Dates: during 2000-2009
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...Luce is strongest on economics, but he's also a savvy observer of the social and political environments that alternately nurture and throttle India's growth. With equal aplomb, he tackles topics such as the surging political power of India's lower castes, the rise and (apparent) decline of Hindu nationalism and the decline and (apparent) resurgence of the Gandhi-Nehru dynasty. Luce also takes a stab at explaining the big regional differences in economic development within India. For example, a senior bureaucrat in the southern state of Tamil Nadu candidly tells Luce that about 30% of public funds meant...
...cynicism that meshes nicely with the characters’ disintegration, giving the play something of a train-wreck appeal of watching them dig themselves deeper and deeper into an emotional pit. All of the actors (save Steinemann, who maintains a glacial calm throughout) go off the deep end with aplomb. Especially good are Lloyd-Bollard, as the perpetually-angry newscaster Sian, and Renaud, as the flighty and emotionally fragile artist Wynne. When the play aims for genuine pathos, however, it falls a bit flat, since the characters have long since gone beyond the realm of realistic emotions and into...
...strange, like the jarring jazzy music and lighting cue (by lighting designer Blase E. Ur ’07) during the climax of the play. All in all, though, the poise of the leading actors—who almost always manage to speak with the right balance of dandified aplomb and thoughtful sincerity—and the excellent support provided by characters like Cecil Graham (Zachary B. S. Sniderman ’09), make the production a thoroughly beguiling one. Despite some imperfections, the cast and crew do remarkable justice to Oscar Wilde’s particular manner of laying...
...Jones’ small stature and soft voice, he manages to bring a confident, lofty aura to Capote that stands in stark contrast to Craig’s uninspired efforts. Let’s hope for Bond’s sake that Craig can handle that role with more aplomb in the upcoming “Casino Royale...
...baby," she says, "is when you're a black teenager." Then she makes some apologetic qualifier that gets her pretty mouth into even bigger trouble. Of course, this Sarah Silverman is a stage persona, a one-shtick pony that could grate if not for her zazz and nervy aplomb. "I don't care if you think I'm racist," her alter egotist says defiantly. "I just want you to think I'm thin...