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...stunning move for Nagin, who before Katrina cast himself as a crusader against corruption and a darling of the city's largely white business establishment. But the storm altered the New Orleans political terrain along with the physical landscape, and Jefferson may end up taking a page from Nagin's reelection playbook: Position yourself as a champion of the dispersed and dispossessed, the victim of piling-on by outside forces, and rally those still living outside the city to the cause. Nagin, however, had one advantage that Jefferson lacks: his chief opponents in the mayoral race were white, making...

Author: /time Magazine | Title: Campaign '06: Playing the Victim in Louisiana | 10/17/2006 | See Source »

...play—watching the way people weave intricate webs of intrigue around themselves, and veer between frivolity and seriousness. Similarly, the minimalist set (just a few boxes, champagne glasses and the eponymous fan) also keeps the focus on the details of the characters’ manipulations. The cast does an excellent job of interpreting much of Wilde’s juicy dialogue, which uses the musings and chatter of the idle rich to weave intricate tapestries of reflection about everything from marriage to the nature of good and evil (and how often those two subjects go hand-in-hand...

Author: By Alexandra A Mushegian, CONTRIBUTING WRITER | Title: Cast Works Witticisms | 10/15/2006 | See Source »

...trademark, and craft scenes that evoke such pathos as Black’s finale performance of “Let’s Get it On.” The play’s book, written by David Lindsay-Abaire, abridges and bastardizes Hornby’s work; the cast, directed by Walter Bobbie, lacks any semblance of vocal or acting talent; and the original score by Tom Kitt channels Meatloaf more than Marvin Gaye. Calling “High Fidelity” a disaster would be giving too generous an appellation to the two-and-a-half-hour train...

Author: By Kristina M. Moore, CRIMSON STAFF WRITER | Title: Let's Get It On? No, Let's Leave the Show | 10/12/2006 | See Source »

However, Margaret Adachi’s “Rapture” is so bizarre as to cast doubt on its merit as art. The plush red cow reclining on a stool—udders erect and yarn pubic hair apparent—could easily have been imagined as part of some sort of senior prank...

Author: By Anna K. Barnet, CONTRIBUTING WRITER | Title: New Kids on the Block | 10/12/2006 | See Source »

...Ultimately, I chose not to take up the punch invitation. I won’t try to cast this as a particularly heroic act—obviously, it wasn’t. But my experience did convince me that principles and privileges don’t mesh well, and that temptation—in my world, at least—doesn’t tend toward the better of these...

Author: By Piotr C. Brzezinski, Paul R. Katz, Matthew S. Meisel, and Ramya Parthasarathy | Title: The Final Stretch | 10/11/2006 | See Source »

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