Word: elizabethan
(lookup in dictionary)
(lookup stats)
Dates: during 2000-2009
Sort By: most recent first
(reverse)
...show’s peripheral elements serve to provide a solid background to its comic madness. The lighting design of Tiffany M. Bradshaw ’10 contributes effectively to the mood, despite a chaotic and disorienting series of color changes near the finale. The gaudy Elizabethan costumes, created by Pugliese, further add to the production’s merrily boisterous feel...
...says stage director Davida Fernandez-Barkan ’11. “I think it’s a really beautiful show.” Though the show was originally conceived in Victorian England, this particular production’s styling and costume will be decidedly more Elizabethan. “Shows get taken to the present a lot, and I thought it would be fun to take a show back.” Originally, the plan was to set the production in medieval times, but anachronisms such as a vicar getting married prevented that from becoming a plausible...
...seemed that the Harvard theater scene would finally get exactly what it had been missing: a theater. The Loeb, designed by Hugh Stubbins, was to be a state of the art facility, technologically advanced and innovatively designed. The flexible main stage allowed for three different set-ups, an Elizabethan theater, a proscenium and a theater in the round. The experimental theater next door was exciting in its originality...
...show; as he infiltrates Othello’s mind, he conceals himself with the many openings and holes littered across the stage. In addition, the scenery enhances the on-stage action, which includes a rowdy drinking song, a tavern brawl, and other scenes of violence reminiscent of traditional Elizabethan theater. In keeping with the Mediterranean setting and plot, the costumes are a mix of old Venetian, Turkish, and Greek styles. Othello and Iago’s costumes, which abide by historical design, are cut from large pieces of fabric rather than stitched together from smaller pieces, a technique which Venetian...
...meticulous analysis of the character’s development over time in productions and in secondary literature. Although she reminds us repeatedly that we will never know the playwright or the definitive answer to the problems Shylock presents, Garber brings us as close as possible to this Elizabethan genius of theater. It’s a good thing that the book focuses on these better known works, as a lack of familiarity with one or more of the plays will diminish the amount of insight that one can glean. Knowing at least the basic plot proves necessary for full appreciation...