Word: scripting
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Dates: during 1990-1999
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Since the play limits itself to the indirect interaction through letters, the characters cannot depend on actions or gestures to help convey the varying depth and quality of their feelings. Both Coleman and Levitt give convincing performances and maximize the impact of each line of the script through careful attention to their tone and inflections in speech. Coleman manages to portray a seven-year-old princess, promiscuous teenager, and troubled, jaded socialite all in succession. Occassionally, she borders on emotional excess; for example, the repeated emphasis on her despicable stepfather's name seems overdone and jarring. But overall, her charged...
...after his junior year in high school. "Well, I was always interested in telling stories...My mother surprised me by sending me to a summer school program at Oxford University where I took a film theory and production class as well as a creative writing class. I wrote a script in May of 1990 and we shot from June to August. It was in Spanish, on video...
...lyrics stand out in part because the book of this musical is so good. Joseph Dougherty's script hysterically recreates the world of 1950s television comedy a la Sid Caesar and "Your Show of Shows." Much of the action of My Favorite Year takes place in and around the offices of "Comedy Cavalcade," the show for which Benjy writes, giving Dougherty the opportunity to toss off one-liners and badinage worthy of a much better show than the one he's stuck with...
Most impressive about this production is the depth of the cast and the superbly understated direction from Travis and assistants. Nearly every aspect of Miller's potent script, major and subtle, has not only been captured but reinvigorated with a freshness that cannot help but echo its modern and contemporary parallels. Miller showed that Salem's witch hunts described the anatomy of McCarthyism in the late 40s and early 50s to the great dismay of his audiences. Today, instead of McCarthy's right-wing purges, an illiberal but leftist politics, sexual and otherwise, elicits similar dismay. Whatever other parallels come...
Vogel in the end does not come through for us. The pose the pornography and domestic violence are inextricably linked is not supported by her script. The two are shown together on the same stage, but they never really connect in the way that Vogel hypothesizes. Without this driving universalism, Hot 'n' Throbbing becomes just another movie of the week, only better acted. It is truly unfortunate that Hot 'n' Throbbing can't raise itself about its soft prime time roots, the blood is so cool...