Word: scripting
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
This hollow script wastes the cast's talent. Michael Skoler provides a fantastically annoying rendition of the pompous, self-important head of the department, Joe Taylor. Jonathan Weinberg pulls off a creepy portrayal of the randy theater buff Philip Brown with confidence. Erin Scott and Miriam Carroll admirably fulfill the roles of faculty wife and daughter respectively. At times, John Didiuk overdoes the drunken retired professor, Orson Baldwin. But the rest of the cast refrains from the seductive temptation to overact...
Kaile Shilling gives a potentially flat Blanche a three-dimensional performance. Blanche's self-imposed change of personality at the end of the play verges on the corny, but Shilling pulls this scene off with particular vitality, going beyond the script with subtle body language. Tommy Finkelstein's strong depiction of Jack Jerome lends thoughtfulness and sincerity to a fundamentally passive member of the household. Justin Levitt's timing and tone as Eugene's all-knowing older brother Stanley make his many advice-giving sessions with Eugene particularly funny...
...Rodriguez, this calculated hysteria is an expression of family values. "That's the way it was in my family," he says. "Kids were always running around all over the place all the time. That's what things looked like to me." But really, the movie's script and style were born of necessity. Rodriguez built the screenplay around the assets available to him for the 14- day shoot in Acuna, Mexico: a hotel, two bars, a school bus, a motorcycle and a pit bull. All became elements in the story -- plus a turtle found on the road. He laid...
...rare times when Harvard students experiencing an experimental production do not leave the audience dispassionately dazed. Director Sarah Toby Stewart has fully utilized the Ex's spatial and technological options. She has impressively combined visual and aural effects with striking lighting, appropriate music, and a compelling script...
Under the direction of Noah Kupferberg, the three male convicts, provocatively, are played by women. This literal feminization of the script raises interesting questions about the construction of masculinity, but also presents many challenges to the complex male interactions, explicitly violent and implicitly homoerotic, which fuel Genet's script. To the credit of the production, these tensions, though at times stylized and cliche, are generally sustained and credible...