Word: scripting
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Dates: during 1990-1999
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When Julianne Moore picks up a screenplay, she doesn't read it so much as listen to it. "If I can hear it rhythmically or hear the voices in my mind, then I feel like I can do the script. If I can't hear it, I can't do it." And, she adds, no re-reading is likely to alter this first, "instinctual" response...
...heads that, when detached by the whoosh of the Horseman's blade, go spinning, rolling, bobbing as if each were a top, a bowling ball, a Halloween apple on its way from Hollow to hell. (The terminally cool Tussaud effects are by Kevin Yagher, who also worked on the script.) Irving's Horseman, a long-dead Hessian mercenary, was most likely a story to scare away intruders and, when Ichabod sees him, a human prankster toying with the gullible schoolteacher. Here, though, the creature must be realer than a nightmare--a galloping plague to purge Sleepy Hollow. He is embodied...
...foreword to the published script of The Rainmaker, playwright N. Richard Nash advises, "It must never be forgotten that it is a romance, never for an instant by the director, the actors, the scenic designer or the least-sung usher in the Forrest Theatre in Philadelphia." I can't vouch for the ushers at the Brooks Atkinson Theatre in New York City, who are no less surly than usual, but mostly this Broadway revival gets into the right spirit. The set, a swath of brown prairie dominated by an expanse of blue sky, seems ready at any moment to disgorge...
This is precisely the reason why the Loeb Mainstage production ultimately proves so ineffectual: director Daniel Berwick '01 has a style which approaches the material solely on its own terms, allowing the script (or rather the songs) to drive the show rather than maintaining control over the theatrical experience. This approach results in two things: a pervasive sense of confusion and a profound lack of connection between the audience and much of the action on stage. The palpable anticipation of what is arguably this season's major theatrical event was met with, and disappointed by, the repeated failure...
...situation was not abated by the excessive cast: the chorus is referred to in the script as "The 50,000," and Berwick seems to have taken this a bit too literally, casting a truly overwhelming number of actors. Although a large cast, directed so as to focus rather than diffuse the audience on the central action, can work to a show's, this production's overabundance of actors only bolsters the audience's already confused state. Is the crowd happy with Jesus? Angry at him? Leprous? Is their back-slapping friendly, or is it violent? Although the level of dissonance...