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This is a shame. Shakira has ever been the thinking man’s Britney (though not too deeply thinking), several steps above the impoverished dregs of robotized glamour-pop. What set her apart were her siren vocals, and the lyrics those vocals would belt out—lyrics crafted by a fledgling English speaker, peculiar and sometimes puzzling. She is still thankfully in ownership of these gifts, singing lines like “Why wait for later? / I’m not a waiter” and using words like “lycanthropy” (destined...
...think I’ll…” in which elliptical statements including “Wait a Minute… I… I…” and “Maybe… No…” are set against a blood orange background. The piece, a meditation on the decision-making process, has unsurprisingly been read as a political signifier. For some, it embodies the President’s thoughtful approach to governing; for others, it ironically captures his characteristic indecision and lack of achievement in office. As Ed Pilkington noted...
Teammates and coaches alike recognize that Balaraman has stepped up to the bar that players like Connolly set at impressive heights...
...seedy little town,” observes set designer M. Amelia Muller ’11, “the bar is always the centerpiece, and it’s always a scummy bar.” Muller was able to accomplish this run-down aesthetic using the same brown colors that dominate the play’s posters. But the biggest challenge of “The Flies” for Muller was the scale of the production, which demanded five distinct sets...
...says Carolyn W. Holding ’10, who plays Electra, “it’s tough because you’re friends, but they are also an authority figure. With other professionals that we’ve had, they’re very established and set in their ways. Geordie... still understands our state of mind.” Because Broadwater wrote this adaptation of “The Flies” himself, the cast was free to make changes during rehearsals, and both the actors and Broadwater stress that the piece has been a collaborative effort...