Word: text
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...flies through the two hours of sketch comedy with veteran timing and delivery. Each of the short plays runs about 20 minutes and covers a single topic; science, government, gender equality, higher education and higher-still fashion are sequentially caught in Kellerman's crosshairs. While at times the text can be a bit heavy handed in making its points, especially in the two most overtly political scenes, the dialogue is sharp and extremely funny...
...hope my inference is clear. The A's go to people who wake us up, who talk to us, who are sparkling and different and bright. (The B's go to Radcliffe girls who memorize the text and quote it verbatim, in perfectly hooped letters with circles over the i's.) Not, I remind you, necessarily to people who have locked themselves in Lamont for a week and seminared and outlined and underlined and typed their notes and argued out all of Leibniz's fallacies with their mothers. They often get A's too, but as Mr. Carswell points...
...series of faces on the opening page--got old fast. "It's too flat," said Aurin, 17. Others scoffed at topics like how to write a love letter ("If you need help writing a love letter, you're not in love," said Sheresa, 16) and got bored with lengthy text interviews...
...example arises in the portrayal of Malvolio, Lady Olivia's Puritanical steward, by Paul Monteleoni '01. Though it is unclear at what point we may draw the line separating directoral control and actor-based development, it seems that someone involved in the character's evolution should have reread the text. Resembling nothing so much as a demented Muppet, Monteleoni plays for the empty slapstick of a man in tails running about the stage. This leaves him with nowhere to take the character as more interesting sub-plots arise, most notably as he discovers what he believes to be Olivia...
...problems with this production, it seems remarkably self-aware of what it has done to Shakespeare's text. Much of the show has the feel of an inside-joke; we, as the audience, vaguely sense that something is going on beneath the surface, yet we are never allowed to fully engage in the comedy. From the program note, "No stage directions were harmed in the making of this production," to Feste's inserted welcoming monologue to the audience, we are forced to question the choices presented on stage. The entire show falls under the shadow of Feste's song, injected...