Word: though
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Dates: during 2000-2000
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...Despite the time crunch, the overdub period allowed for the most spontaneity. Matthew would say, "this bridge needs something," and we would whip up vocal harmonies or horn lines on the spot. We plucked out banjo parts on three or four songs, though we kept only one sample. The beloved glockenspiel was a spur of the moment decision, which proved difficult, as the studio's version of the instrument was a few blocks short of a glock (the thing looked like the grin of an unlucky hockey player). This improvising was exciting and nerve-wracking. It was creative energy...
...Though we had already picked the tunes and laid down the tracks, the identity of the album was far from secure. The band had one lengthy discussion as to how "rock" this rock'n'roll album should sound. A pop album is mixed quite differently than a rock one, the former emphasizing vocals, and the latter boosting instrumentation. We clearly weren't interested in a too-smooth, pop sound, but had to admit that the album wouldn't exactly cut it down at Club Death, either...
...Indeed, color seems to have had its way with these artists; each piece is a miniature explosion against the gallery's stark white walls. The blues in the paintings are lovely, though underused and overshadowed by duller oranges and greens. Butterly's glazes would make a Crayola crayon envious, as well they should after a reported 15 firings...
...Shohet has chosen to evoke the mother's spirit without explicitly causing her to manifest herself. This decision fulfilled several functions for the production. It significantly cut down on the distinctly European (read: long) running time of the London production, turned the show into more of an ensemble piece (though Mary still tends to dominate) and helped to root the dramatic action in a reality which poltergeists tend to pretty readily disrupt. Though such decisions inevitably raise questions of the sanctity of authorship and the extent of directorial privilege (especially within the context of modern works), Shohet defends her choice...
...That conflict of disjoined memories of a given event, though a fascinating concept well worthy of theatrical exploration, comes off as a bit heavy handed and contrived in Stevenson's script. The play itself is rather formulaic; it oscillates between high melodrama and situation-comedy. The strength of this production rests in the performers, specifically the three leading ladies. The remarkably strong cast of five has been commonly discussed in the weeks since common casting; the resulting hype may have unreasonably raised the expectations of campus audiences...