Word: though
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Dates: during 2000-2000
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...Well. Of significant note are Chaffin, Gravois and Jody Flader '02, who plays Matthew's lost love, Sarah. These three, more so than the other capable cast members, keep the show flowing and allow the audience to follow plot and character development in a world with too much history. Though IBOC's text lacks polish, the sophisticated conception driving the story and the dexterity with which Ragozzino addresses the material shows promise...
...Though it is unlikely that the larger questions of identity and multiple levels of time and reality would escape anyone in the audience, In Between O'Clock, at the very least, offers us yet another good reason to stay away from Yale...
...character misreading so severe that they must be intentional; while an interesting concept, it is unfortunate that Shakespeare's play offers virtually no support for the interpretations presented on stage. The most blatant 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...
...three performances: Olivia (Tegan Shohet '01), Orsino (Tim Jezek '01) and, of course, Viola (Lisa Faiman '03). Even of these, only Faiman was completely at ease within the alternate world of Illyria. Shohet makes us believe that she could be a wonderful Olivia-in a different production-and Jezek, though truly engaging in his scenes with Faiman, ran a little to the whiny side of the Dukedom. Uche Amaechi, playing Olivia's kinsman, Sir Toby, possesses an amazing voice and stage presence, yet seemed wrong for the role of the scheming drunkard. Little can be done with Sir Andrew (Christian...
...audience to share off stage the comfort and warmth that its characters find on stage. But from a larger perspective, the decision to make the audience as comfortable as possible was a disturbing one. Essentially, the audience of Picasso at the Lapin Agile was made to feel as though they were watching a play in the comfort of their own living room. For anyone familiar with the history of English-language theater, such a sensation does not carry good associations. It is a troubling throwback, in a way, to the days of the drawing room comedy...