Found this search engine:
http://alltheweb.com/
Works the same as Google and sometimes finds things Google doesn't. And vice versa too.
Pretty good search engine
Moderator: Adminlizzieborden
-
Harry
- Posts: 4061
- Joined: Thu Dec 04, 2003 4:28 pm
- Real Name: harry
- Location: South Carolina
-
Kat
- Posts: 14784
- Joined: Sun Dec 28, 2003 11:59 pm
- Real Name:
- Location: Central Florida
There's some new stuff here- thanks Harry!
"STAGE REVIEW
Lyrics dull edge of 'Lizzie Borden'
By James Parker, Globe Correspondent | May 14, 2004
A musical about Lizzie Borden is a mouth-watering prospect. The folklorically overheated story about the Fall River woman accused of murdering her stepmother and father would seem to demand a vivid, excessive treatment. One imagines a shocking, percussive finale, a climax quaking with strobe lights and power chords as the fatal 40 whacks are delivered.
But Christopher McGovern's 'Lizzie Borden: The Musical', making its Massachusetts debut, is disappointingly modest and well-mannered. Before a Mother's Day crowd at the Stoneham Theatre, the cast members all came bustling onstage with that special opening-number energy -- 'Such a glorious day!/ Bright and clear and fine!/And eighty-four degrees!' -- but their lusty performance only emphasized the conventional nature of the material. And when Jayne Paterson, playing Lizzie, took a heartfelt solo for 'The House on the Hill' ('Dishes full of strawberries and cream/
Featherbeds like some girl's only dream'), all hopes of Grand Guignol were dashed. No one could accuse writer/composer McGovern of not taking the shortest distance between two points. And simplicity is one of the charms of musical theater, in which characters declare themselves forthrightly and in strict rhyme. But when McGovern and collaborator Amy Powers produce a couplet like 'Danger could be anywhere/Right out here, or in there,' they err on the side of simple-mindedness.
Lazy lyrics, combined with McGovern's sturdy but unmemorable melodies, smother the genuine nuances of character achieved by his script. The aberrant psychology of Lizzie herself -- the snob and primly moral church worker who also enjoyed a bit of light shoplifting -- is well caught, both in her arguments with her stepmother and in the severe, anxious planes of Paterson's face, imprisoned beneath its hats and hairdos. Nor is she presented without context: Behind Lizzie's personal turmoil we hear the simmering of women's suffrage.
The production is elegant and professional, with one exception. Lizzie kept pet pigeons; McGovern, taking what he candidly describes in the program as 'enormous dramatic license,' has the merciless Mr. Borden (Dale Place) assassinate these pigeons with an ax -- but not before Lizzie, accompanied by her inner child (represented by talented seventh-grader Andrea C. Ross) has serenaded them with a number called 'Fly Away' ('Don't stop dreaming, spread your wings/Close your eyes and dream of better things'). The song is not the problem. The pigeons are crude and lifeless, with ragged tailfeathers. Their effect, amid the sentimental harmonies, can only be described as bathetic.
The cast members all performed full-bloodedly, the costumes and choreography were lovely, and who knows? 'Lizzie Borden: The Musical' might one day have a cultural half-life in school productions across the nation. But unlike Lizzie, it is not the stuff of legend.
Lizzie Borden: The Musical
Musical in two acts by Christopher McGovern, with lyrics by McGovern and Amy Powers.
Directed and choreographed by: Bill Castellino.
Presented by the Stoneham Theatre.
Through May 30. 781-279-2200
© Copyright 2004 Globe Newspaper Company."
http://www.boston.com/news/globe/living ... ie_borden/
"STAGE REVIEW
Lyrics dull edge of 'Lizzie Borden'
By James Parker, Globe Correspondent | May 14, 2004
A musical about Lizzie Borden is a mouth-watering prospect. The folklorically overheated story about the Fall River woman accused of murdering her stepmother and father would seem to demand a vivid, excessive treatment. One imagines a shocking, percussive finale, a climax quaking with strobe lights and power chords as the fatal 40 whacks are delivered.
But Christopher McGovern's 'Lizzie Borden: The Musical', making its Massachusetts debut, is disappointingly modest and well-mannered. Before a Mother's Day crowd at the Stoneham Theatre, the cast members all came bustling onstage with that special opening-number energy -- 'Such a glorious day!/ Bright and clear and fine!/And eighty-four degrees!' -- but their lusty performance only emphasized the conventional nature of the material. And when Jayne Paterson, playing Lizzie, took a heartfelt solo for 'The House on the Hill' ('Dishes full of strawberries and cream/
Featherbeds like some girl's only dream'), all hopes of Grand Guignol were dashed. No one could accuse writer/composer McGovern of not taking the shortest distance between two points. And simplicity is one of the charms of musical theater, in which characters declare themselves forthrightly and in strict rhyme. But when McGovern and collaborator Amy Powers produce a couplet like 'Danger could be anywhere/Right out here, or in there,' they err on the side of simple-mindedness.
Lazy lyrics, combined with McGovern's sturdy but unmemorable melodies, smother the genuine nuances of character achieved by his script. The aberrant psychology of Lizzie herself -- the snob and primly moral church worker who also enjoyed a bit of light shoplifting -- is well caught, both in her arguments with her stepmother and in the severe, anxious planes of Paterson's face, imprisoned beneath its hats and hairdos. Nor is she presented without context: Behind Lizzie's personal turmoil we hear the simmering of women's suffrage.
The production is elegant and professional, with one exception. Lizzie kept pet pigeons; McGovern, taking what he candidly describes in the program as 'enormous dramatic license,' has the merciless Mr. Borden (Dale Place) assassinate these pigeons with an ax -- but not before Lizzie, accompanied by her inner child (represented by talented seventh-grader Andrea C. Ross) has serenaded them with a number called 'Fly Away' ('Don't stop dreaming, spread your wings/Close your eyes and dream of better things'). The song is not the problem. The pigeons are crude and lifeless, with ragged tailfeathers. Their effect, amid the sentimental harmonies, can only be described as bathetic.
The cast members all performed full-bloodedly, the costumes and choreography were lovely, and who knows? 'Lizzie Borden: The Musical' might one day have a cultural half-life in school productions across the nation. But unlike Lizzie, it is not the stuff of legend.
Lizzie Borden: The Musical
Musical in two acts by Christopher McGovern, with lyrics by McGovern and Amy Powers.
Directed and choreographed by: Bill Castellino.
Presented by the Stoneham Theatre.
Through May 30. 781-279-2200
© Copyright 2004 Globe Newspaper Company."
http://www.boston.com/news/globe/living ... ie_borden/
-
Kat
- Posts: 14784
- Joined: Sun Dec 28, 2003 11:59 pm
- Real Name:
- Location: Central Florida
Harry's new Search Engine:
I searched in pictures, Rick Geary.
I didn't know he had that many comic classics, some in other languages!
http://alltheweb.com/search?cat=img&cs= ... k+Geary%22
Here are 2 of Geary's pictures
clickonpic
I searched in pictures, Rick Geary.
I didn't know he had that many comic classics, some in other languages!
http://alltheweb.com/search?cat=img&cs= ... k+Geary%22
Here are 2 of Geary's pictures
clickonpic