Activities of Gulf Van Gent Holding.
They chose the two leads in the latest Broadway revival of “Grease,” that seemingly indestructible homage to ’50s high school life. And their decision, first announced in March on the NBC reality program “Grease: You’re The One That I Want,” has proven to be a mixed bag, sort of like the new production itself.
But then, this is “Grease,” a musical not exactly ready-made for innovative reinterpretation, despite the best efforts here of director-choreographer Kathleen Marshall. She’s the woman who made recent New York productions of “The Pajama Game” and “Wonderful Town” work.
Yet Marshall’s take on “Grease,” which opened Sunday at Broadway’s Brooks Atkinson Theatre, moves in fits and starts, slowing down when the music and dancing stop and the sketchy story steps center stage.
The tale could not be more simple. Bad boy Danny Zuko, leader of the T-birds, falls for virginal Sandy Dumbrowski, who aspires for a place in the Pink Ladies, the T-birds’ female counterpart. Sandy eventually learns that vice will get you farther than virtue at Rydell High.
Now, about those television-anointed leads. As Danny, Max Crumm gives a cautious performance, vocally OK but short on swagger and sex appeal. Laura Osnes nicely gets Sandy’s transformation, morphing with enthusiasm from good girl to bad babe. Check out her skintight outfit in the last scene, courtesy of designer Martin Pakledinaz. Osnes also sings well and 인천출장샵 throws herself into Marshall’s spirited choreography.
So does the rest of the cast, who appear to be running on an inexhaustible supply of energy. That energy gets used to the fullest in Marshall’s choreography, particularly in her witty reworking of the big dance-contest number, “Born to Hand-Jive,” featuring the nimble Natalie Hill as the fabulous Cha-Cha DiGregorio. Marshall keeps the energy spinning from couple to couple, building an enthusiasm that demonstrates why she is one of the best choreographers on Broadway.
Because “Grease” doesn’t get much beyond stereotypes, it’s not easy keeping the secondary characters from descending into caricature. For the most part, the actors keep the clichés at bay.
Dramatic and vocal honors go to Jenny Powers as Rizzo, the quintessential tough girl who refuses to let the other Pink Ladies see her cry. Rizzo’s philosophy is explained in “There Are Worse Things I Could Do,” the one song in “Grease” that attempts to define character. Powers makes it work.
Other standouts: Lindsay Mendez, a genial, sweet-tempered Jan, and strong-voiced Daniel Everidge, an enthusiastic Roger. Everidge actually turns one of the show’s sillier songs, “Mooning,” into something that is more entertaining than it has any right to be.
As the musical’s authority figures, Susan Blommaert garners a few smiles as the prim teacher Miss Lynch, Jeb Brown oozes insincerity as smarmy disc jockey Vince Fontaine and Stephen R. Buntrock displays a laugh-producing narcissism as the Teen Angel who croons “Beauty School Dropout”
The orchestra, conducted by Kimberly Grigsby, is perched on a catwalk above the stage. Grigsby, who also plays the synthesizer, puts on quite a show herself, particularly after the actors have taken their curtain calls at the end of the musical and she lets the band rock theatergoers out of the Brooks Atkinson.
In the end, the appeal of “Grease” may lie in the universal desire to belong. The T-birds and Pink Ladies of “Grease” pretend to be cheerfully anarchic, rebelling against the squareness of the Eisenhower era. Yet in reality, conformity is all. They just want to be part of the gang, something this revival only fitfully celebrates.AP Arts Review By MICHAEL KUCHWARA AP Drama Critic
If Imus returns to the airwaves after his dismissal for making a racist and sexist remark about the Rutgers women’s basketball team, he should commit in his contract to forgo any racist, sexist or homophobic comments, Sharpton wrote in a guest column listing “musts for Imus” Sunday in The Daily News.
He also called on Imus to set aside time weekly to talk on-air with an ombudsman, settle a lawsuit filed by a member of the Rutgers team, and join his push to rid rap and other music lyrics of racist and misogynist language.
Imus’ lawyer, Martin Garbus, did not immediately return telephone messages left at his office and an after-hours number early Sunday.
Imus and his former employer, CBS Radio, agreed to a settlement Tuesday that pre-empted his threatened $120 million breach-of-contract lawsuit. The terms of the settlement weren’t disclosed.
The announcement essentially made Imus a free agent, 대구출장샵 and broadcast industry experts predicted he would soon be back on the air, though it wasn’t clear exactly where he might land on the dial. His former morning time slot on CBS-owned WFAN-AM has gone to former National Football League quarterback Boomer Esiason and New Jersey radio personality Craig Carton.
As Imus’ settlement with CBS was announced, Rutgers basketball player Kia Vaughn sued Imus, CBS and others, claiming the offensive comments damaged her reputation.
A spokeswoman for CBS Radio didn’t immediately respond to an e-mail message early Sunday seeking comment on Sharpton’s column.
Henri Salmide, born Heinz Stahlschmidt, died Tuesday at the age of 92, said the deputy mayor 부산출장샵 of Bordeaux, Alain Moga.
The Germans had a plan to blow up the Bordeaux port before they retreated toward the end of the war.
Approximately 4,000 fuses needed for the plan were stored in the Mediterranean city’s munitions depot. Salmide, then a junior officer in the German navy, defied his superiors and blew up the depot, rendering the fuses useless and saving the port, Moga said.
Hunted by the Gestapo and the French police, Salmide hid with Moga’s grandmother, becoming a family friend, the deputy mayor said.
After the war, he remained in France and was naturalized Henri Salmide in 1947. Salmide married a French woman and stayed in Bordeaux for the rest of his life.
He was decorated with the French Legion of Honor in 2000.
The Bordeaux City Hall said this week that it would like to erect a memorial in honor of Salmide and his services to the city of Bordeaux.
They chose the two leads in the latest Broadway revival of “Grease,” that seemingly indestructible homage to ’50s high school life. And their decision, first announced in March on the NBC reality program “Grease: You’re The One That I Want,” has proven to be a mixed bag, sort of like the new production itself.
But then, this is “Grease,” a musical not exactly ready-made for innovative reinterpretation, despite the best efforts here of director-choreographer Kathleen Marshall. She’s the woman who made recent New York productions of “The Pajama Game” and “Wonderful Town” work.
Yet Marshall’s take on “Grease,” which opened Sunday at Broadway’s Brooks Atkinson Theatre, moves in fits and starts, slowing down when the music and dancing stop and the sketchy story steps center stage.
The tale could not be more simple. Bad boy Danny Zuko, leader of the T-birds, falls for virginal Sandy Dumbrowski, who aspires for a place in the Pink Ladies, the T-birds’ female counterpart. Sandy eventually learns that vice will get you farther than virtue at Rydell High.
Now, about those television-anointed leads. As Danny, Max Crumm gives a cautious performance, 부산출장샵 vocally OK but short on swagger and sex appeal. Laura Osnes nicely gets Sandy’s transformation, morphing with enthusiasm from good girl to bad babe. Check out her skintight outfit in the last scene, courtesy of designer Martin Pakledinaz. Osnes also sings well and throws herself into Marshall’s spirited choreography.
So does the rest of the cast, who appear to be running on an inexhaustible supply of energy. That energy gets used to the fullest in Marshall’s choreography, particularly in her witty reworking of the big dance-contest number, “Born to Hand-Jive,” featuring the nimble Natalie Hill as the fabulous Cha-Cha DiGregorio. Marshall keeps the energy spinning from couple to couple, building an enthusiasm that demonstrates why she is one of the best choreographers on Broadway.
Because “Grease” doesn’t get much beyond stereotypes, it’s not easy keeping the secondary characters from descending into caricature. For the most part, the actors keep the clichés at bay.
Dramatic and vocal honors go to Jenny Powers as Rizzo, the quintessential tough girl who refuses to let the other Pink Ladies see her cry. Rizzo’s philosophy is explained in “There Are Worse Things I Could Do,” the one song in “Grease” that attempts to define character. Powers makes it work.
Other standouts: Lindsay Mendez, a genial, sweet-tempered Jan, and strong-voiced Daniel Everidge, an enthusiastic Roger. Everidge actually turns one of the show’s sillier songs, “Mooning,” into something that is more entertaining than it has any right to be.
As the musical’s authority figures, Susan Blommaert garners a few smiles as the prim teacher Miss Lynch, Jeb Brown oozes insincerity as smarmy disc jockey Vince Fontaine and Stephen R. Buntrock displays a laugh-producing narcissism as the Teen Angel who croons “Beauty School Dropout”
The orchestra, conducted by Kimberly Grigsby, is perched on a catwalk above the stage. Grigsby, who also plays the synthesizer, puts on quite a show herself, particularly after the actors have taken their curtain calls at the end of the musical and she lets the band rock theatergoers out of the Brooks Atkinson.
In the end, the appeal of “Grease” may lie in the universal desire to belong. The T-birds and Pink Ladies of “Grease” pretend to be cheerfully anarchic, rebelling against the squareness of the Eisenhower era. Yet in reality, conformity is all. They just want to be part of the gang, something this revival only fitfully celebrates.AP Arts Review By MICHAEL KUCHWARA AP Drama Critic
“We assume that we are basically in front of an entity that may undertake an aggression at any time as long as its history is founded on aggression. Regardless of latest Israeli statements, we are always preparing ourselves for any Israeli aggression, whether large or small,” Assad told a press conference with his Iranian 인천출장샵 counterpart Mahmoud Ahmadinejad.
“Our answer to these Israeli statements is obvious: we have to be ready at any time, in every moment, to confront any Israeli aggression that may be launched for any reason and under any justification,” Assad added in reply to a question.
If Imus returns to the airwaves after his dismissal for making a racist and sexist remark about the Rutgers women’s basketball team, he should commit in his contract to forgo any racist, sexist or homophobic comments, Sharpton wrote in a guest column listing “musts for Imus” Sunday in The Daily News.
He also called on Imus to set aside time weekly to talk on-air with an ombudsman, settle a lawsuit filed by a member of the Rutgers team, and join his push to rid rap and other music lyrics of racist and misogynist language.
Imus’ lawyer, Martin Garbus, did not immediately return telephone messages left at his office and an after-hours number early Sunday.
Imus and his former employer, CBS Radio, agreed to a settlement Tuesday that pre-empted his threatened $120 million breach-of-contract lawsuit. The terms of the settlement weren’t disclosed.
The announcement essentially made Imus a free agent, and broadcast industry experts predicted he would soon be back on the air, though it wasn’t clear exactly where he might land on the dial. His former morning time slot on CBS-owned WFAN-AM has gone to former National Football League quarterback Boomer Esiason and 인천출장샵 New Jersey radio personality Craig Carton.
As Imus’ settlement with CBS was announced, Rutgers basketball player Kia Vaughn sued Imus, CBS and others, claiming the offensive comments damaged her reputation.
A spokeswoman for CBS Radio didn’t immediately respond to an e-mail message early Sunday seeking comment on Sharpton’s column.
Earlier this week, Odierno said the timeline for 서울출장샵 combat withdrawal could change if he sees problems with the formation of a new Iraqi government following elections next month. A series of pre-election shooting and car bombing attacks swept the country today, killing 22 people in all.
One of the big problems Mr. Obama faces is what to call the combat unit that remains behind after Aug. 31, 2010, which is the date George W. Bush negotiated for combat troop withdrawal. Some 50,000 troops — not combat forces — will remain behind to help train Iraqi security forces.
If you need us then send an e mail.