At the end of his talk Roche spoke over the audience to Bozon, addressing him ingratiatingly as "Mon Colonel".
|
|
But Mr. Oluo, who wrote the show with his wife, the columnist Lindy West of The Guardian, has an ingratiatingly self-deprecating manner that disarms such objections.
|
|
That's Mr. Pasquale, the Broadway love god who wooed Kelli O'Hara in "The Bridges of Madison County," who here plies his voice of gold and matinee-idol swagger to ingratiatingly eccentric comic effect.
|
|
It's all much too much (those shoes, that hair!) and together they announce that you're in for an ingratiatingly cutesy slog about a lovable kook — except that the movie and Doris aren't easy to love, which is partly why they work.
|
|
Reports have described him as shy, but also incredibly chatty and pleasant to be around, with an "ingratiatingly self-deprecating" sense of humor; Justice Ruth Bader Ginsburg, one of the court's most reliable liberals, has described him as the "most congenial" of her colleagues.
|
|
Its most catalytic character is Musidorus (an ingratiatingly incompetent Andrew Durand), a lowly shepherd whose love for the Princess Philoclea (Alexandra Socha) leads him to don the disguise of an Amazon (and if you think I mean the e-tailer, you are really not the target audience).
|
|
Doris's wardrobe, mutterings and facial contortions scream too much, Manohla Dargis wrote in The Times, "and together they announce that you're in for an ingratiatingly cutesy slog about a lovable kook — except that the movie and Doris aren't easy to love, which is partly why they work."
|
|
Just as the elder Mozart aggressively promoted the talents of his son Wolfgang Amadeus, these costumed hawkers are on a similar promotional mission: Their assignment is to drum up customers for the steady output of ingratiatingly light, short-attention-span classical performances programmed around town especially for tourists drawn to one of the most famous cities in Western music history.
|
|
Allmusic commented that the album retains the same style and strong instrumental interplay from the band's glory years, but lacks the "ingratiatingly catchy melodies" of that era, making it of strong interest to the band's fans but much less to casual listeners.
|
|
C5 > ...[Ritter's] fame rests largely on his sensual paintings of the nude > figure. Second in popularity are Ritter's clowns. From any aesthetic > viewpoint, both the pink nudes and the clowns become ingratiatingly sickly, > redundant and commercially dull although technically capable enough. Almost > unknown are the artist's portrait pieces and a series of both large canvases > and small abstract drawings in which the surreal element is dominant.
|
|
They are introduced to Richie and laugh ingratiatingly at his abusive jokes about Chris. They try and fail to make casual contact with Tony at the Bada Bing. They are humiliated when Furio collects Tony's cut from the safe-cracking operations and takes an additional $1,000 for himself. Waiting for a meeting with Chris, who does not show up, they feel they are getting nowhere and must do something drastic.
|
|
Here, the Copland-like simplicity of the opening gestures forms a platform for successive processes of variation, development and contrast that eventually return to their starting point." Joshua Kosman of the San Francisco Chronicle called it "a vividly evocative musical-visual creation" and wrote, "Thursday's performance by the San Francisco Symphony [...] came as yet another demonstration of the sheer breadth and grandeur of Adès' creative gift. In Seven Days is both dramatic and reflective, by turns ingratiatingly accessible and dauntingly abstruse. It seems to want to embrace the whole world — a fitting goal for the creation story — and yet it remains winningly approachable.
|
|
Alfonso accepts this project out of self-interest, having no respect for Anneta's literary abilities, but ingratiatingly allows her to control the project so that they can be together, in the hope of winning her hand. He soon convinces himself that he loves her, but realises that at the same time he despises her. Eventually he seduces Annetta but then, on the verge of marrying her he flees on the advice of Francesca, her father's mistress, who warns him that the marriage would be a failure. She predicts that while he is away Annetta will forget him and marry a rival.
|
|
Rich claims that women may not have a preference toward heterosexuality, but may find it imposed, managed, organized, propagandized, and maintained by society. In the workplace, for example, lesbian women are often still sexualized and forced to play the role of the 'heterosexual female'. Rich states, "Women endure sexual harassment to keep their jobs and learn to behave in a complaisant and ingratiatingly heterosexual manner... the woman who too decisively resists sexual overtures in the workplace is accused of being 'dried-up and sexless, or lesbian." She holds that women receive messages every day that promote heteronormativity in the form of myths and norms perpetuated by society.
|
|
They remained there until 1904. Elisabeth de Gramont, Duchess of Clermont-Tonnerre, who chronicled various aspects of Parisian life in her four-volume memoirs, wrote about him: "The Infante was certainly the most divertingly cynical little creature who ever amused Paris. Slim, pallid, round- and restless-eyed like a bird, sullen looking, with lovely hands like those of a Coëllo Infanta, he promenaded his lubricous little royal person from drawing-room to awful bouges and then, ingratiatingly and affectionately, he would sink like an abandoned child at the feet of some 'Good Dame' and lament his lot."Elisabeth de Gramont, Years of Plenty, translated by Florence and Victor Llona, New York: Jonathan Cape and Harrison Smith, 1931, p. 114.
|
|
Tutu divided critics and listeners when it was released in 1986. Like Davis's pivotal 1970 album Bitches Brew, Paul Tingen wrote, Tutu became one of the "defining jazz albums" of its decade and attracted a young, new audience while alienating many other jazz listeners because of its heavy reliance on the drum machine and synthesizers. A number of critics felt the music was ingratiatingly elegant, designed for casual listening, and largely a work by Miller. In The New York Times that year, Robert Palmer said it "already sounds curiously dated" and unambitious, featuring synthesizers that "have glutinous textures so overly familiar from the mainstream of late-1970s pop jazz" and electronic rhythms lacking the innovation of contemporary hip hop records.
|
|
Andre Wright wrote for The Stranger, "[It] starts strong, with an ingratiatingly anarchic vibe, but quickly devolves into a dust-dry, hectoring socialist lecture: a cinematic version of Kenner's My First Revolution playset." Jonathan Romney of The Independent said that Weingartner "presents his indictment of the System in crudely stacked terms that make The Edukators very much a teen movie rather than a plausible political statement." In The Times, Wendy Ide wrote: "What could have been an effective piece of drama, a dialogue to cause both sides to question the very foundations of their belief systems, is just a two-hour rant from a wispy bearded idealist whose idea of brotherhood is to sleep with his best friend's girlfriend." The film has been considered to be part of a "New German Wave" in the cinema.
|
|
Robert Coleman of the New York Daily Mirror wrote that the producer "made a 10-strike in landing Robert Preston for the title role", stating that Preston "paces the piece dynamically, acts ingratiatingly, sings as if he'd been doing it all his life, and offers steps that would score on the cards of dance judges". Frank Aston of the New York World-Telegram and Sun declared "It deserves to run at least a decade", especially praising Barbara Cook's performance as Marian: "If all our stack- tenders looked, sang, danced, and acted like Miss Barbara, this nation's book learning would be overwhelming". John Chapman of the Daily News pronounced The Music Man "one of the few great musical comedies of the last 26 years", stating that Of Thee I Sing (1931) "set a standard for fun and invention which has seldom been reached. Its equal arrived in 1950 – Guys and Dolls – and I would say that The Music Man ranks with these two".
|
|
Yet David Shire, the composer, and Richard Maltby Jr., the lyricist, rush to the book's rescue by addressing the show's concerns with both humor and intelligence... To keep up with the varied ages of the characters, Mr. Shire writes with sophistication over a range that embraces rock, jazz and the best of Broadway schmaltz... Mr. Maltby's lyrics are not just smart and funny, but often ingenious." He concluded, "If the virtues of Baby can't override all its hitches, so be it. In achievement, this show is a throwback to the early 1960s - the last era when Broadway regularly produced some casual-spirited musicals that were not instantly categorizable as blockbusters or fiascos. Those musicals - like, say, Do Re Mi or 110 in the Shade - weren't built for the ages but could brighten a theater season or two: They were ingratiatingly professional, had both lulls and peaks, and inspired you to run to the record store as soon as the original cast album came out.
|
|