It's remarkable how Bournonville keeps the dancers looking unaffectedly themselves, whereas in other repertory elements of constraint and artifice creep in.
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A scene in which Peep, covered with tattoos (several on his face), meets fans is surprising — he's soft-spoken and unaffectedly friendly.
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Ellar Coltrane, who was so unaffectedly appealing as he grew up onscreen in Richard Linklater's "Boyhood," can't find any footing in the role of Mae's Mr. Integrity ex-boyfriend.
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The dances, billed as "Grace and Mercy" (July 5-7 at the Fisher Center, in Annandale-on-Hudson, N.Y.), are pure Brown: otherworldly, charged, urgent in their undulating sweep and unaffectedly fervent.
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" In Variety, Joe Leydon calls it "the sort of movie a lot of us need right now," saying it's "too playfully spiky and unaffectedly down-to-earth to come across as bland pablum.
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And there's no one more momentous, albeit unaffectedly so, in her playwriting finesse than Caryl Churchill, age 81, whose quartet of new plays finished an acclaimed, too-brief run on the Court main stage on Oct. 12.
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It bears mentioning how unaffectedly nice people are on this island — from incidental children, to park rangers, to our Airbnb host who for two days lets me brazenly refer to him as Steve, only to let slip, in parting, that his actual name is Sean.
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The critic Clive James said of Waugh: "Nobody ever wrote a more unaffectedly elegant English ... its hundreds of years of steady development culminate in him".James, p. 799 As his talent developed and matured, he maintained what literary critic Andrew Michael Roberts called "an exquisite sense of the ludicrous, and a fine aptitude for exposing false attitudes".Roberts, pp.
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Robert Christgau reviewed the album in his Substack-published "Consumer Guide" column in July 2020. While suggesting that the "recovery songs" toward the album's end recount life experiences not relatable for the average listener, he applauded Crutchfield's performance through the opening series of "love/relationship/self-knowledge songs", with "her guitar parts echoing readymades so approximately and unaffectedly they sound fresh all over again, her soft voice so casual and personable and smart".
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His bariton-martin negotiated Pelléas's tricky tessitura without any signs of strain. As Golaud, José van Dam gave a "distinguished" performance, equally convincing in the Prince's inability to understand Mélisande, his chilling passive aggression and his paroxysms of murderous fury. Christine Barbaux was an "effective and unaffectedly childlike" en travesti Yniold, and there was no cause for complaint either about Nadine Denize's Geneviève. The only soloist who was significantly disappointing was Ruggero Raimondi.
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Cicero (106-43 BC) described the mountain area of inner Sardinia as "a land of barbarians", with these inhabitants also known by the manifestly pejorative term latrones mastrucati ("thieves with a rough garment in wool"). The region, still known as "Barbagia" (in Sardinian Barbàgia or Barbàza), preserves this old "barbarian" designation in its name – but it no longer consciously retains "barbarian" associations: the inhabitants of the area themselves use the name naturally and unaffectedly.
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Transplants from other Porter shows were eschewed, and "Buddie beware" and "What a joy to be young", sometimes victims of the blue pencil, were included. His soloists had both strengths and weaknesses. The best of them were the "splendid" Cris Groenendaal as Billy and Frederica von Stade as a "gorgeously and unaffectedly" sung Hope. Their duet, "All through the night", and her "What a joy to be young" were without question the best two tracks on the album.
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Biographer John McCabe also praised Cagney's portrayal: :There are few actors who can make nonvocal thought meaningful and interesting. Cagney does so by the great actor's technique of actually thinking the necessary thoughts and letting them register naturally and unaffectedly on his features, opening himself up to these thoughts and these alone. Toward the end of The Gallant Hours, when he is increasingly alone in his command center, his acting becomes almost pure thought.Cagney by James McCabe, p. 319.
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"Noel Coward Double Bill", The Guardian, 26 April 1966, p. 7 J. C. Trewin in The Illustrated London News commented on the "grave sincerity" of the writing, and found the piece "unaffectedly moving".Trewin, J. C. "Theatre", The Illustrated London News, 7 May 1966, p. 38 The Times called the two plays of the double bill "vigorous restatements of Mr Coward's values – loyalty, emotional honesty and stoicism in the face of the inevitable", but thought they were better addressed in Come into the Garden, Maud than in Shadows of the Evening, in which "strongly felt lines" were outweighed by "homilies".
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Johnston, known to his friends as Dave, was commemorated by both his fellow scientists and by the government. Known for his diligent and particular nature, he was called "an exemplary scientist" by a USGS dedication paper, which also described him as "unaffectedly genuine, with an infectious curiosity and enthusiasm". He was quick to "dissipate cynicism" and believed that "careful evaluation and interpretation" was the best approach to his work. An obituary notice for Johnston stated that at the time of his death he had been "among the leading young volcanologists in the world" and that his "enthusiasm and warmth" would be "missed at least as much as his scientific strength".
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The film was a great success. In its televised premiere on New Year's Day 1975, it reached a third of the population of Sweden, and in theatrical release it created "pandemonium at box offices around the world" (Pauline Kael) and delighted many critics.It currently has a 100% approval rating on the compilation of reviews offered at the Rotten Tomatoes web site; see In her review in The New Yorker, Kael wrote: > Ingmar Bergman's film version of The Magic Flute is a blissful present, a > model of how opera can be filmed. Bergman must have reached a new, serene > assurance to have tackled this sensuous, luxuriant opera that has bewildered > so many stage directors, and to have brought it off so unaffectedly.
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Early reviews were mixed but generally positive; The Guardian concluded that the Royal Ballet had "made a brave musicianly and tasteful attempt" while questioning whether "the stage can really be its home – that remains unproven"; dance and dancers described it as "a singular and signal triumph"; Mason's performance was judged "brilliantly done", "one of British ballet's most memorable performances". In The Times John Percival commented that ever since Nijinsky's original attempt in 1913 The Rite had been waiting for a choreographer who could make it work on stage, and MacMillan's was the most successful version to date: "Mr MacMillan's invention can never have been more musical or assured. Time and time again Stravinsky's music, unaffectedly conducted by Mr Colin Davis, meets its match, as the choreography, with its blend of primitivism and modern jive, piles climax on climax."Percival John.
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