![]() ![]() Quest Line I - First Fragment of DamnationĢ - "The Cipher of Damnation - Grom'tor's Charge"ģ* - "The Cipher of Damnation - The First Fragment Recovered" It is a prerequisite for attunement to The Eye in Tempest Keep and Mount Hyjal in Caverns of time.Ģ - "Enraged Spirits of Fire and Earth"Ħ* - "I Was A Lot Of Things." - Most annoying quest ever implemented in World of Warcraft.Ĩ - "The Cipher of Damnation - Truth and History"Īt this point, the quests diverge into three separate lines (which can be done in any order) for each of Oronok's three sons who will in turn help you obtain the three Fragments of Damnation. Bobby, however, just swirls among five hetero married couples, who each in their respective ways tries to get him to settle down, grow up and get married – as most people felt compelled to do 50-plus years ago.Comment by marskid2The Cipher of Damnation is an extremely long quest line in Shadowmoon Valley. Like Bobby, Hamlet waltzes through his play sabotaging his most intimate relationships, but at least the reasons for his behavior are evident, and he eventually does something about it. Even Hamlet, still attending university (Bobby opens the play celebrating his 35th birthday) is far younger, more depressed and agitated than Bobby. Robert, or Bobby as he’s frequently called, is a kind of theatrical cipher. Psychotherapy meets existential ennui as another institution (marriage) bites the dust. Why? He just doesn’t see the point of marriage and/or he’s unable to connect/commit. Imagine having a boy-meets girls scenario where the boy, Robert (Cris Cortez), starts and ends the musical single. When it debuted on Broadway in 1970, Stephen Sondheim’s musical Company (book by George Furth) rattled both social and theatrical sensibilities. Steven Leigh Morris – Stage Raw, Notes From Arden ![]() I don’t know that I’ll ever love this show, but I think this production, which I liked plenty, is as close as I’ll get (I’m more of a Company and Merrily We Roll Along gal). Some Sondheim shows are, I think, like Brussels sprouts you might not like or appreciate them when you’re younger, and they have to be impeccably prepared to be palatable when you’re older. ![]() I had never seen this Sondheim classic before, but I’m glad I got to see it now. Without a hint of scenery, instead of a breath-taking realization of the painting coming together, we just get a crowd of people on a platform. The platform can barely hold the entire company and so it just looks overcrowded at times, especially for the Act One finale. Boritt’s platform has a few steps up from stage level and it is disconcerting to watch people who are supposed to be in “a small suburban park on an island in the river” keep stepping up and down to enter or exit. The orchestra is on stage and probably takes up at least half of the playing space. There is not much to it-mostly a scrim that acts as a screen for Tal Yarden’s projections. The main problem is Beowulf Boritt’s scenic design. Ken Billington’s lighting design paints wonderful colors and Clint Ramos’s costumes are appropriate. The show basically still just feels like an upscale concert version of the musical. ![]() Read more…Īlthough the musical aspects of the production are top notch, there are problems with the staging by Lapine. Standouts in the great ensemble include Emily Tyra as Yvonne, the artist’s wife secretly jealous of Dot, and Liz Larsen as the Old Lady, whose tart delivery of her peevish character’s lines are delightful. She sets the standard for singing high with the titular first number, and impresses throughout, especially in her duet with Phillips, “We Do Not Belong Together.” Phillips, unfortunately, while a good vocalist, seems mainly to be trying to copy Mandy Patinkin’s original performance in the role, and as a result doesn’t bring as much to the character as he might. As part of its “Sondheim Celebration” this year, the Pasadena Playhouse has a new production of Sunday, but although it is professionally done and largely enjoyable, a couple of issues in direction and performance keep this show from being everything it could be…Īlabado is terrific as Dot, an appealing combination of petulance and passion, and charming as the contented Marie. ![]()
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