Four of Wisconsin's five team members--Dave David (283) who finished with the overall top score, John
Pilotte (279), Don Trenkle (259) and Ken Bucchholz (252) finished with 250-plus totals, while Jim Rutledge added a 224.
But you do miss Jeremy Irons' thoughtful and almost poetic voiceover, Geoffrey Burgon's beautiful music score, John
Mortimer's sublime script and the quite perfect performances.
Morris' score, John
Adams' new Son of Chamber Symphony, declares Chung, is the toughest music she has ever danced to.
Stephen Schwartz crafted the score, John
Caird created an original story, and director Al Villanueva assembled a cast of 60 ranging in age from 3 to 18.
Camera (Deluxe color), Robert Brinkmann; editor, David Rennie; music, Tenacious D; score, John
King, Andrew Gross; production designer, Martin Whist; art director, Maria Baker; set decorator, Don Diers; costume designer, Dayna Pink; sound (SDDS/Dolby Digital/Stereo DTS), Pud Cusack; sound designer/supervising sound editor, Elmo Weber; co-supervising sound editor, David Bach; visual effects supervisor, David D.
On that score, John
Mullins' charge cannot be considered a certainty and, if you missed out on the 11-2, this morning's best offer of 15-8 from the Tote is probably no better than a fair reflection of her chance.
For his winning score, John
was presneted with a specially customized Colt Government Model .
Color); editor, Leech; songs, Todd Edwards; score, John
Mark Painter; music supervisor, John McCullough; overall 3-D and digital supervisor, Glenn Neufield; modeling/animation supervisor, Dennis Leech; sound designers (Dolby Digital/DTS/SDDS), Tom Myers, Mark Keefer; supervising sound editor, Myers; digital effects supervisors, Sebastian Carillo, Theodore Godwin; associate producers, Katie Hooten, Henry Kaufman, Paulette Millichap.
Though Carmina Burana (1959) was invigorated on opening night by a live choral rendition of Carl Orff's epic score, John
Butler's choreography stymied the dancers, forcing them into difficult, cramping postures - a dated mixture of ballet and Graham that obscured the music's emotional thrust.
Sets, Lez Brotherston; costumes, Andreane Neofitou; lighting, Peter Mumford; sound, Rick Clarke; orchestral score, John
Cameron; Indian dance, Piali Ray.
Sets and costumes, Stephen Brimson Lewis; lighting, Peter Mumford; historical consultant, Alison Weir; sound, John Leonard; original score, John