Oceans will Part by Hillsong Lyrics

If my heart has grown cold
There Your love will unfold
As You open my eyes to the work of Your hand
When I’m blind to my way
There Your Spirit will pray
As You open my eyes to the work of Your hand
As You open my eyes to the work of Your hand

Oceans will part nations come
At the whisper of Your call
Hope will rise glory shone
In my life Your will be done

Present suffering may pass
Lord Your mercy will last
As You open my eyes to the work of Your hand
And my heart will find praise
I’ll delight in Your way
As You open my eyes to the work of Your hand
As You open my eyes to the work of Your hand

Oceans will part nations come
At the whisper of your call
Hope will rise glory shone

Writing Reviews for Plays, Shows, Theatre, etc. Review Example:

I found myself having to write a review on a play for my English class. The last time I had to write a review for something I watched was in middle school. I looked for examples of what would be appropriate but also qualified to hand in as a high school student in senior AP English. Here are the reviews I found:


The Story: Family patriarch Max lives in perpetual struggle for supremacy with his two grown sons, Lenny and Joey and his brother Sam in a run-down part of London in the 1960’s. Their fragile but dysfunctional apple cart is upset by the arrival of Max’s eldest son, Teddy, and his wife Ruth, home after living in America for six years.

 “Pinteresque” is a phrase used to describe typical features of Harold Pinter’s plays; dramatic pauses, black comedy, an absurd story, repeated phrases that seem to mean more than they appear. A Pinter play is as much about what is not said as is spoken.

A Pinter play is not light fare; Max and his sons are not The Waltons, this is not your feel-good kind of story. Unless your own life looks better by comparison, you are not apt to exit this play feeling very good about the human condition.  Even The Grapes of Wrath – depressing as it is – leaves you with the life-affirming knowledge that the characters will soldier on, in pursuit of something better. With The Homecoming, you just hope you never run across people like these characters and that they never procreate.

This story is for those who like examining people’s unspoken motivations. It is a marvelous play to study; to delve into, pick apart its meanings, dissect characters, to examine themes. It is not a play one enjoys watching.

Not that the direction is not crisp or the acting sharp. Jennifer Tarver has a knack with the darkly humorous, there is no doubt about that. Aaron Krohn makes Lenny into a sociopath – menacing one moment, charming the next; Cara Ricketts is an enigmatic, shrewd Ruth; Stephen Ouimette’s Sam is a gentleman out of place among predators, both haunted by and reveling in secrets. As portrayed by Mike Shara, Teddy is strangely apart but still very much one of Max’s son’s, and Ian Lake turns Joey into an animalistic man-boy.  As their father Max, Brian Dennehy is at his best when quietly bullying, switching gears from intimidating to nostalgic as fast as Lenny changes from charming to snaky.  

But as good as the direction and performers are, it is not a play one can enjoy watching. The characters are cruel or at best aloof. The comedy is of the uncomfortable kind, the laughs generated by pitiless insults and emotional abuse, rather than any genuine mirth. It is a joyless story, the characters remorseless, the action callous. 

Watch The Homecoming forearmed with knowledge of the play for best results; Robert Cushman provides a fine analysis of the play’s themes in his review. The Homecoming continues until October 30 in repertory at the Avon Theatre. 

reviewsbyrobyn.blogspot.com

Sunday, 14 August, 2011 reviews.robyn.blogspot.com

Members of the Misanthrope cast. Photo by Cylla Von Tiedmann

The Misanthrope

By Moliere; translation by Richard Wilbur

Directed by David Grindley

Featuring Ben Carlson, Sara Topham, Martha Farell, Juan Chioran, Kelli Fox

The Story: Alceste is fed up with the two-faced nature of everyone at court, and is resolved to leave mankind behind to live like a hermit where he is free to speak the unvarnished truth. Unfortunately for him, he happens to be in love with one of the falsest creatures on earth, the charming coquette Célimène. When Alceste’s brutal honesty lands him in trouble with the law, and Célimène’s behaviour gets her censured in public, these two opposites may have a chance to attract – but can either of them bend enough to accept the others’ faults?

Director David Grindley was last at Stratford to direct the punk-rock-n-roll Midsummer Night’s Dream of 2009. In that production he gave the play a fresh, almost wild look; in directing Moliere’s The Misanthrope in 2011 however, he stepped back and set it in the Rococco period, roughly 100 years after the Baroque play was penned. This means that this very talky play has little action, but a lot of style.

The set, designed by John Lee Beatty, is a veritable chocolate box of gilding, drapery and light. And the costumes! Robin Fraser Payne’s designs must have take the wardrobe department a year’s worth of work to stitch, and in particular the dress worn by Sara Topham is a frothy confection of pink ruffles, bows and flounces, that could have been lifted straight from The Swing, a 1767 painting by Jean-Honore Fragonard. (Not that the other women’s dresses and men’s multi-layered suits are anything to sneeze at either.)

The acting is anything but frothy, even thought the tone remains light. As Alceste, the Misanthrope of the title, Ben Carlson is as masterful with Moliere as he is with Shakespeare, turning translator Richard Wilbur’s rhyming couplets – which could sound like Dr. Seuss in many actors’ mouths – into everyday conversation. He takes Alceste from rage to heartbreak without ever missing a beat, and one does feel the truth and conviction of the character at every turn.

Sara Topham as Celemine, Ben Carlson as Alceste.
Photo: Cylla Von Tiedmann

Alceste’s love interest, Célimène, is played with both fire and wide-eyed – but false - sweetness by Sara Topham. She shows Célimène to be immature with her petulant rages, but with a slowly dawning realization that she may have gone too far with her behaviour. She also gives as good as she gets, taking on both her rival Arsinoé and her lover Alceste and often getting the better of them. Ms. Topham and Mr. Carlson share one fantastically stormy scene which is riveting in its passion, humour and sweetness.

Kelli Fox as Arsinoe.
Photo: Cylla Von Tiedmann

Alas, Alceste’s ‘radical honesty’ and Célimène’s gossipy slander is no more popular in 1666 as it is in 2011. When the two lovers finally part, the audience witnesses two hearts breaking.  

The other actors are equally strong in their performances; Kelli Fox makes Arsinoé a pleasure to dislike, as does Steve Ross and Trent Pardy in their roles as the simpering courtiers Clitandre and Acaste – Mr. Pardy’s Acaste is particularly glittering and mean. Not to be outdone, Peter Hutt takes Oronte’s foppishness down a notch and replaces it with a shade of chilly malevolence.   Robert King, Brian Tree and Brigit Wilson are wasted in their small roles, although Mr. Tree makes the most of the inarticulate Dubois .

Martha Farrell as Eliante.
Photo: Cylla Von Tiedmann

As for the true lovers in the play, as Philinte Juan Chioran is at his best when imitating a raging Alceste and exchanging knowing looks with Eliante; played by Martha Farrell, Eliante becomes not just the steady voice of reason, but also a lively woman entirely capable of throwing palpable sparks at Alceste (it is not her fault that it is Philinte who catches fire for her).

All in all, this is a classily acted and designed production of a classic play that is a pleasure to hear and see. It continues at the Festival Theatre until October 29 in repertory.

A Leader Engages the Lost...

A Leader Engages the Lost...
I’m pretty much a type-A personality. I am the photo editor of The Harvard Crimson,
a member of the Freshman Advisory Board, and helped launch DREAM, a studentrun
weekly mentoring program with children from a local housing complex. Although
I enjoy being part of many activities, it’s hard to let go and let God take the lead.
Through Harvard College Faith and Action (HCFA) Bible Courses, the mentoring of
the ministry staff, and discussions with fellow students, I’ve learned how to prayerfully
discern how to invest my time. A recent leadership opportunity was the summer
reading program sponsored by HCFA, which enabled Christian and atheist students to
dialogue about two books, Atheist Delusions and The God Delusion. Through this
engagement, HCFA members were able to dispel commonly held stereotypes about
Christianity and share the most important truth there is, the Gospel, to a largely
unbelieving, skeptical audience. This project reminded me of how important it is for
Christian students to take a leadership role on campus.
— Emily Lowe, Harvard '14

And I am convinced that nothing can ever separate us from God’s love. Neither death nor life, neither angels nor demons, neither our fears for today nor our worries about tomorrow—not even the powers of hell can separate us from God’s love. No power in the sky above or in the earth below—indeed, nothing in all creation will ever be able to separate us from the love of God that is revealed in Christ Jesus our Lord. –Romans 8:38-39 NLT

Titus 2:11-14For the grace of God that brings salvation has appeared to all men. It teaches us to say "No" to ungodliness and worldly passions, and to live self-controlled, upright and godly lives in this present age, while we wait for the blessed hope - the glorious appearing of our great God and Savior, Jesus Christ, who gave himself for us to redeem us from all wickedness and to purify for himself a people that are his very own, eager to do what is good.