By Michael E. Miller
By Ryan Yousefi
By Kyle Munzenrieder
By Sabrina Rodriguez
By Michael E. Miller
By Carlos Suarez De Jesus
By Luther Campbell
By Kyle Munzenrieder
Jonesing for a fix: I was absolutely in awe of the article on Tom Jones by Greg Baker, "The Devil in Mr. Jones" (April 12). Some of it is correct, but to say that he is "Engelbert Humperdinck with talent" is sickening and totally wrong.
I have seen both performers at different venues and will never go see Tom again. After seeing Engelbert I know what real talent is.
Seeing Tom was a total waste of time and money. Two of my friends who went with me agreed. On the other hand I go see Engelbert as often as I can. He is handsome, sexy, funny, and has so much talent in so many ways. He seems to be able to surprise you all the time with new things in his shows. His courtesy and acknowledgement of his fans is amazing as is he. He has a one-of-a-kind voice that improves as he ages. There is no comparison between the two men.
Thank you for letting me express my feelings.
It's most unusual: Regarding the quote in Greg Baker's, "The Devil in Mr. Jones" (April 12): "He was Engelbert Humperdinck with talent." The author of this article has obviously never met Engelbert Humperdinck, and has obviously never seen one of his shows. To use the quote about Tom Jones being "Engelbert Humperdinck with talent" is a disgrace, wrong, and totally unacceptable. Perhaps the right thing to do is have the author of the article issue a retraction and an apology at the same time.
Fredericton, New Brunswick
Milka's magnetic: Regarding Isaiah Thompson's article "Milkamania" (April 5): Where is the front-page picture of Milka in a devil tee? I wanted to print it and hang it up with Danica. Anyway in case you want another opinion, Citgo is a legal business in the U.S. so if they want to go to Indy, great. Nobody cares about another corporate sponsor. It's all about who wins. I think Danica can outdrive any of them and I don't even know who her sponsor is these days. I just want to see a female win Indy and as far as I'm concerned she already did. Rahal took it away from her so his other driver could win it. Hope this doesn't upset anyone but that is my opinion. Nice article and a lot better than anything I see in the Herald about auto racing.
Milka's toast: Let me start off, if I may, with just how insulted I am by Isaiah Thompson's article "Milkamania" (April 5). He is misinforming the readers about the facts. First of all she is the fifth woman to enter the Indy race, not the third. What about Lyn St. James, who raced in as many as fifteen races? Or how about Janet Guthrie, the pioneer of Indy? Please get your facts in order. I guarantee she will place no higher than eighteenth at Indy. She blows, and she is not that pretty. She has tits and brown hair and is very smart, big deal!
Don't be a hater: I've seen the EDGE Theatre production of Nijinsky's Last Dance and am baffled by the Miami New Times critic's vicious tone and irrational animosity toward the performer, Frank Rodriguez (Brandon K. Thorp, "Amateur Hour at the Asylum," April 5). I don't dispute a couple of critical points I did have to strain on occasion to understand some words (the echoing acoustics of the previous venue were also a factor), and the facial expressions of Nijinsky as a wide-eyed youth seemed a bit mugging at times. But overall I found Mr. Rodriguez's portrayals of the title role and various other characters male and female versatile, engaging, and easy to differentiate. I was particularly impressed by the contrast between his stern and brooding rendition of Sergei Diaghilev, Nijinsky's mentor, and his effervescent version of the dancer.
There is such a thing as an incisive and tough-minded critique that points out the particular flaws of a production in a fair, objective manner that pulls no punches, to guide the public in our attendance choices as well as contribute constructively to the improvement of the performers and company. Too often in various sections of this publication, however, a bilious blend of vitriol, sarcasm, exaggeration, self-absorption, condescension, envy, and even hatred is served up in the guise of supposedly hard-hitting commentary, as appears to have occurred in this instance. (By the way, admitting to misanthropy does not absolve it.) Some readers may be impressed by the sheer nerve of that. I'm not it reveals to me more about the reviewer than the reviewee, and bears the scent of some agenda that may have little to do with the matter at hand.
This show is a worthwhile evening at the theater. Counting on the company to take the legitimate critical notes under advisement in the meantime, and expecting better sound conditions in the production's new venue in the Miami Design District, I am planning to see this play again with a group of friends in mid-April. I expect they will all have a positive experience with it.