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Kander, Ebb and director-choreographer Bob Fosse devised the show as a tribute to the golden age of vaudeville – essentially it's a sequence of sharply observed variety turns for which the Coliseum's music-hall proportions are perfect.
It's a sequence of astonishing power.
Sometimes it's a sequence of words I get wrong.
Titled "Gestures/Reenactments" (1985), it's a sequence of six large black-and-white photographs of a dark-skinned man in a white T-shirt and pants.
It's a sequence of 11 chords that the whole ensemble breathes through (literally, since what determines how long each individual chord is held is the length of time the the bass clarinet player can sustain the repetitions of the bass note).
But this is also a piece in which Koechlin consecrates his deep passion for the stars of the screen; it's a sequence of surreally heightened portraits in sound of Douglas Fairbanks, Marlene Dietrich, Greta Garbo (a pagan choral for ondes martenot) and, in the final movement, Charlie Chaplin.
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All told, it was a sequence of events that could make a man question his luck.
As a national history, it is a sequence of catastrophes.
It is a sequence of episodes that are supposed to reveal the character of the man in the Oval Office.
For many, it is a sequence of success and a progression of performance, plus a little light relief (see Balotelli, Mario).
"It was a sequence of pitches that he had that was different than what I would have had," Contreras said.
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CEO of Professional Science Editing for Scientists @ prosciediting.com