Bonnie says that as a copy editor she often reads fluffed up marketing material full of big words that try to make the writer sound important or knowledgeable. She usually just changes them
to normal, unimpressive words that get the point across without much fuss. One of these words she changes often is “utilize,” as in the pretentious-sounding sentence “If you utilize this brand of printer, you will go far.” A sentence like that sounds fluffy and overly important, and it gives readers the impression that you’re trying too hard. Most of the time you can avoid the verb
“utilize”; “use” works just fine (7).
 
So if you’re in marketing or PR, you can just use “use”; it’s probably not a good idea to utilize “utilize.” In a similar vein, please avoid the word “utilization.” It does your sentence no
good.

Surprisingly, “utilize,” a 19th-century loanword from French (8), does have very specific and valid uses, mostly in the scientific world. The word “utilize” often appears “in contexts in which a strategy is put to practical advantage or a chemical or nutrient is being taken up and used effectively” (9). For example, according to the American Heritage Guide to Contemporary Usage and Style, you might hear “utilize” properly used in a sentence such as “If a diet contains too much phosphorus, calcium is not utilized efficiently” (9).
 
So if you're a science writer, you might find yourself using the word “utilize.” If you’re just a regular person writing a regular sentence, you should probably just stick with the word “use.”

'Night's Dream' gets jazzed

It’s high concept time at Cincinnati Shakespeare, where “A Midsummer Night’s  Dream” is set in 1940s America and a jazz-inspired magical forest.

 It’s a “Dream” with original music (set to the  text) and a swinging soundscape of period tunes, both created by  sound designer Doug Borntrager. He provides musical underpinning as story lines collide, including four young lovers who need to untangle who’s with who; a fairy king and queen at war; and a troupe of eager if inept “actors” caught in magical crossfire.

“I admit it. I love musicals,” says “Dream” director Jeremy Dubin. “Cynicism just sort of melts away in that moment of excited anticipation when those first chords strike up under the dialogue, when the characters slip the mundane bonds of ordinary language and soar into the wondrous world of song. It’s magical. And magic is exactly what is called for in ‘A Midsummer Night’s Dream.’”

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