While the Harvard-Radcliffe Orchestra has undergone some major shifts in the past couple of years, most prominently with respect to its grading system, its members and director remain united in their commitment to success. Since 2009, HRO Director Federico Cortese has worked toward an ambitious goal: to create the best liberal arts orchestra in the country.
“Worship," by Years & Years, showcases the group's ability to stick to the tenets of their smooth electro-pop style while refining their sound.
On "Mr. Wonderful," Action Bronson balances honest, personal themes of internal struggle with his carefree attitude and incisive wordplay, resulting in a successful execution of an ambitious album.
The Crimson speaks to director Guila Clara Kessous about the inspiration behind Elie Wiesel's play "The Choice," which made its world premiere in Sanders Theatre on Sunday.
Despite the novelty of Lelaina E. Vogel ’15's "Hamlet," its success was based on elements it might have shared with any other production. Certainly, the trappings and accoutrements of a show are significant, but, in this case, it was the cast who ultimately made the performance.
Jude D. Russo loves "Blade Runner." Find out why in this installment of the semi-regular series "From the Vaults."
"Furious 7" is the perhaps the crowning achievement of the "Fast and Furious" franchise—but just barely.
Using the story of four young brothers as a magnifying lens, in "The Fishermen" Chigozie Obioma delves into the ways in which belief can build the deepest of bonds, only to eviscerate them in an instant.
Bulgarian writer Georgi Gospodinov’s “The Physics of Sorrow” unites formal experimentation with emotional resonance in a compelling exploration of how and why humans tell stories.
Kevin J. Friel and Anna Kim examine a variety of approaches to the comedy music genre.
“GHOST,” which ran April 9–12 in the Adams Pool Theater, put great trust in its audience’s capacity for reflection; the play was a balancing act of drama and comedy executed, for the most part, gracefully and skillfully.
"Past Habitual" might have been much more successful had MacLochlainn resigned himself to simpler goals. Clean style and thematic impact are undervalued here, and the result is an interesting but rather muddled product.
When Adler’s writing coheres into something merciless yet moral, centrist yet radical, it soars. “After the Tall Timber” is almost always an absorbing, enlivening read.
Mary-Grace R. Reeves '16 sits down with The Harvard Crimson to talk about dance and her work as an arts educator.
"Duetti," which runs from April 10-18 at the Harvard Dance Center, seeks to challenge typical notions of what defines a duet.
“I try to remind students that every word you are using is already in the dictionary. So you’re not coming up with new words, per se. What you are coming up with is ways to render a particular experience in words,” Packer said.
The Crimson stopped backstage before the 2015 Identities Fashion Show to chat with the designers, board members, and models involved in the making of the event.
Mark J. Mauriello '15 speaks with The Crimson about the process of writing and directing his play "OSCAR at The Crown and the love that dare not speak its name," which premieres at the Oberon on April 15.