Incorporating art into community outreach poses challenges, but the experiences arts-based service organizations provide also offer unique fulfillment. As the roles of service and art in society remain under debate, initiatives at Harvard that meld the two areas continue to evolve, broadening arts access in surrounding communities and shaping campus artistic life.
“Revolution Radio” has an extremely unoriginal and predictable sound that—coupled with lyrics that are similar in quality to those written by a Disney boy band—fails to bring Green Day anywhere close to the magic they created in their heyday.
As one could hardly describe Blake as a natural performer, and as his particular brand of sentimental electronica seems unconducive to replication under concert conditions, the substantial success of his live set is remarkable.
Running in the Loeb Drama Center from Oct. 14 to 22 by the Harvard-Radcliffe Dramatic Club, it was as relevant to modern times as it was centuries ago when it was first written, and Roitman’s version certainly did justice to this timeless classic.
Harvard Ballet Company presented a compelling retelling of "The Wizard of Oz" for its fall show.
"Asmarina," a film about the Ethiopian-Eritrean diaspora, was shown at the Center for Government and International Studies and was followed by a conversation with filmmaker Medhin Paolos.
“Queen of Katwe” is an exquisitely shot, powerfully acted, and delicately, intelligently directed film that does justice to the inspiring story of its protagonist.
“Fifty Shades of Grey” has an older, more intelligent sister, and her name is “Future Sex.”
The five sections each have their own personality and purpose but work together to accomplish the book’s goal of reviving humanity’s love of nature while concurrently elucidating Oliver’s identity as a writer.
The clash between subtler moments of introspection and fast-paced plot building results in a disjointed, choppy flow.
If the prospect of rap being overrun by mumblers fills you with anxiety, know you have GZA’s razor-sharp, lyrically peerless “Liquid Swords” to fall back on.
Early 1900s, Switzerland. A foreigner buys a postcard entitled “Der Berggeist” (“the mountain spirit”) and decorated with a painting of a bearded figure in a forest, extending his hands to a white fawn. On the postcard’s paper cover, the man scrawls “The origin of Gandalf.”
The man who crashed cars in “The Hills” and burned alive in “Can’t Feel My Face” is alive and well and has apparently learned nothing about the grim realities of mortality.
As the Harvard University Dining Service workers strike, many of the dining halls have stopped serving food. As a result, the spaces that are the house dining halls have fundamentally changed.
In "Far from Noise," players take the role of a woman trapped on the edge of a cliff—until a deer walks by and strikes up a conversation.
“It ain’t about nothing else except getting out alive.” When Lethu A. Ntshinga ’18, as Zeus, growls these words late in the production of “Polaroid Stories,” it is easy to believe her.
The show assembled some of the most accomplished jazz players of our time to celebrate the 100th birthdays of four jazz legends: Dizzy Gillespie, Ella Fitzgerald, Mongo Santamaria, and Thelonious Monk.
The Harvard Radcliffe Modern Dance Company’s new show “40,” proves that at their middle age, the dance troupe is as graceful as it’s ever been and promises many more decades of inspired modern dance.
The play will be a defining piece of theater for Latin American audiences typically underrepresented onstage, according to Danny L. Rodriguez ’18, the stage manager of the show and president of TEATRO!. “I feel like everyone should be able to have that option to see a show that they say, ‘This is me. This is my family,’” he said.