Opera is a vital form whose renowned tradition—far from being anachronistic—is perpetually relevant and whose boundaries are still being pushed today at Harvard.

Opening on February 18 in the Experimental Theater of the Loeb Drama Center, the dark comedy hopes to be a bloodbath of sorts, entertaining, moving, and shocking audience members who dare enter the Dublin underworld.

Today, Radcliffe Institute Fellow John Tiffany will speak of theater that breaks fascinatingly from the traditional form.

Director Doug Lockwood’s minimalist theme effectively tones down the complexities that make “Cymbeline” a difficult, rarely-produced romance.

As the plot thread becomes steadily more tenuous during the second act, “Kashmir If You Can” is more than ably held together by a talented cast and the inspired comic stylings of the writing staff.

“Nine” is a misguided adaptation, and one that runs on shallow ideas about women and relationships. Even the extravagant boas in Paul Daigneault’s production (and there are long, lush, red ones) don’t dress up the show’s dull foundations.

Harvard's only long-form improvisational comedy group hosts a comedy festival featuring performers from colleges nationwide.

Dunster House Opera returns to Strauss classic "Die Fledermaus" for this year's production.

A script that should have been condensed and sharpened, along with questionable uses of projections and background effects prevent the A.R.T.’s latest production from doing justice to Derrah’s commendable performance.

Ultimately, the moments where “Inland Empire” crystallizes are too few and far between to justify a structure whose inaccessibility and string of logistical woes hamper what would otherwise be a genuinely compelling theatrical experience.