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Perhaps fitting for a play that deals so much in dreams, director Mikhaila R. Fogel ’16’s production of “A Midsummer Night’s Dream,” which ran through April 20, offered college-age viewers a fantastical glimpse back to their childhood in the ’90s (and its attendant fashion nightmares). Though not perfect, the Hyperion Shakespeare Company’s utterly committed performances and campy take on classic theater made for an enchanting show that more than overcame its flaws.
The Harvard-Radcliffe Dramatic Club’s production of “The Drowsy Chaperone,” set to run April 25 to May 4, is a vaudeville extravaganza with a modernist flair. A show-within-a-show, the musical focuses on the ensuing escapades before the wedding of diva Janet van de Graaf (Tess V. Davison ’16)—all accompanied by commentary from the mysterious narrator Man in Chair (Andy J. Boyd ’14).
On April 17 at the Carpenter Center, the Mahindra Humanities Center hosted a film screening of “Enemies of the People,” followed by a panel discussion with the filmmaker. The 2009 film follows Sambath’s 10-year search for confessions and explanations for the 1975-1979 Cambodian genocide that led to the massacre of nearly two million people during the reign of the Khmer Rouge.
The Harvard Horizons Symposium recognized and celebrated the innovations, talents and original ideas of eight PhD students in Sanders Theater on Tuesday afternoon.
During a book talk at the Harvard Book Store Monday evening, Stanford professor of history and Classics Ian Morris argued that wars force society to become stronger and less violent.
Composed of ten band members, The Intrinsics combine vocalists, horns, percussion, and strings to produce an energetic, buoyant sound.
From April 17 to 19, Sayantan Deb ’14 will direct the first part of Tony Kushner’s play “Millennium Approaches: Angels in America Part 1” at the Adams Pool Theater. Although the play is set during the American AIDS epidemic of the 1980s and has three gay protagonists, Deb and the cast emphasize that “Angels” is not a play about being gay, but is rather a play about universal human relationships.
Song cycles occupy a peculiar position in the arts world. Lacking plot or cohesive characters, they offer an opportunity for experimentation but may also be prone to poorer productions: stellar acting cannot substitute for lackluster vocal talents, poor directing cannot be overshadowed by plot or characters, and the ability to synthesize a common theme among many pieces becomes crucial. Fortunately for Harvard-Radcliffe Dramatic Club’s “Songs for a New World,” which ran April 10 to April 12, most of these obstacles were overcome.
Around 11:30 a.m. on Thursday, a contract employee for Harvard Energy and Utilities Services fell from a water cooling tower while working on the roof of the Science Center.
“The Shape She Makes” will play at the OBERON in Cambridge until April 27. Its complicated narrative and performance structure succeeds because creative directors Jonathan Bernstein and Susan Misner ambitiously create moments of intrigue and emotion within each scene.
Felipe Calderon references a map of the United States while speaking at his lecture “Climate Change and Business” at Harvard Business School on April 4.
Janelle Monáe, who performed at Yardfest this past weekend, receives The Women’s Center’s Award for Achievement in Arts and Media 2014. At the award ceremony she discuses about different questions of identity, including sex, gender, and sexuality, in her performances with Alexis Wilkinson ('15) and Jasmine Fernandez ('16).
Janelle Monáe, who performed at Yardfest this past weekend, receives The Women’s Center’s Award for Achievement in Arts and Media 2014. At the award ceremony she spoke about different questions of identity, including sex, gender, and sexuality, in her performances.