More than a dozen women auditioned for the Hasty Pudding Theatricals’ annual show last week, putting pressure on the traditionally all-male campus drag troupe to allow women to join their cast—but none received a callback.
The strength of the ensemble, combined with well-executed music and a truly unique set design, created an opera that was a truly fruitful reimagination of the original.
A stunningly nuanced, inventive, and emotionally resonant investigation of how the country values the lives of young people of color, the play is not only a great work of theater but, in its empathy, curiosity, and comfort in complexity, a significant addition to the national discourse.
Harvard grads in the arts—from the creators of “The Office,” “Parks and Recreation,” and “Brooklyn Nine-Nine” to Broadway musicians and authors—remember a formative Harvard education, albeit one largely lacking in technical arts instruction.
The Crimson Arts delves into the curricular arts—academic projects, faculty perspectives, and interdisciplinary hidden gems—for its first-ever themed spring supplement.
In just over an hour, Iascone plans to detail some of the best—and worst—moments of his amorous pursuits. And he isn’t deterred by the especially intimate nature of the show’s content. “I think [the stage] a really good place for comedy because it’s a place where you can really be vulnerable,” he says. “When you’re up there and telling something that’s personal to you and happened to you, the audience is automatically engaged in this human experience.”
Page Axelson and Caroline Lellouche in "OSCAR at The Crown and the love that dare not speak its name."