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The discussion series offers a way of looking at the role of theater activism and the continued relevance of the arts and humanities, and also presents the issues at hand in a new light.
At its core, "Far From Heaven" has a very important story to tell concerning the ease with which a person can lose their identity within societal expectations. Unfortunately—despite the musical’s few technical strengths and evocative acting at some points—the production loses its message amidst a presentation that is at once clichéd and painfully sentimental.
Simply put, “Guess Who’s Coming to Dinner” suffers from thematic inconsistency: from the direction to the performances and even the wardrobe, the show tries and fails to make the production simultaneously a contemporary criticism of racial dynamics in America and a unique cultural product of the ’60s.
The freshness of the darker musical numbers and dynamism of the cast salvage these occasional stumbles into simplicity and sweetness, practically ensuring that “Finding Neverland” will be a Broadway success.
The American Repertory Theater and the Carr Center for Human Rights Policy kicked off a series of events on art and human rights Tuesday.
Directed by Jacob A. Brandt ’14, "Penelope", which runs from April 25 to May 3 on the Loeb Mainstage, gleefully collides the sublime with the ridiculous, transporting a mainstay of world literature to a banal, seedy modern-day setting. In the able hands of its four main actors, the Harvard-Radcliffe Dramatic Club’s production pulls off the play’s comic elements without passing over the sense of unease at the play’s heart.
The atomic bomb has long been a source of American fascination and horror. But what happens when the bomb shelter is more terrifying than the bomb itself? “Daisy,” a new play written by Simon A. de Carvalho ’14 and directed by Max R. McGillivray ’16, explores this question in the claustrophobic confines of the Loeb Ex from April 30 to May 3.
The Crimson previews choice events from Arts First 2014, May 1-4.
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).
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.
“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.