Ali R. Leskowitz
I never shared in enough Kirkland experiences to become a genuine part of that community, but I did find my own affiliation elsewhere.
Director Diane M. Paulus ’87 brings dynamism and contemporary resonance to the 2,500-year-old Greek play by Aeschylus.
Harvard students waiting outside Berryline for their favorite frozen dessert are in for an entirely different kind of treat these days—the sight of seventies-clad revelers waiting in line to see “The Donkey Show,” the premiere of Diane M. Paulus’ ’87 inaugural season as artistic director of the American Repertory Theater.
Amidst the demons of “Saw 3D” and “Resident Evil: Afterlife” that have been stalking the big screen lately, another fiend recently arose from quite the unexpected source: “Toy Story 3.”
“Finishing the Hat”—which will soon be joined by a second volume that covers Sondheim’s musicals after 1981—provides a fascinating and illuminating glimpse into the mind of modern musical theater’s greatest writer.
The Huntington production suffers from this slow pacing, but otherwise proves to be a sturdy version of an ultimately absorbing show.
Fincher and Sorkin have crafted a stunning modern epic—an electric and incisive film that is a timeless depiction of old against new.
This play—a whodunit set at a manor ripped straight from any of Agatha Christie’s works—is riddled with clichés and convenient coincidences...
Patrick H. Quinn ’10 talks about dance using colloquial descriptions not typically associated with the art. “Dance looks so fucking ...
The Crimson Dance Team and Harvard Ballroom Dance Team fuse athletic competition with artistic interpretation, in a unique hybrid of art and sport.
If Bertolt Brecht and Steve Jobs collaborated on a play about economic downturn, the end result might look something like the lifeless, sluggish production of Clifford Odets’s “Paradise Lost” currently running at the American Repertory Theater (A.R.T.).
An illuminated white line bisects the endless black of the Boston University Theatre’s Stewart F. Lane and Bonnie Comley Studio 210.
Borrowing established stories and adapting them for the stage is hardly unusual in today’s theater culture, where original writing is hard to find.
Running through February 7th, “All My Sons” has not felt so timely since its 1947 debut, owing in part to the current national culture of profit-hungry egocentricity.
Though it offers a wonderful musical experience, “Best of Both Worlds” ultimately demonstrates the potential pitfalls of an emphasis on active spectatorship.
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