There were breakups on the left, a besotted duo on the right, and playful friendly interactions behind. The varied relationships reached a climax at one moment in the middle of the production when all nine performers herded the audience into one group and danced around them, chant-like and circular as the lights narrowed on the unsuspecting theatergoers. The message was clear; relationships are all-consuming, emotional, and there’s no way to avoid the glaring reality of love.
On April 25 at 7:30 p.m., Farkas Hall will transform into a Motown palace complete with tinsel, back-up dancers, flashy costumes, and 106 stage lights directed from the back of the stage out at the audience. “Dreamgirls” follows soulful starlets the Dreams as they belt their way to the top of the charts despite racial tensions present in the 1960s and ’70s.
In 1818, the 18-year-old Mary Shelley published “Frankenstein,” but some scholars say her novel had significant input from her young husband Percy Bysshe Shelley. The relationship between the couple and their supposed collaboration on “Frankenstein” is the subject of “Sea Change,” the new play by director and writer Daniel J. Giles ’13, opening on the Loeb Mainstage on April 26.
“Ginger & Rosa” prevails upon itself to depict the incredible tension of Cold War-era London, but the film struggles due to a weak storyline and poor character development. Fanning’s incredible acting saves what is otherwise a heavy-handed and overly dramatic film.
“It’s fourth of July, nighttime,” says Boyd, describing the dramatic climax of his play. “There will be fireworks exploding off in the distance, throwing colors across the set in these big dramatic washes.” The action on stage will be equally volatile. The patriarch, James (Joshua G. Wilson ’13), reveals he wants to sell the family farm, and his wife (Mallory J. Weiss ’15), and daughter (Amy Q. Friedman ’14, a Crimson editor) oppose his decision.