Virginia R. Marshall
Virginia Marshall discusses the historical role of poet laureates and the future of Boston's Poet Laureate position.
“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.
Virginia Marshall discusses the evolving world of spoken word and the importance of a shared poetic space.
Virginia Marshall reflects on her time spent at CUPSI through a poem.
"I, Too, Am Harvard," which has largely been kept a secret on campus, looks to bring to the forefront race issues in a provocative, thoughtful way.
Virginia Marshall discusses the art of imitating accents.
When 12 men put on heels and skirts and get on stage to belt puns and sexual innuendoes, it’s bound to be a good night. Hasty Pudding Theatricals has known this for 219 years, and the company did not disappoint in its 166th production, "Victorian Secrets," which will run until March 9 at Farkas Hall.
Virginia Marshall reflects on the complexities of the human voice.
Outgoing Theater Exec Virginia R. Marshall discusses her top five anti-climactic moments in theater.
The best-known of Stephen Sondheim’s musicals are generally populated with bizarre and memorable characters; who could forget the Demon Barber of Fleet Street, lovers Maria and Tony in "West Side Story," or Sondheim’s tormented version of painter Georges Seurat in "Sunday in the Park with George"? But Sondheim’s "Company," which will go up in Farkas Hall on Dec. 5, depicts characters that are not so different from ourselves.
Usually actors are given specific roles by a director, but with this adaptation of William Golding’s "Lord of the Flies," director Alistair A. Debling ’16 let the actors decide for themselves which characters fit their actions and dispositions. "Flies," which will open in the Loeb Ex on Dec. 5, is inspired by Golding’s novel but differs from the original in its narrative form and character development.
Have you ever felt that episodes of “The Simpsons” or “Futurama” are speaking to you personally and intellectually? If you were to ask Simon Singh, he’d probably tell you 1) that you’re a huge nerd, and 2) that the writers of both these TV shows intended to connect with viewers just like you.
“Imagine this moment were real,” says Leila, the young girl standing in the middle of the stage who has been trying to retell her story. It’s the middle of a production of David Greig’s chilling play“Yellow Moon,” and up until this point, you had been sure that every previous scene was indeed real—or, at least real in the context of the play’s narrative. But the production of the play directed by Susanna B. Wolk ’14, which ran through Saturday in the Loeb Ex, challenged the very notion that the audience can trust the narrators on stage.
Lambert sings for those young people whose bodies or sexualities never quite seem to follow what society says is right. The goal of her music is to provide solace from societal struggles with her rich and wonderful voice, and she held true to that value throughout the performance. “We’re perpetually waiting by the phone for someone to pick up and tell us that we did good,” she sang from “(Body Love).”
On Thursday night, writer Margaret Atwood returned to Cambridge to give a talk about her new book, “MaddAddam.”