Though the Boston Ballet’s “The Nutcracker” runs annually in December, it did not fail to impress with its energy and high production value on its opening night on Nov. 29.
Last week, The Harvard Crimson sat down to chat with Annabel O’Hagan ’19, who is one of the first women to act in a Hasty Pudding show.
Harvard Ballet Company celebrated 25 years of hard work, performance, and excellence Nov. 22 to Nov. 26 with their production of “on quarter.”
In “WET: A DACAmented Journey,” directed by Kevin Comartin and produced by Liz Ross, Anner Cividanis (Alex Alpharoah) is “an American in every sense of the word” — except on paper.
Last weekend marked the second Black Playwrights Festival at Harvard, during which both renowned black playwrights and black students at the College showcased their works.
The Boston Symphony Orchestra, along with the Tanglewood Festival Chorus, led by James Burton, gripped the abrupt temporal and textural shifts with ready but spontaneous vigor. The result was a stunning ascent to radiant triumph.
Anne Washburn’s “Mr. Burns, a Post-Electric Play” is a charged show. It’s a part-comedy and part post-apocalyptic social commentary in which survivors work first to piece together an episode of “The Simpsons,” then to form a theater company that reenacts those scenes exclusively.
Conductor Andris Nelsons delivered a deft balance of dramatic elements with the BSO on their Oct. 27 concert, which featured Mahler's “Resurrection" symphony.
"Time Release” juxtaposed the notion of musical contrast against homophonic unity.
This week, from Nov. 8 to Nov. 10, the Harvard-Radcliffe Dramatic Club will present their fall production of Gilbert and Sullivan’s comic opera “Patience; or, Bunthorne’s Bride," a biting satire of overly aestheticized art.
The Harvard Ballet Company will celebrate its 25th anniversary season with “on quarter ” — a contemporary ballet performance that strips away traditional set confines to give the impression of a “backstage scene.”