Matthew C. Stone
Broad the Way that Leads to New York
This time next year I will almost certainly be in New York
Panda Bear Achieves Elegant Simplicity
The joy of “Tomboy” is in its focus on clean, expressive tunefulness. In that regard, Panda Bear’s latest marks a movement toward a more streamlined method of composition that emphasizes the strength of his songwriting over sonic innovation.
Something to Chew On: Tough Theater
Roughly 30 years ago, The Crimson ran a review on these very pages excoriating an experimental student production of Vladimir ...
The Robot Theater: Live and Impersonal
“Stifters Dinge” confounds the very notion of a performance, insofar as it requires no performers.
Behind the Old Scandals, a New Kane
The more I read Kane’s plays, the more intimate and personal they seem.
'Spider-Man' Turns On the Controversy
Say what you will about the relative merits of the show—“Spider-Man” has become a phenomenon.
‘Halcyon Digest’ Revels in Unpredictability
The end product—while admittedly not their finest record to date—ultimately benefits from reveling its own unpredictability and inconsistencies.
Face to Face
Screenwriter Aaron B. Sorkin and author Benjamin A. Mezrich ’91 put an unauthorized face to the name Mark E. Zuckerberg, the man who chose Facebook over Harvard.
FACES: Who We Are
It’s not often that the arts at Harvard cater to freshmen exclusively, but a new program called the Freshman Arts Collaborative Experience Showcase (FACES) hopes to do just that.
David Mamet’s Overstated ‘Theatre’
“You can’t live your life believing every ten-penny self-proclaimed teacher, critic, agent, etc.,” writes David Mamet in “True and False,” his 1997 treatise on acting, “Your first and most important tool is common sense.”