In “The Refugees,” memories are tactile and the shadows of interrupted lives ever-present; even the smallest details in Nguyen’s stories are imbued with the bittersweetness of unspoken what-might-have-beens.
Lowell House Opera's production—the U.S. debut of “Trofonio”—succeeds despite vocal and other challenges due to an abundance of energy, enthusiasm, and good-natured humor and makes a convincing case that Salieri’s operas are worthy of further attention.
“The Harvard Theater Review Review,” running Oct. 23 to God-only-knows-when on Wordpress, is a moving yet ultimately lackluster demonstration of misguided frustration and adolescent angst.
"References to Salvador Dali Make Me Hot," which ran Oct. 16-Oct. 24 in the Loeb Mainstage, struck honest and deep emotional chords at its best moments but too often fell victim to an overwrought, self-conscious abstractness.
Australian baritone Duncan Rock is a rising star in the opera world. Performing his first lead role in the U.S. in Boston Lyric Opera's production of Mozart’s “Don Giovanni,” he sat down with The Crimson to discuss his discovery of opera, his personal take on “Don Giovanni,” and his thoughts on opera’s future.
Using the story of four young brothers as a magnifying lens, in "The Fishermen" Chigozie Obioma delves into the ways in which belief can build the deepest of bonds, only to eviscerate them in an instant.
The Boston Opera Collaborative’s version of George Frideric Handel’s “Rinaldo,” which ran at the Benjamin Franklin Institute of Technology March 26-29, succeeded superbly in creating a production that was compelling, well-crafted, and accessible to all.
Although at times tiresome in its stilted dialogue and simplistic characters, “The Buried Giant” is nonetheless a moving parable of remembrance, loss, and the resilience of love.
“Pop is insipid,” they said. “The Top 40 has no soul,” they said. “These lyrics don’t even mean anything,” they said. Well, they were wrong. Incoming Theater Exec Lien Le lists the top current events of 2014 paired with the best Top 40 hits written about them.
Harvard’s lack of a dramatic arts concentration presents obstacles for undergraduates hoping to pursue careers in theater, but the annual Visiting Director’s Project provides students with a challenging and rewarding experience that approximates theater at the professional level.
Spring might finally be coming to Harvard Yard, but so is winter. Everyone could use a little support to get through the scandals, shocks, and deaths of Game of Thrones, so we’ve made a handy Drinking Game of Thrones to assist you in your inevitable tachycardia when you tune in tonight!
The exhibit focuses on color theory and abstraction, pairing intricate quilts in riotous colors with the works of 20th-century modernist painters. The result is a beautifully vibrant presentation that makes the art of quilting accessible, compelling, and even—dare we say it—cool.
Simultaneously fun-loving and introspective, confident and intimate, “Darlings” evokes the carefree days and long, unhurried nights of summer.
While the concert had its lows, the few peccadilloes pointed out here did not truly outweigh the many strengths displayed on stage. The orchestra was technically impeccable throughout the performance (or at least seemed so from a third-row balcony seat), and the music was nothing if not enjoyable.
Three naïve teenagers, a tormented young man, and the boredom of suburban life come together to catastrophic effect in the Harvard-Radcliffe Dramatics Club’s production of “Smoking Lesson” by Julia Jordan. The result is a contemplative, thought-provoking production that resonates due to the great cast and creative usage of the set.