Crimson staff writer
Rebecca A. Greenberg
Harvard College Opera’s production of “Hansel and Gretel, which runs Feb. 4-8 at the Agassiz Theater, promises to bring a favorite childhood story to life with a full orchestra, soaring arias, sumptuous costumes, and even a giant gingerbread house.
The sheer passion in the Harvard-Radcliffe Dramatic Club’s red-hot production of “Seneca’s Medea,” translated by the Harvard Classics Club, could have set ablaze the ghostly waters of the Adams Pool Theater. The actors’ ability to convey the nuances of their characters’ emotions through their mastery of tone and gesture as well as and the production’s remarkable use of the theater’s vestigial pool features made for a dramatic spectacle.
Their research revealed that the termites’ mounds drive a convection current which helps the release of stale air from the underground nest to the surface of the mound.
The time is 1666, and you are sitting in a Paris salon among corseted women and foppish dandies. However, as indicated by the lines above, you are not listening to dialogues in standard 17th-century verse. The humor is undoubtedly right here, right now in Harvard-Radcliffe Dramatic Club’s “School of Lies,” a new play that will open at the Loeb Experimental Theater and run from Dec. 5 to Dec. 13.
“Awake: The Life of Yogananda”, an independent film directed by Paola di Florio and Lisa Leeman, gives even the most disillusioned or skeptical American a chance to discover the true identity and spiritual significance of the several-thousand-year-old Asian tradition of yoga.
The Harvard-Radcliffe Dramatic Club's production of "Three Sisters" infused the play with a 21st-century flavor, and its subtle wit engaged the modern audience while fully preserving the poignancy of the characters’ conditions. The play effectively made up for the lackluster performances of some of its lead actors through an ingenious use of props and stage design, which helped to deliver the emotional power that the blocking and acting largely failed to convey.
There is nothing straightforward about “Three Easy Pieces”, a solo exhibition by Japanese-British artist Simon Fujiwara that opened Oct. 23 in the Carpenter Center: the “ease” of the show lies not in the casual nonchalance the title may suggest but in its confession-like integrity and approachability, strengths that enable a range of viewers to appreciate its multilayered yet unresolved nature.