Michael J. Yue
A clear evolution beyond the other installments of the “Heart” series, the new single is frank, spontaneous, and experimental. Its constantly changing beats reflect the diversity and scope of a confident lyrical master’s thoughts.
With its examination of Rose’s destructive ambition and complex character, "Gypsy" has been hailed as one of the greatest musicals of all time, leaving Harvard College Musical Theater with large shoes to fill. Yet the production on the Loeb Mainstage successfully captured Laurents’ vision, illustrating the grand scope of vaudeville’s decline while never losing sight of the musical’s emotional core.
“Night of the Iguana” starts as a farce but ends in tragedy, and the American Repertory Theater’s production did justice to both aspects of the play.
Piñatas, komodo dragons, a dog that turns into a human: These wacky sights, among others, will take the stage at Farkas Hall this weekend during Harvard’s production of Naomi Iizuka’s 1999 comedy “Aloha, Say the Pretty Girls.”
The concert, billed as “A special tribute to Steven Stucky,” indeed provided a fitting commemoration to the contemporary American giant while also doing justice to the works of the other composers featured on the program.
Throughout the 90-minute run time, songs by turn intimate and energizing explored everything from romance to religion. Although no discernible plot threaded all of this together, the production still cohered as a charismatic and captivating product, just as the best musicals always do.
For director Carla Troconis ’19, “The Submission” is an intriguing twist on an already provocative narrative. “Often when we talk about racism or homophobia, we talk about it between the majority and the minority,” she says. “This show explores what happens between two members of different marginalized groups and how they can be oppressive toward each other.”