This year’s Tony Awards demonstrated that American theater is as engaging, diverse, and relevant as the best that HBO and Amazon Prime have to offer.
Nico P. Barlos ’22 and Odessa X. Deng ’22 play a young couple embroiled in chaos aboard a flight to London in “Cruising Altitude,” this year’s First-Year Musical.
For the most part, “Five Feet Apart” checks off all the boxes: Expect to chuckle liberally, cringe occasionally, and cry inevitably (although not quite when one would expect).
Disney, and others, have raised the bar. DreamWorks needs to keep up.
“You" takes the cultural trope of boy-meets-girl and successfully turns it on its head by revealing the dangerous underlying obsession behind a contrived relationship.
I present five songs to get you through finals — show tunes edition.
A new, original adaptation of Ginsberg’s poem “Kaddish for Naomi Ginsberg” will premiere at the Loeb Ex thanks to the cast of HRDC this Dec. 1.
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.
“La Reine de Saba,” a grand five act opera composed by Charles Gounod in 1862, reentered the stage for its American premiere on Sept. 22 at the New England Conservatory’s Jordan Hall. This tale of love, betrayal, and envy is being revived by the toils of the Odyssey Opera’s music director, Gil Rose.
As in Season One, we are treated to the show’s signature brand of humor, one that’s grounded in and dependent upon its characters.
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