Crimson staff writer
Melissa C. Rodman
Crimson staff writer Melissa C. Rodman can be reached at email@example.com. Follow them on Twitter @melissa_rodman.
In a new production of “The Sound of Music,” a fictionalized portrayal of the character Maria Rainer’s transition from postulant to governess, wife, and stepmother centralizes the bond between Maria and the seven von Trapp children.
Madeline Miller knows how to weave a story.
The Harvard-Radcliffe Gilbert and Sullivan Players’ current staging of “The Yeomen of the Guard; or The Merryman and His Maid,” set in Tudor England, feels—in a word—fresh.
The production provides a lively and lighthearted evening of entertainment that will delight fans of the 19th century novel, as long as they are not Austen purists.
Shows like “Frank Steins” do not present the audience with burdenless characters and carefree plotlines.
To the cast, musicians, and creative team behind this semester’s moving production of “Spring Awakening,” thank you.
“Pirates,” when done right, is a night of good fun.
Like a grab-bag Walmart bin, this show wasn’t infused with gravitas or interested in weighty issues or existential crises, nor was the production intended to be.
The subject matter is rooted in fantasy, yet C.F. Ramuz’s repetitive libretto coupled with Stravinsky’s darker, dissonant music seems more representative of the piece’s real-world, historical context.
Suffice it to say, I had high expectations when I learned that “The Glass Castle” would become a movie in August 2017.
The Harvard Art Museums stayed open late last week with food, music, gallery tours, and other events, as part of its continuing efforts to engage students.
“I’ve got a premonition,” singer-songwriter Emma Harvey purrs as bandmate Kel Taylor’s crisp guitar thrums punctuate her words. The romance that Harvey and Taylor hint at in their new single, “Easy Now,” may be on the fritz, but the song itself is just the opposite: airy, nuanced, and utterly aflame.
Director Jake S. Stepansky ’17 staged his take on the show on Dec. 8 and 9 at the American Repertory Theater’s OBERON stage, delivering a production carried by a triumphant cast, although the venue and blocking left much to be desired.
FAS Dean Michael D. Smith called Faculty criticism about their lack of involvement in crafting a historic social life policy “categorically false,” expressing his most in-depth comments on the contentious sanctions to date.
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