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...Miles A. Johnson ’08, Shawna J. Strayhorn ’07, and Kimberly D. Williams ’07, ran at the Loeb Ex from April 6–8.These final lines had the feeling of a revelation—something arrived at through the characters?? struggle and growth. This was not necessarily the case: instead of presenting an overall arc, “rainbow/streets” was impressionistic, combining short scenes, monologues, song, and dance to present an image of being young and black in America. The last scene’s lack...
...team succeed, they will donate the profits to the Office for the Arts at Harvard as an endowment for House drama productions.Part of the agreement prohibited the students from changing anything in the show’s script, including stage directions and notes on characters?? emotions and inflections. “It was pretty limiting,” says Publicity and Relations Head Stephanie R. Camaglia ’07. “We couldn’t cut out a single word.”Despite contractual obligations, Hanley, Taylor, and the show’s four...
...past 40, and she’s past cute-but-hackneyed material like this as well. It’s why they ended “Sex and the City” before the girls got pre-menopausal. The flick also creates a batch of likeable secondary characters??including Tripp’s BFFs (Bradley Cooper, “Wedding Crashers” and Justin Bartha, “National Treasure”) and Paula’s slightly unhinged roommate (indie darling Zooey Deschanel of “The Good Girl”)—adding...
Narrated by an aged Briony, the novel expertly alternates between different characters?? perspectives, delicately yet incisively, delving into the psyches of the wronged and war-bound Robbie and his faithful Cecilia, of a young impetuous Briony and her repentant older counterpart—the wartime nurse who abandons her intellectual pursuits and undergoes “a stripping away of identity” as penance for her crime...
...Pocahontas”—complete with singing raccoon friends and pervaded by a sugary-sweet insistence that love does, in fact, triumph over all—was a staple of childhood, Malick’s latest endeavor is appropriate to the end of adolescence, from the characters?? introspective first-person voice-overs with their unabashed expression of idealism, to the casting of “heartthrob” Colin Farrell (“Alexander”) as the angst-ridden, yet hopeful, John Smith.The film’s themes also strike close to the preoccupations...