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Even before the show officially begins, it becomes clear that Sonia C. Coman ’11’s “Leah” intends to break the mold. Cast members lie under blankets on stage, surrounded by large panes of translucent plastic. Meanwhile, “Theater Manager” Andrew N. Shindi ’13 introduces the play as “Sewing in Springtime,” a production which begins with the cast engaging in synchronized, choreographed sewing...
From the monstrous papier maché mole that is suspended over the stage for the duration of the performance to a flaming-red lobster, remote controlled, the production’s staging provides an extra layer of madness to complement the actors’ efforts. While the props fit this manic mood, the sound accompaniment—mostly composed of indie rock acts like The Antlers—often feels overwrought. Tunes like The Antlers’ “Bear,” whose lyrics chronicle the effects of an abortion on a couple’s relationship, make...
This inspiration is evidenced in the rich costumes of the play, which draw upon the uniforms of various revolutions across history. Despite a bare-bones approach in scenic design, lighting and stage effects will also play a dramatic role in bringing the feel of the revolution to the theater...
...Every time I come to Boston, I rejoice,” said Roy “Snap Crackle” Haynes as he stepped up to the stage for his birthday concert at Scullers Jazz Club last Friday night. Back in his hometown once more, the legendary jazz drummer offered glimpsed memories of growing up in the city. At the age of seven, he was entranced by the lady next-door playing Gershwin on Sunday nights. As a teenager, he was sent to the principal’s office in Roxbury Memorial High for drumming incessantly on his desk...
...wonderfully moody rendition of the Cole Porter classic, “My Heart Belongs to Daddy,” he rocketed the intensity through a magnificent arc: starting at a whisper, he rose to a ferocious height that drowned out the band, before standing up and walking round the stage, tapping out the fading beat on his sticks...