Word: theatreã
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...also took Dramatic Arts 101: “Introduction to Theatre?? last semester in order to learn more about theater from a theoretical standpoint...
...makes a pirate? Is it the cutlass, the distinctive tri-corner hat, or the swashbuckling disdain for authority? The pirates of W.S. Gilbert and Arthur Sullivan’s “The Pirates of Penzance”—which runs through May 2 at the Agassiz Theatre??share a radically different defining characteristic: profoundly patriotic monarchism. As they sing in the show, “With all our faults, we love our Queen.” Faults or no, the irresistible energy of the cast makes “The Pirates of Penzance?...
...underlying problems of “Theatre?? is that Mamet’s style of writing does not lend itself to sophisticated argumentation. His dramatic dialogue is iconic—often referred to as “Mametspeak”—and his plays are full of terse and crude language. The effect translates to his nonfiction as well, and much of language in “Theatre?? has the colloquial feel of dialogue, which does little to lend credibility to his opinions. Rhetorical questions abound—many of which he subsequently answers...
...addition of Wale gives the fifth annual spring concert—scheduled for April 18 in Tercentenary Theatre??a distinct hip-hop bent, breaking away from the tradition of pairing artists from disparate genres. That decision, according to HCC director Synne D. Chapman ’11, was a consequence of prioritizing high-quality artists that fit their logistical constraints over the simple maintenance of genre diversity...
...illuminated white line bisects the endless black of the Boston University Theatre??s Stewart F. Lane and Bonnie Comley Studio 210. Simple and stark, this white line is the lone scenic element in the Boston Center for American Performance’s minimalist production of Paula Vogel’s “How I Learned to Drive”—yet, any further set would have been needless in this superbly acted, provocative memory play, which runs through...