Note: At the Jan. 15 performance of “Life of Pi,” the traditionally male role of Pi was played by understudy and ensemble member Uma Paranjpe, a female performer, and Pi was presented as a girl. To reflect this change, this article will use she/her pronouns to refer to Pi.
Four seniors gathered around their ‘cauldron’ of a show, each adding their own ingredients and flair. The result was an experimental, redefined “Macbeth” (1623), which intentionally diverted from the standard practice of show-making. These seniors are Tatyana Emery, Caitlin Morley, Margaret Parish and Abi Steinberg. Coming together for the completion of Emery’s thesis and Morley’s and Steinberg’s capstone, the group struck down the traditional rehearsal process, eliminating the role of the director and reformulating the power structures within theater.
As soon as Emma Downs discovered that Massachusetts had the nation’s highest increase in food insecurity rates during the pandemic, she knew something had to be done.
Joel Coen’s "The Tragedy of Macbeth" (2021) — a modern cinemascape of the iconic Scottish Shakespearean tragedy — is told in vivid pools of light and sharp-edged voids of shadow. Every point within and throughout the film opposes all other points; it is so expansive and amorphous and yet full of clean cut lines and sharp pointed corners. “Macbeth,” which follows the titular newly appointed Thane of Cawdor as he loses himself to his hunger for power, has been released in theaters and is available to stream through Apple TV Plus. The iconic story has had countless adaptations across film and theater, and here Coen and his team blend those two mediums to create a unique and singular atmosphere which shrouds the story in visual markers that match the emotion and madness central to the story.
On Nov. 26, legendary musical theater composer Stephen Sondheim died. Sondheim leaves behind a changed fate for the modern musical, having reinvented the standard with classics such as “Into The Woods” (1987), “Company” (1970) and “West Side Story” (1957). Just a week before Sondheim’s passing, “Tick, Tick… Boom!” was released on Netflix. The film celebrates musical theater and composers, namely through the original writer Jonathan Larson. These two consecutive events call on us to reminisce upon the icons of composition and reinvestigate the simple joys of live theater.
Content warning: This article mentions police violence.
During her time in Arts, Hoechst has covered everything from on-campus theater productions to the most popular movies of the year. She has written an impressive 48 articles, edited countless more and spent a semester as Executive Arts Editor, during which she helped to grow the section.
What happens when an immovable object meets an unstoppable force? Thus is the state of movies in 2020. It’s difficult to understate how profound an effect COVID-19 has had on the film industry; after a historic year in 2019, with Disney alone producing several, billion-dollar movies, major theater chains are now struggling just to stay in business.
Theatre, Dance, and Performance Studies
Between the corsets, accents and obsession with propriety, experiencing a period drama can feel like stepping into another world. For some, that ability for escapism is part of its charm; for others, its rules can make the stories feel alienating.Barbara Wallace Grossman, a professor in the Department ...
Is it really better to have loved and lost than never to have loved at all? Torn Ticket II’s fall minor production of "The Last Five Years" cast doubt on the old adage. The one-night engagement starred seniorNick Jodka and sophomore Francesca Viggiani as Jamie and Cathy, respectively, two ...
The 20th anniversary tour of “Rent” had its final performance at the Shubert Theatre, Boston, on Nov. 10. From its very first show at the New York Theatre Workshop in 1993, “Rent” has won several musical awards over the years and was adapted into a movie featuring most of the original cast members ...
This Thursday, the Tufts Department of Theatre, Dance, and Performance Studies will open a production of Brad Birch’s 2018 adaptation of Henrik Ibsen’s 1882 play, “En Folkefiende” (“An Enemy of the People”)in the Balch Arena Theater. Directed by Noe Montez, associate professor of Theatre, ...
Editor's note: This interview has been edited for length and clarity. Hailing from Syracuse, N.Y., Meghan Pearson is a lecturer and costume shop supervisor who began teaching at Tufts thissemester. The Tufts Daily spoke to her to learn about her background, interest in costume design and theater, ...
This Friday evening, a cabal of student dramatists will seal themselves off from the light of day for a full 24 hours to complete a Herculean trial of wits and wills. But this isn't the congregation of a shadowy cult to the dramatic arts; it’s the 24 Hour Play Festivalhosted by Pens, Paints, and ...
Disclaimer: Abby Schmidt is a contributing writer for the Tufts Daily. Schmidt was not involved in the writing or editing of this article.For some seniors, going to Tufts was about a change of place. “I’ve always loved traveling and seeing new places,” Abby Schmidt said. In an open study room ...
This weekend, the Department of Theater, Dance, and Performance Studies will be presenting their spring production, “Jihad Jones and the Kalashnikov Babes.” While the cast is small, with only five actors, the show asks big questions about stereotypes in Hollywood and grapples with issues of representation.Heather ...
Disclaimer: Amanda Rose is a former assistant arts editor at The Tufts Daily. Rose was not involved in the writing or editing of this article. This weekend, Torn Ticket II will tackle “Heathers: The Musical” as one of its spring shows. The student production has come together in just six short ...
Content warning: This article mentions sexual assault. Frankenstein’s monster, as he is known today in popular culture, is a far cry from the philosophically and morally tortured being created by Mary Shelley in the novel that jump-started the genre of science fiction. Two hundred years after the publication ...
Bridget Kathleen O’Leary (BKO): [The play] is set in 1964, right after the Civil Rights [Act of 1964] has passed ... It’s kind of looking at the external scar that [Violet] carries and what it is for [Flick] to travel through the world as a black man in the '60s ... It is of great cost to him to be a black man out in the world, and she is struggling to be a woman that does not believe she has external beauty. There is this really beautiful refrain in a couple of the songs that they both sing, where they say, "Look at me." "Really look at me" is what they ask of each other. It’s this idea of "can you see beyond the exterior to get to the heart of who I am."
