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On Wednesday, Sept. 20, Northern Stage premiered its production of “A Doll’s House.” Written by Henrik Ibsen in 1879, the play follows the unraveling of a seemingly perfect marriage and is considered by many a staple piece of feminist literature despite its author’s stated ambivalance to the cause. Robert Kropf wrote this version of the play, with Eric Bunge directing.
In my review of “Arrival,” I wished director Denis Villeneuve luck for his next endeavor, a sequel to my favorite film of all time: Ridley Scott’s “Blade Runner.” To be clear from the outset, the original “Blade Runner” is far from perfect. It is a flawed masterpiece, as influential as it is imperfect. And that’s probably why I love it. It is a slow, poetic and evocative film that never asked for or needed a sequel. But here we are 35 years later and “Blade Runner 2049” actually exists. Is it as good as the first film? Of course not, but I didn’t really expect it to be. Is it, at least, a worthy successor? By and large, I think so.
This article was featured in the 2017 Homecoming Issue.
Dartmouth’s isolated location and idyllic campus can often feel like a haven from pressing social issues, lulling students and faculty into complacency. Painter, photographer and poet Cecilia Torres ’18 confronts issues of racism and representation in an effort to reach beyond this veil of comfort, using her brush, pencil, camera and words as weapons in the battle to make minorities’ voices heard on campus.
The Emerson String Quartet returned to the Hopkins Center for the Arts Sept. 30, bringing to Dartmouth adaptations of music from 18th century Beethoven to emergent 21st century composers. Renowned for their insight and innovative sound, the Emersons hoped to transport audiences to musical realms unlike even past performances at this venue.
In many ways, “Dunkirk” is the film Christopher Nolan was meant to make. This is not to say that it’s his best film, though it is certainly among the best. While watching the film, one senses that it is the payoff for all his efforts to simultaneously become commercially successful and critically beloved over the last 20 years. After watching “Inception,” which is undoubtedly the most Nolan-esque of all the Nolan films, I feared that the director had reached his pinnacle. His unique and thrilling combination of labyrinthine narratives, philosophical themes and nuanced characters seemed to have been pushed to its limit. After reaching the top of Mt. Everest, there simply was no other peak to summit. His next two features reflected this fact; “The Dark Knight Rises” and “Interstellar” are both decent films that fall short of greatness because they are so overstuffed. Nolan’s ambition, previously his greatest asset, was slowly becoming his primary weakness. Until “Dunkirk.”
Every Sunday at approximately 9 p.m. a group of creative, artistically-minded students meets in Collis Center 301.
Over the summer, theater professor Carol Dunne received news that her vision to help support female theater professionals and artistic directors at the regional and national level had been endorsed by Helen Gurley Brown’s Pussycat Foundation. Since that decision, the Pussycat Foundation issued Dunne a check to the tune of $1.25 million to establish the BOLD Theater Women’s Leadership Circle. Such a grant, specifically aimed to support the careers of women in the theater, is unheard of and represents a major opportunity for theaters all over the nation.
This weekend on the bustling streets of downtown Hanover, the Skinny Pancake will be hosting Montreal-based acoustic blues player Adam Karch and the New Hampshire-based group Sensitive Men.
Those who work the land or live off of it know that although it may seem like the weather is fit for sowing thanks to the bout of warm weather this week, preparations on all fronts are in place for harvest. The Upper Valley, and New England in general, has brief, impressively productive and incredibly seasonal agricultural contributions.
A new name has been posted on the office doors of Shakespeare Alley, welcoming Monica White Ndounou, who joined the Dartmouth faculty as an associate professor of theater earlier this year.
As director of last spring’s student production “What Every Girl Should Know,” president of the all-female a cappella group the Subtleties and actress in “In The Next Room,” “Urinetown” and this fall’s “Cabaret,” performer and playwright Virginia Ogden ’18 has completely immersed herself in the arts at Dartmouth. Ogden spent the past summer as a student at the London Academy of Music and Dramatic Art as part of the Dartmouth theater foreign study program.
Darren Aronofsky and I have a complicated relationship. Well, to be more accurate, his films and I have a charged, complex and often fraught relationship. The common thread among his previous six films is the ability of each to elicit a distinct emotional response from me. “Requiem for a Dream” and “Black Swan” are masterpieces of modern tragedy, while “The Wrestler” is a solid, if unremarkable, film. On the other end of the spectrum, I found “Pi” to be a touch underwhelming and I absolutely loathe both “The Fountain” and “Noah.” Based on those precedents, I really had no idea what to expect from “mother!” other than the fact that it would inevitably provoke a strong reaction. And it most certainly did.
In August, coed a cappella group the Dodecaphonics released their new EP entitled “DDX.” “DDX” is the latest in a long line of albums released by the group since the early 1990s.
A staple of the Upper Valley music scene, the Dartmouth Symphony Orchestra, comprised of Dartmouth students and local instrumentalists, is a major attraction for the Hopkins Center for the Arts at Dartmouth during the fall, winter and spring. This fall, the orchestra, committed to evolution, will embark on a collaborative partnership with the world-renowned Italy-based Conservatory of Siena, its students and its teachers.
As a fan of discovering new artists early and often, I always get excited when I find albums or tracks that hit all of my ideal music criteria: catchy, complex and really, really easy to replay incessantly. “Shades of Grey” by up-and-coming electronic DJs Oliver Heldens and Shaun Frank and featuring Delaney Jane is exactly that.
Experienced cooks know that a good plan is essential to culinary success. The ability to think ahead, work quickly and neatly and manage time efficiently makes both cooking and the completed dish excellent. So much so that in professional cooking, the quality of one’s mise en place, loosely translating to “everything in its place” — meaning items, ingredients, motions and timing — quickly distinguishes the best from the rest. Yet, even for the seasoned chef, cooking at college can present sets of new challenges that can make even a simple plan needlessly complex.
Each year, Telluride at Dartmouth brings hand-selected films from the famous Colorado’s Telluride Film Festival to Hanover. This year’s Telluride at Dartmouth kicked off on Sept. 15 with a screening of “The Shape of Water” and ends tonight with acclaimed drama “Film Stars Don’t Die in Liverpool.”
Going into “Downsizing,” all I knew was the major overarching concept. People were shrinking in order to get more bang for their buck, in a strangely practical use of science fiction technology. An odd premise; one that makes you both eager to get to the ramifications and impatient with opening scenes establishing the given circumstances.
If you were to hold a gun to my head and demand that I produce a list of my all-time favorite films, “Pan’s Labyrinth” would make it into the top five one way or another. I mention this because when early reviews for Guillermo Del Toro’s newest film, “The Shape of Water,” declared it the director’s best work since “Pan’s Labyrinth,” I was both optimistic and skeptical. To be clear, I make the comparison to “Pan’s Labyrinth” not because I wish to put “The Shape of Water” at an unreasonable disadvantage, but because the two films have so much in common.