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On May 7, Northern Stage in White River Junction, Vt. will be premiering “The Vermont Farm Project” — an original indie-folk musical exploring the lives of Vermont farmers based on three years of interviews with locals working in the industry.
On Apr. 11, DIY Indie Rock band Frog performed at One Wheelock as the closing show for a tour showcasing their new album — “1000 Variations on the Same Song,” a concept that plays with the inherent repetition across the songwriting craft and canon. The Dartmouth sat down with Frog member Daniel Bateman to discuss the band and its latest album.
The Black Family Visual Arts Center’s current lobby exhibition “Day In, Day Out” transforms everyday experiences into visual narratives. Annie Qiu ’24 and Tristan Macdonald ’24 have developed the exhibition — exploring routine moments through painting and printmaking.
Four hours is a long way to drive for anything. And I don’t discount the great art that exists in the Upper Valley — it’s easier to visit Saint-Gaudens or even the Massachusetts Museum of Contemporary Art. But Storm King Art Center is reopening for the season, and you should make the trip.
Lethokuhle Msimang GR and Veronika Yadukha GR worked together to create “Rantau,” combining their respective prowess in poetry and ceramics. The exhibition, which was on view at the Black Family Visual Arts Center from April 9-18, explores migration, cultural liminality, loss and resilience.
Charlotte, Editor-in-Chief: “Anna Karenina” by Leo Tolstoy
Over spring break, the Rude Mechanicals –– Dartmouth’s student-run Shakespeare company –– performed “The Comedy of Errors” across the Upper Valley in their first ever tour. The group also ran workshops with seven middle and high schools in the Upper Valley and greater Vermont area.
Christian McBride — a jazz musician who has performed bass for the past 30 years — will bring his newest ensemble, Ursa Major, to the Hanover Inn on April 16 at 7:30 p.m. The sold-out performance is part of the Hopkins Center for the Arts’ 2024-25 season.
On March 28, the Hood Museum of Art debuted its new exhibit on Claude Monet, entitled “Monet: Reimaging the French Landscape.” Hood Museum curator of European Art Elizabeth Rice Mattison curated the exhibit, which explores Monet’s influence on impressionism. The exhibition inspires viewers to consider Monet’s impact on the art world through developing the style of impressionism.
From April 10-12, the HanUnder Art Festival will turn Hanover into a celebration of student creativity.
During the summer of his sophomore year, Kabir Mehra ’26 decided to reach out to some of his friends to “jam out” some of the songs he had been workshopping on his guitar. By week three of summer term, the group had fleshed out a repertoire of songs and formed a band: Day Drooler. This band is more “just a group of friends,” Mehra said. Christian Smith ’27 and Nathan McAllister ’25, who play lead guitar and saxophone respectively, had done gigs with Mehra the spring before Day Drooler’s formation. Grant Foley ’25, who plays the drums, and Ian Glick ’26, who plays bass, both became friends with Mehra through the Dartmouth music scene.
Although Dan Erickson’s “Severance” is rife with cynicism and corporate humor, it differs drastically from a workplace satire. “Severance” is ultimately a work of science fiction. The show grants insight into the depths of human psychology and emotion.
“L’Absinthe” by Edgar Degas. “Tired” by Ramón Casas. “The Wedding Dress” by Frederick Elwell. These are the portrayals of women experiencing extreme despair that inspired Michelle Zauner in the production of Japanese Breakfast’s new album, “For Melancholy Brunettes (& sad women),” which was released on March 21.
“This is bliss / This is Hell / Forever is a feeling / And I know it well,” sings singer-songwriter Lucy Dacus in the titular track of her fourth solo album, “Forever is a Feeling.” These lines depict the central juxtaposition of the record which grapples with the ephemerality of love. Dacus knows “forever” is impossible, but she wants it all the same.
At Dartmouth — where Greek life and student-run events dominate the campus social scene — one name has risen to prominence behind the DJ booth. Known for her ability to read a crowd and deliver high-energy sets, DJ TFam has built a reputation as a female DJ.
On March 4, journalist and filmmaker Mona El-Naggar discussed her career in documentary filmmaking — from covering conflicts in the Middle East to the role she sees for herself as a storyteller in the media landscape. The event was co-sponsored by the Middle East Initiative — a collaboration between the Dickey Center for International Understanding, the Middle Eastern studies program and Jewish studies program — along with Dartmouth Dialogues, while Middle Eastern studies professor Jonathon Smolin served as moderator.
This spring, Ephemera, a new art history journal, is set to release its first issue on campus. The journal will feature theoretical and historical essays, artist spotlights, exhibition overviews, student work and more, according to founder Chandini Peddanna ’25.
On Wednesday, Feb. 12, there were more people than chairs in the Wheelock House, the Christian Living Learning Community and former home of Eleazar Wheelock. Spencer Reece, a visiting poet and Episcopalian priest, stood at the front of the room like it was a Sunday service. He led the group in “Shalom,” a call-and-response prayer begetting peace. As I repeated the Hebrew benediction, moving from whispers to shouts, I felt aware of how rarely an opportunity arises to join a group of strangers and sing without shame.
On Feb. 19, the Hood Museum of Art hosted 26 community members for a special guided tour of two of its current exhibitions: “Attitude of Coexistence: Non-Humans in East Asian Art” and “Beyond the Bouquet: Arranging Flowers in American Art.”
In the spirit of the saying “if it ain’t broke, don’t fix it,” the “White Lotus” season premiere — “Same Spirits, New Forms” — delivers exactly what its title promises. For those unfamiliar, the “spirit” of the White Lotus television series centers around a luxury resort enterprise functioning as a cultural refuge for the hyper-rich. Far from broke, the Emmy award-winning first and second seasons of “White Lotus” cemented themselves in the zeitgeist as a satirical exploration of America’s ever-expanding wealth gap. Each season thus far has transformed the serene utopia of a Four Seasons property into a crime scene where everything that can go wrong, does, and where somebody innocent is sure to end up dead.