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Bass and drums are generally thought to be paired with guitars, not pianos, but The Bad Plus counters that idea with lively jazz that relies on a piano-drums-bass trio. The outfit originally consisted of pianist Ethan Iverson, bassist Reid Anderson and drummer David King, but the three are currently collaborating with saxophonist Joshua Redman.
During her time at the College, actress Talene Monahon ’13 was involved in a number of theater productions, including “Angels in America” in 2012 and “The Rocky Horror Picture Show” in 2010. During her senior fellowship, she wrote, produced and acted in “All in Good Fun,” a one-woman play about the social scene at Dartmouth.
Since Steve Jobs’ death in 2011, we have entered a post-Jobsian landscape, where films such as “Jobs” (2013) and “Steve Jobs: The Man in the Machine” (2015) are presented like fleurs du mal upon his gravestone, simultaneously tarnishing and mythologizing Jobs’ status in technology. Each director aims his cinematic arrow at Jobs’ Achilles’ heel, his supposed inhuman side, to portray the brute behind the black turtlenecks. Based off Walter Isaacson’s 2011 eponymous biography, Academy-Award winning director Danny Boyle’s 2015 biopic “Steve Jobs” adds yet another conflicted chapter to the Jobs canon, peeking behind the Wizard of Cupertino’s curtain to explore the backstage drama of this luminary in the rimless glasses.
The improv comedy group Casual Thursday will have the chance to take their act to a bigger stage this week. The group, which generally performs in Greek houses and other social venues on campus, will be performing in Bentley Theater on Thursday as part of the theater department’s “Your Space” program that aims to bring non-majors into the Hopkins Center.
The combination of jazz, rock and traditional Latin American cumbia, may sound like a discordant combination, but the members of La Santa Cecilia, a Los Angeles-based quartet, combine these forms and more into Grammy award-winning music.
When Katie Schultz ’16, now Sugarplum’s co-director, auditioned to join a dance group her freshman fall, she had a hard time choosing which to join.
The first of two visiting faculty exhibitions — which together will feature works by the 14 visiting professors that have taught at the College since the opening of the Black Family Visual Arts Center — opened in the Strauss Gallery on Sept. 22nd, director of exhibitions and studio art professor Gerald Auten said. It features the work of professors Sarah Amos, Paul Bowen, Ariel Freiberg, Hein Koh, Julie Puttgen, Edward del Rosario and Jessica Tam.
With “Gravity” (2013) and “Interstellar” (2014) firmly dominating the epic extraterrestrial disaster genre, it is a suicide mission to enter their orbit for fear of entering that black hole of comparison. Director Ridley Scott takes on this challenge with his “The Martian” (2015), based on Andy Weir’s eponymous 2011 novel and crafts a light-hearted thrill-ride with enough pace and levity to escape the genre’s event horizon.
A small television sits next to a stack of playing cards. Nearby, an Andy Warhol print of an electric chair hangs near a wooden stag’s head. A marble bust is displayed on an old, cracked cabinet, and on the wall there is sketch of a dancer by John Singer Sargent.
Contemporary comedians have increasingly explored political and social issues. From comedian Amy Schumer’s critiques of popular culture) to “The Daily Show” (1996) correspondent Aasif Mandvi’s social commentray a range of topics from religion to relationships have been worked through in comedy. Iranian-American comedian Zahra Noorbakhsh explores how politics intersects with comedy in her one-woman show “All Atheists are Muslim,” which she performed on Friday at the Hopkins Center.
On a rainy night, the middle of the Green is devoid of noise or activity save for some stragglers headed to their residence halls and the sound of rain on gravel. And then — a light flicks on in the distance. The previously empty rotunda at Hopkins Center glows under a warm lamp. In the space where during the day there was only a blank wall, is a painting.
Some people hate reading Shakespeare in high school. Some people love it. Some people love his works so much that they want to bring his words to life on stage. Avery Feingold ’17, president of the Rude Mechanicals, falls into the latter category.
As the fall term continues along, so does the process of student groups welcoming in new members. While all groups have their own rituals and traditions for how they bring new members into the fold, theater and improv groups use a mix of classic methods like wakeups and crazier tactics — think a trip to Everything But Anchovies and bowling.
With the 2013 arrest and incarceration of Federal Bureau of Investigation fugitive James “Whitey” Bulger, the notorious crime boss of Boston’s Winter Hill Gang, his canonization as a mass criminal and escapee had begun. This story finds its altarpiece in Scott Cooper’s “Black Mass” (2015). Based on the 2001 book “Black Mass: The True Story of an Unholy Alliance Between the FBI and the Irish Mob,” the film becomes a hagiography to Bulger and his empire, whose puppet strings stretched over all of South Boston from the 1970s to the 1990s.
What do zebras, World War I, battleships and alternate realities have in common? They all helped inspire Gibson/Martelli’s “MAN A,” the newest exhibit in the Hopkins Center.
When Adenrele Adewusi ’15 stepped onto campus her freshman fall, she felt that she only saw three academic options for students — “pre-med, pre-law and pre-Wall Street.” Adewusi went with the third option, and she planned to leave the College with a degree in mathematics.
For students who have wondered about how to get involved with theater at the College but have no idea where to begin or have had no previous experience, the College’s theater department has a series of events and programs meant to help them. The two most prominent options are the termly showcase and the “Your Space” productions.
They begin early, before noon and go late into the night. Sometimes, decisions are not made until the sun rises on Monday.
“Grandma” (2015) opens on Ellie (Lily Tomlin), a former poet, college professor and widow, bitterly breaking up with Olivia (Judy Greer), her much younger girlfriend of four months. Ellie has been largely forgotten by life beyond a few anthologized poems. Her fiery vigor has been extinguished by the tides of time and loss of Violet, her former partner of 30 years, leaving behind an irascible, icy self. Now she just treads in the narcotic waters of nostalgia, donning her professorial regalia while leafing through old photos. Anonymity becomes her refuge, as she pays off her debts and cuts up her credit cards to turn into a wind chime, as if she is tying up loose ends before the curtains close.
In 1972, Bill Pence and his wife Stella Pence transformed an old opera house into a functional theater and screened two movies there. The opera-house-turned-theater was in Telluride, Colorado, and the Telluride Film Festival was born.