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Voices of 15X or VoX, directed by Jessica King-Fredel ’17 and Kalie Marsicano ‘17, will be a gender-inclusive production of students bearing their souls to their peers.
The Dartmouth Film Society, which chooses and oversees many of the films screened at the Hopkins Center, has two main programs: the Hop Film Program, which screens a variety of films, and the Dartmouth film series. The latter screens films that follow a predetermined theme, including time periods, genres, or nationalities. The Dartmouth sat down with Johanna Evans ’10, director of the Dartmouth Film Society, to find out more about the society and its summer programming.
Next Tuesday, students and community members will get a taste of the eclectic offerings of the musical group “Pink Martini”. The group, founded by Thomas Lauderdale in 1994, is a self-described “little orchestra.” Classical, Latin, jazz and classical pop all influence the group’s work. The Dartmouth sat down with China Forbes, one of the band’s lead vocalists, to discuss her experience in the group.
Vox Theater, a company run by Dartmouth alumni Kate Mulley ’05, Matthew Cohn ’08 and Thom Pasculli ’05, will be returning this weekend to showcase several pieces-in-work at the Hopkins Center in a series titled VoxFest. After just one week of rehearsals, the Company will stage five free performances that stretch the boundaries of “typical” theater.
Shawn Ahernis the dance captain of Pilobolus Dance Theatre, a modern dance company founded in 1971 at the College. The group now consists of seven full company members and two apprentices. Pilobolus is known for its diverse repertoire, ranging from theatrical pieces to abstract ones. The company has performed in 64 countries, and on programs including the 79th Annual Academy Awards, “The Oprah Winfrey Show” and “Late Night with Conan O’Brien.” Ahern, who has been with the company for five years, performed with the group at the Hopkins Center twice this week.
The few hundred students and community members who crowded the Green Thursday evening cheered as Plena Libre, the four-time Grammy nominated Latin and jazz band, yelled “Are we ready?” several times at the kick off of their concert.
Hank Rogerson ’89 and Jilann Spitzmiller ’89 have been making films together since they met at Dartmouth over 30 years ago. Their newest documentary, “Still Dreaming” (2014) chronicles a group of elderly actors living at a home for retired Broadway performers who put on Shakespeare’s “A Midsummer Night’s Dream.” The film will screen at the Hopkins Center this Friday followed by a question and answer session with Rogerson and Spitzmiller.
As spring term comes to a close and summer is now in sight, it’s hard to believe that we are nearly halfway through 2015. It seems like just yesterday music blogs, radio stations and television specials were reflecting on 2014 and releasing their “Best Of” lists. Now that June is officially upon us, it’s already time to start reflecting on some of the top albums released so far in 2015.
David Reingold ’71 is not a typical glassblowing instructor. A chemistry student at the College, Reingold received his Ph.D. in organic chemistry from the University of Oregon in 1976 and spent two years completing post-doctoral research at the University of Alberta before taking a job as a chemistry professor at Haverford College, where he first encountered scientific glassblowing. Although he continued to teach chemistry for most of his professional career, glassblowing subsequently became a valued hobby for Reingold, and through self-teaching and dedicated experimentation it has grown into his current field.
With the "Twilight" saga thoroughly finished and "The Hunger Games" soon coming to a close, audiences clearly need a new heroine torn between gorgeous men. How else are we supposed to live out our romantic fantasies, or wear our Team Edward or Team Jacob T-shirts? Fortunately, Thomas Vinterberg’s “Far from the Madding Crowd” (2015) is here to fill the gaping void in our hearts, bringing Thomas Hardy’s 1874 eponymous novel to life. In the process, we are introduced to the steamy Victorian romance of Bathsheba Everdene — whose surname inspired Katniss Everdeen of “The Hunger Games” — and her three suitors.
When Corinne Romano ’15 first proposed her idea to represent Mayan hieroglyphs as real-life creatures for a senior studio art project, she said that some members of the faculty did not understand the point of view she hoped to present through her work. Despite the uncertainty of some professors, Romano was intrigued by the concept — which built on her interest in “creature concept design” — and she decided to commit to the idea.
In the face of cultural misunderstandings that exist today, music has been and still is a link that unites people of different backgrounds, regardless of their geographical separation. Tonight, cultural worlds will collide through music when the World Music Percussion Ensemble performs its spring concert “Afro/Andean Fusion” in Spaulding Auditorium .
Upon the advice of an upperclassman, Chris Gallerani ’15 took “Acting 1” with theater professor James Rice his freshman fall, not realizing that it would change his course at the college toward theater. Four years later, Gallerani performed his senior thesis “#werq: a queer journey” on May 1-3, a solo production of over an hour where he bared his soul, and his body, to the audience.
“Pitch Perfect 2” (2015) opens like a wrecking ball, with Rebel Wilson’s “Fat Amy” accidentally revealing her junk to the president at the Kennedy Center. Deemed an insult to the a cappella world in the aftermath of the incident, the Barden Bellas — three-time collegiate champions since we last saw them in the original “Pitch Perfect” (2012) — are set to be cast out of the aca-community unless they win the international championship. If the Bellas are to be victorious, they must find an entirely new musical sound, take on a new member and face a daunting opponent on the global stage. Yet somehow nothing in the sequel feels fresh. If you haven’t seen the first film, don’t fret — “Pitch Perfect 2” ends up being no more than a remix of the original, only with higher stakes.
This Saturday, the Dartmouth Gospel Choir will take the Spaulding Auditorium stage for its only concert this term, performing more than 10 songs. Highlights among the various pieces slated for the performance include a call-and-response rendition of the Lord’s Prayer and a cover of “Glory,” the Academy Award-winning track from the film “Selma” (2014), according to performers interviewed.
This evening at the Hopkins Center for the Arts, well-known stand-up comic and writer Tig Notaro will perform in Spaulding Auditorium.
Pieces by beloved classical composers such as Beethoven and Schubert will mix with the premiere of Dan Román’s “SyncopaXiones” (2012) at music professor and current pianist in residence Sally Pinkas’ piano concert tonight.
While some writers go through great lengths to find inspiration, author Meg Kearney says that she believes people should have an open mind because inspiration can be found anywhere. As the prize judge for the English department’s annual Creative Writing Awards, Kearney opened the ceremony last Thursday in Sanborn Library by reading nine of her poems, including “Creed” (2001), “Home By Now” (2009) and “A Grasshopper Walks Into A Bar” (2009).
Sue Reed ’81 graduated from College with a degree in anthropology, but in her senior spring decided that she wanted to become an architect. Reed attended a masters program in architecture at Virginia Polytechnic Institute and has worked as a professional architect ever since. Reed currently is a member of the firm Smith and Vansant architects, the Norwich-based firm that has worked on renovating Zeta Psi fraternity, Casque and Gauntlet and the Triangle House.
Cinematic sequels are notorious for padding their companies’ coffers and their derivative plots. George Miller brings his “Mad Max” franchise of “Mad Max” (1979), “Mad Max 2” (1981) and “Mad Max Beyond Thunderdome”(1985) back from a three-decade drought with “Mad Max: Fury Road” (2015). He doesn’t just reboot it, but gives it a paint job, flashy rims and some serious horsepower. “Mad Max: Fury Road” is somewhere between the apocalyptic grandiosity of a John Martin painting and a demolition derby, combining hell and spitfire diesel into a bad-ass rock and roll extravaganza.
