Illumination Entertainment’s latest animated film, Sing, is jumping on the singing competition train, following the journey of theater owning koala Buster Moon (Matthew McConaughey) as he tries to revive his theater’s financial woes by staging a city-wide singing competition.
The two-hour show is filled with color, spazztastic music and moves, and enough hooting and howling from the fanatical audience to fill up the MIT night scene.
His homemade YouTube videos reflect one of the great things about MIT: the boldness to innovate and a humane compassion for the world.
For those who frown upon the illogicalness of random fits of song and dance, La La Land with its mix of the trivial and the real dares to reinvent the musical as a genre.
The film follows Ea, God’s disgruntled 10-year-old daughter, who is of course, Jesus Christ’s (JC for short) younger sister. Groyne instills each dead-eyed stare with both weariness and willfulness, playing the role with a quiet gravity that belies her age. Her voice-over narrations are pitch perfect, too, in their monotonous tone and quintessentially blasé teenage demeanor.
It’s not the first time that Prospero’s gender was switched in an adaptation. In 2010, Julie Taymor’s film The Tempest cast Helen Mirren as the protagonist Prospero (known in the film as Prospera), a role traditionally acted by a man in Shakespeare’s original play of the same title. Here, the Actors’ Shakespeare Project has cast Marya Lowry, who juggles the various sides of our protagonist seamlessly and fits naturally into the script.
Notable performances include those of Angie DeWolf and Spencer Doru Keith, who danced the powerful, sensual Arabian Variation, and Janelle Gilchrist and Junichi Fukuda, who leapt across the stage in the Russian Variation. Concluding the night was the Grand Pas de Deux with the Sugar Plum Fairy (Madeleine Bonn) and the Cavalier (Stephen James), both of whom danced with beautiful poise and strength through its multiple variations and coda.
What Makes It Great? with Rob Kapilow and NEC Philharmonia — Mussorgsky’s Pictures at an Exhibition Presented by Celebrity Series of Boston NEC Jordan Hall Dec. 2, 2016
Like any good Disney movie worth its salt, Moana tethers its lighthearted comedy and rousing action to a central, uplifting theme.
Quite a bit of thought was put into the libretto and the performance itself — for such a philosophical novel, this adaptation is palatable for audience members who have not read the source material. In the lecture prior to the performance, Liebermann commented that he was particularly cautious while writing because he wanted the opera to be self-sufficient, not even requiring the program notes to understand the story.
Thursday’s concert opened to the quaint charms of Debussy’s Prélude à l’après-midi d’un faune. The prelude conjured the image of a forest in the natural, rural world and the flutes carried this atmosphere well. The main themes of the clarinet and flute parts were dreamlike and serene, a strange juxtaposition with Zander’s animated conducting during the more invigorating passages.
The Wiesner Gallery reopened this past Wednesday to the public, featuring over 70 pieces from 18 of the Arts Scholars. The gallery’s organization was spearheaded by curator and manager of MIT Student Arts Programs Sam Magee and student curator and Arts Scholar Carmen Castaños G.
Contingent on a successful suspension of disbelief, Arrival delivers a thought provoking and understated drama with an astonishing denouement.
Wit is a tour de force of human experience that dares to pose difficult questions about life, death, and the uncertainty of human mortality