“That was something that was really important to me,” said Wang. “To write stories in which Chinese people or Chinese American people could be the heroes of their own stories.”
A political musical has never been so relevant. If all the dissatisfaction with Congress, the slow-moving turtle of politics, were condensed into a satirical look at the people who made our country, '1776' is that musical.
The show, hosted by the UA Sustainability Committee, featured the creative styles of 17 designers, and 19 models strutted down Morss Hall wearing trash and various plastics, metals, paper, and recyclable materials not usually associated with high couture.
In an interview with The Tech, Machover discusses Schoenberg’s legacy, the challenges of adapting his life into an opera, and how it all came together.
This opera’s Schoenberg is a creative player, but also a fighter; he cycles around and around before accepting Judaism, he hurtles forward into the future with his musical sensibilities, he falls in love and loses people and runs, but he eventually finds a home in himself.
The trailer is more brilliant than the film itself, where dramatic snippets against foot-stomping Queen songs promise everything you could ever hope for. This is a film made by and for Queen fans, created with so much love for Freddie Mercury that it disguises the film’s less than stellar foundation.
The musical adaptation of Alison Bechdel’s memoir ‘Fun Home’ explores the death of Bechdel’s father and her coming out as lesbian, and how we try to distill truth from painful memories but can’t because we only have the leftovers and the emotions that still pour from them.
As an animated children’s film, Smallfoot could have gone wrong. But it didn’t. Instead, ‘Smallfoot’ was an animated children film whose slapstick Tom-and-Jerry humor and catchy tunes mask its sensitive approach to criticizing censorship, discrimination, and the fear of the misunderstood.
Boston Calling invites Boston and Cambridge to join a weekend music celebration with incredible headliners each night and numerous performing artists throughout the day. What's not to love?
If anything, these three episodes are about shedding characters from the past four seasons and moving them around to where they can move the company forward. A great deal of plot occurs in these three episodes to place people where they want to be. As we close off this season, I cannot help but feel the end is near.
Both Pied Piper’s crew and the Silicon Valley television show itself have evolved over the past four seasons, but this season so far feels more of a hit or miss.
Joseph, the precocious younger brother, lets us in on his thoughts of his developing philosophy on living and why he chooses to live. We watch him grow up in Nazi-occupied France from the “crybaby” (as his brother calls him) who lost his blue marble to one who refuses to let go of his life.
What could otherwise be a raunchy teen comedy becomes a feel-good film about parenting and the process of watching your children become adults. Yes, parents: young adults can have sex, try drugs, or move to college, or all three.
Think of a modern, raunchy rom-com, or every time a novel was censored for mature content, or go to the past and think of Voltaire’s Candide. And now think about opera, the soprano’s voice echoing through the hall, the audience’s impeccable suits and dresses, and the richness of the orchestral music. Put the two together, plus an overt confrontation against capitalism, and we have 'The Threepenny Opera.'
Chris Babu ’97 graduated from MIT with a mathematics degree and worked on Wall Street as a bond trader for 19 years. But since then, despite being told he was crazy to not stay in finance, he’s changed his career to a novelist.
A Higgs Boson powered particle accelerator sent to space to solve our energy crisis but instead, rips the space-time continuum?
When a massive energy crisis plunges the world population into a hellish existence, the Cloverfield Station is the last hope for our humble planet. Now, if only solving the energy crisis was so simple.
Twice, Molly Bloom falls from grace: first her Olympic skiing accident that puts her out of the contest; next, her arrest for running poker games that marks her as a felon. Brilliant law student turns criminal as she buries herself deeper into the world of the elite.
Around the corner from Eliot Hotel, Back Bay restaurant UNI opened in 2002 with contemporary twists on traditional Asian cuisine. From the outside, it seems like an unimpressive shabby nightclub; but through the wooden door was an upscale, classy restaurant, dimly lit and with an elegant atmosphere.
Walking by the MIT Museum is intriguing this fall — a quick peek through its Mass Ave windows shows patrons decked out in heavy goggles and backpacks meandering through a mostly empty space. They’re participating in The Enemy, a virtual reality (VR) experience intended to inform people about perspectives of war. We are about to join them.
Mitch lacks Bond’s class — “Rapp, Mitch Rapp” doesn’t roll off the tongue — but he certainly makes up for it in kill count and his entertainment factor.
The film loves using the Dutch angle so often that it’s a fantastic opportunity for a drinking game. You might need it when you watch this.
The film version of The Dark Tower is a solid narrative that I enjoyed as a stand alone film and, at times, impressed me with its quick pacing and cohesive writing, but it was too riddled with mediocre writing to watch favorably.
The Only Living Boy in New York is a misnomer, because within this film, no one is truly living, let alone a single boy.
College editors speak with Big Head actor Josh Brener as HBO’s Silicon Valley comes back for season four.
Every Piece of Me explores cultural clashes and the moments when communication collapses in a heartwarming drama.
If you seek two hours of escapism, The Illusionists will give you that, and if you are anything like me — a child who has never grown up — you might receive a nostalgic reminder of wonder at the impossible made possible.
Aptly subtitled as a “trivial comedy for serious people,” The Importance of Being Earnest is a satirical exploration of Victorian courtship and mistaken identity, a lighthearted play without the gravitas of Dorian Gray but with the same biting wit as Wilde’s other writings.
Two guys walk into a bar. They might even be frenemies, as pianist Aaron Diehl joked to the audience, but they would have something in common—jazz-imbued music. If Ferdinand “Jelly Roll” Morton and George Gershwin had met in history, the result would be spectacular.
The Danish String Quartet has drawn critical praise for its performances since its 2002 debut at the Copenhagen Summer Festival. Its four members--violinists Rune Tonsgaard Sørensen and Frederik Øland, violist Asbjørn Nørgaard, and cellist Fredrik Schøyen Sjölin--are renowned for their wonderful balance in their performances, a difficult feat to pull off. I confess that I am indifferent to string quartets but the Saturday evening performance warmed me up to the sound and timbre of strings.
Watching The Space Between Us is akin to the sitting through an unintelligible lecture. Not quite sure where the logical jumps were, you merely nod and move on, understanding that it would take some work to decipher the mess of notes you scrawled.
The Atheist is a snide reminder about integrity and moral responsibility to journalists who are granted the power to control the flow of information.
The film I, Daniel Blake is a declaration. These words, spray-painted across the walls of the job centre, capture the compelling story of 59-year-old carpenter Daniel Blake (Dave Johns) who is forced to fight for his welfare rights after a heart attack.
The script has held up well. With its raunchy humor and intensely flawed characters, Virginia Woolf? is reminiscent of modern television dramedies like You’re the Worst. Dysfunctional families and tragic marriages seem like modern staples, but for a play performed in the 1960s, it generated controversy for its language and portrayal of such flawed, unlikeable characters.
His homemade YouTube videos reflect one of the great things about MIT: the boldness to innovate and a humane compassion for the world.
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.
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.
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.
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.
The ambitious title of Anti-Tech Revolution: Why and How would suggest that Theodore Kaczynski (the "Unabomber"), after years of deliberating in prison, has found and published the solution to the uncertainty of a technological future. The solution he proposes in this work, however, is not so clear-cut.
An evening listening to a solo piano recital by internationally renowned pianist Imogen Cooper is therapeutic for the soul. Cooper stepped out onto the stage, greeted warmly by applause. Her first piece, “The Virgin of Frydek” by Leoš Janáček, was performed with sublime tenderness, a sensitivity that is carried through her performance.
Among the twelve victims, Paper Lanterns centers around Normand Brissette and Ralph Neal, two American POW victims, including interviews with members of their families, who shared their gratitude to Mori for his compassion and dedication.