Five dancers stand perfectly aligned at the front of the stage, motionless and silent. Suddenly, they snap their heads to the right, in a rippling fashion. So begins this year’s production of X Dance.
Truly learning how to play an instrument never ends . Don’t hold yourself back from playing piano, bass guitar, or didgeridoo simply because you think there’s a standard you need to meet.
Fingers snapped, banjos plunked, and an audience of about 15 people gathered around small round tables for a journey back to the 1920s. Emerson’s Black Organization with Natural Interests (EBONI) Speakeasy at the Cabaret brought a taste of African American jazz culture on Thursday night.
Daniel Radcliffe has made looking worried and fighting evil CGI spirits into a profession. Pluck The Boy Who Lived from the stony halls of Hogwarts, stick him into a dusty haunted house, and the result will be just the same: a very nervous and frantic Radcliffe fighting the malevolent ghosts that just can’t seem to leave him alone.
The audience is bombarded by the constant stream of images and sounds that makes up Phantom Limb’s 69˚ S: The Shackleton Project, a multifaceted art performance that will combine puppetry with exploration on Emerson’s Paramount Mainstage Feb. 7 to 12.
Chocolate Cake City’s presentation Friday of The Incomplete Works of Edgar Allan Poe blended murder, madness, and humor during the hour-long performance in the Cabaret.
In a dark theater, a film projector hums a family’s silent black and white home movies project onto a screen. Before any lines are spoken, it is clear the performers have embodied emotionally passionate characters. Monday and Tuesday in the Cabaret, Mercutio Troupe offered an uncompromising portrayal of family life with Dancing At Lughnasa.
I don’t care if he’s the Greatest Writer in the History of the English Language — it is time to reevaluate our relationship with William Shakespeare.
Ben Kronberg strolled into Emerson’s Café covered head to toe in denim, a guitar strapped across his back, thick black-framed glasses resting on his nose, and an unruly gray beard that could have belonged to Rip Van Winkle. This winter, the Colorado native is bringing his raunchy, deadpan humor to college campuses across the Northeast.
Through both fiction and non-fiction, local filmmakers showed what it means to be a visual story teller last Tuesday night during the first installment of the visual and media arts department’s Bright Lights Series.
Last Thursday, the Edgar Allan Poe Foundation of Boston held Poe’s 203rd birthday celebration at the Boston Public Library and detailed plans for the construction of a memorial at Boylston and Charles streets.
A woman licks the blood from a human heart. Blood trickles down the face of a shaking, restrained man. A demented woman stabs herself in the eye. Graphic images stick in your mind after watching the trailer for The Theatre Bizarre, a horror anthology that premieres in Boston this weekend.
Emerson sophomore Sheldon Brown’s death stare isn’t easy to escape in the close quarters of Green Eyes, which premiered Jan. 18. Foregoing the stage, the characters expose their naked passion and fear in an actual hotel room in the Financial District’s Ames Hotel.
Slowly but surely, gay TV characters of both sexes are gaining fleshed-out identities instead of one-dimensional stereotypes, with strong plot lines and story arcs unanchored to sexual orientation. And while this is all well and good, there are still a few kinks to be ironed out, specifically in the portrayal of the homosexual relationship.
Robbie McCauley has staged a war against an invisible enemy. It lurks in conversations between old friends, at evening galas, and in dining halls. It’s the unspoken misunderstanding, politically incorrect and impolite. With Sugar, her new one-woman show, McCauley has staged a war on silence.