As the star-crossed lovers brood on opposite ends of the balcony, their families march on stage to stand beneath them. A man in black emerges to narrate the prologue, gesturing to backlit scenes of Verona, before donning his hat, announcing himself the prince, and stepping back to let violent sword-fighting begin in the Folger Shakespeare Theatre’s production of Romeo and Juliet, directed by Aaron Posner.
Some of the biggest names in the pop art movement, including Andy Warhol and Roy Lichtenstein, settled into Georgetown’s Spagnuolo Art Gallery this weekend. Located in the lobby of Walsh, the gallery is showcasing these artists in its newest exhibit, Pop Art Prints. In addition to displaying some of the most iconic pop art imagery, the exhibit also features works that, as curator and Georgetown museum studies fellow Carolanne Bonanno points out, “…are a little more alternative, so that [students] could compare them to the larger names.”
“Ender Wiggin isn’t a killer. He just wins—thoroughly.” Director Gavin Hood brings these words to life in his adaptation of the classic science fiction novel by Orson Scott Card. Visually and viscerally, he succeeds in creating a brutal movie about morals and ethics. Ender’s Game tells the story of Ender Wiggin as he moves from an Earth-based military academy to an extraterrestrial base called Battle School, where children are trained to be the military geniuses of tomorrow. The movie takes place after the Formic Wars, an alien invasion that almost destroyed Earth.
I attended a reading by prolific contemporary poets C.K. Williams and Stanley Plumly at the Folger Shakespeare Library this Monday, and I was scared. I know nothing about poetry, and, aside from the very little I read in high school English class, I have never branched into the genre. I, like some other nervous readers comfortable in their familiar prose, have avoided meter for far too long.
I was an awkward teenager. That hardly makes me an anomaly, but the levels of angst accompanying that particular state of being reached the kind of heights that every misfit seems to think is unique to them. Of course, the irony is that this is a fairly universal condition among people navigating new identities and social strata, even as the hierarchies of high school appear to be carved in stone. Everything seems inflated beyond belief, every interaction a subject to be endlessly analyzed, and every embarrassment a potential reason to leave the country.
Ah, Kelly Clarkson. She stole the show with American Idol, stole our hearts with Breakaway, and stole our praise with Stronger. No? Hyperbole aside, Kelly Clarkson has been around for a while, and there is no denying she’s got a hell of a voice. But as the name may suggest, Wrapped in Red is her first Christmas-themed album, and that’s always a dangerous body of water to tread into.
Though it took them a trip to the Caribbean and some Disco lessons from LCD Soundsystem’s James Murphy, Arcade Fire has finally learned how to have fun. The indie rock band’s fourth release, Reflektor, marks an intentional movement away from their definitive, Grammy-winning sound and ushers in a reenergized, playful one that is less saturated in heavy thematic content. This doesn’t mean that Reflektor is entirely free from William Butler’s didactic, preachy lyrics, but this time they are delivered in a more brightly lit way.
“Who are we when nobody is watching?” goes the director’s tagline for Nomadic Theater’s production of Rosencrantz and Guildenstern are Dead, a post-absurdist play by Tom Stoppard. Director Kathleen Joyce (COL ‘15) notes that, “We live a fundamentally absurd existence with rules that don’t make sense. … Post-absurdism says ‘How can we live our lives under those assumptions? How can we be sane and happy given the chaotic universe that we live in?’”
Drug cartels and decapitations have never been so sexy. Although his stunning A-list cast definitely helps, Ridley Scott infuses The Counselor with a ubiquitous sex appeal that seeps through every meticulous detail of the film. It’s difficult to imagine that such an attractive movie could successfully carry themes of grief and death, but Scott’s silver platter proves to be a successful vehicle for the ugliest of human experiences.
Vincent van Gogh’s paintings are sculpture. Using a technique called impasto, his brush strokes are so thickly applied that they create peaks and canyons of paint. These mountains and caverns create an image of a furious flurry of activity in his paintings. Consistent throughout van Gogh’s oeuvre, his technical virtuosity appears improvised.