With a campus that’s constantly in motion with its students moving at a hundred miles an hour in seemingly endless directions, it can be difficult to gather perspective on the... Read more
Editor’s Note: This article has been reedited by the Voice‘s staff. The article that follows is different from the article that appeared in the Feb. 6, 2014 print edition of the Voice.... Read more
Dionysus conjures the image of a smiling man with a flowing black beard, passing around grapes and dancing through the forest. As the Greek god of wine, festivities, and theater,... Read more
I’ll be the first to admit it: I had no idea what to expect when I learned the Theater and Performance Studies Department’s production of Hamlet was taking a modern guise. I’ve seen Much Ado About Nothing and Romeo and Juliet set in present day, so I know very well that Shakespearean lore is capable of transcending time and space. But to take perhaps the greatest story ever told and refashion it with iPads and grating dubstep? It’s a risk, but director Professor Derek Goldman and his cast pull it off spectacularly.
Walking into Gonda Theater and seeing a Barbie doll’s limbs tied on cords is a bit of a shocking sight. At first, you think it’s just a child’s room gone horribly wrong, when in reality, it means so much more. As grotesque as it appears, it conceals profound conflict beneath the surface.
A hustler wrestling with addiction, a transvestite dancer struggling to conquer her “mind and body” problem, a successful businessman trying to salvage what is left of a crumbling neighborhood, and an “indestructible” Reverend tired of identifying bodies of the ones he loves. These are just some of the stories celebrated in Polk Street, written and directed by T. Chase Meacham (COL ’15). A co-production between Mask & Bauble and Nomadic, Polk Street is inspired by Joey Plaster’s “Polk Street Stories,” a special radio broadcast sponsored by NPR.