In a time when Disney’s theatrical output is hampered by the COVID crisis, and when its live-action TV series are quickly forgotten, it’s up to the company’s animated series to pick up the slack.
Featuring a man insistent on his own intelligence, dismissive of women and easily controlled by someone even more arrogant, the Department of Theatre's production of "Tartuffe" proved the necessity of art in challenging those in power.
Stage Left's production of "First Date" was easy to fall in love with.
The title "We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West Africa, From the German Suedwesafrika, Between the Years 1884-1915," lets its audience know right off the bat that this is not going to be an easy show to take in.
The fun the cast of "Bend, Tear, and Spindle" had in staging its performance was contagious as their obvious joy spread throughout Wilks Theatre on opening night.
On Super Bowl Sunday, two organizations pulled off miracles: the Eagles beat the Patriots, and Netflix made people interested in "Cloverfield" again.
"Is there a reviewer from the student paper here?" comedian, actor and writer Joe Mande asked toward the end of his set. "Because I will give you 20 dollars to say this was good"
The vague and threatening world of "Gathering Blue" is established almost immediately when a swarm of angry women try to throw an orphan girl into the "bone fields" to be devoured by beasts, an unanticipated beginning for a story that's ultimate message is one of hope.
The opening chords of David Bowie's "Rebel Rebel" blared, and audience chatter quickly dissolved into thunderous applause as comedian John Mulaney leapt onto the stage of Procter and Gamble Hall in Cincinnati.
The opening of "The Flick" appropriately mimicked the beginning of a movie. A single lamp flickered on and illuminated the back wall of Studio 88 with different colors simulating a projection. Brassy opening music swelled to a crescendo and the audience settled in for a unique slice-of-life story.
After reading some reviews and criticism of Hillary Clinton's latest book, I was prepared to write a scathingly negative review of her literary recollection of the 2016 presidential election.
For fans of rebellion, sexual liberation and general debauchery (basically the 1920s as an era), the Miami University Department of Theatre's production of "The Wild Party" is a thought-provoking feast for the senses that should not be missed.
When a show starts with three princesses gyrating and swearing at their princes, it becomes immediately clear that Disney had no hand in this version of the company's beloved "Princess Line" franchise.
The way to a reader's heart is easy. Much like film buffs who gush over movies about filmmaking, devoted readers will melt in the palm of the author that can write well about their own relationship with words, stories and authors.
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