“Dreamland,” Glass Animals’ third album released in Aug. 2020, finally got its chance to be performed live at the Express Live! House.
Denzel Curry has been one of my favorite artists for the past three years. The dude is brilliant, funny and always on the cutting edge. He hasn’t released a single bad album, in my opinion — that’s hard to do these days.
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.
Charly Bliss – “Threat” Brooklyn-born band Charly Bliss followed up their critically acclaimed LP “Young Enough” with “Supermoon,” a five-track EP bridging the gap between “Young Enough” and their 2017 album “Guppy.” Rounding out “Supermoon” is the succinctly-written, sweetly-sung “Threat,” a three-minute ode to instability in relationships. Lead singer Eva Hendricks sings precariously of how she “can forgive anything [and] it’s absolutely terrifying,” and with her brother, Miami University alum Sam Hendricks, on drums, the song maintains its sense of authority and power the whole way through.
Stage Left’s production of “Pippin!” was absolutely worth that exclamation point. Miami University's only student-run musical theatre organization brought their characteristic enthusiasm to a performance equal parts amusing and disconcerting.
There’s nothing like a warm (alcoholic) drink on a chilly fall evening.
Few people love to party more than Charlotte Aitchison. Better known as pop star Charli XCX, she has built her brand on boys and bacchanalian nights. Since the start of her career, the singer-songwriter has proven she can reliably put out both industrial pop bangers and radio-friendly bops about the highs of living on the edge. But for the first time, Charli’s fanbase of “angels” have been treated to an album about what’s not so preferable about the eternal state of partying she’s painted pictures of throughout her career.
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.