Northern Stage hosts solo stage adaptation of ‘The Great Gatsby’
Starring Bryce Foley, the one-man show played from May 1 to 5.
Starring Bryce Foley, the one-man show played from May 1 to 5.
Starring Bryce Foley, the one-man show played from May 1 to 5.
Lily Easter ’25 directed “Matt and Ben” in the play’s first run at Dartmouth since Mindy Kaling ’01 and Brenda Withers ’00 wrote the story in 2001.
Featuring a live pianist and an unusual story timeline, “Constellations” is a play that encourages the audience to explore memory and heartbreak.
With support from the Dartmouth theater department, “The Aristocrats” takes a major step forward in its development with a staged reading.
New York City and London are two theater hubs with significant cultural identities. While one promotes entertainment, the other promotes art.
“Lost Girl” grapples with themes of change and heartbreak relevant to cast members and college students overall.
With support from cultural consultant Humaira Ghilzai, Northern Stage’s ‘Selling Kabul’ hopes that audiences leave reflecting on the human toll of the war in Afghanistan and the effects of U.S. involvement.
“Pippin,” the last theater department MainStage production before the Hopkins Center renovation, puts a surrealist twist on a Tony Award-winning musical.
The Dartmouth theater department’s MainStage production for the term, “Faith, Hope and Charity,” premiered this past weekend, marking the department’s first-ever radio play. Adapted from the original German play written by Ödön von Horváth and translated by Péter Fábri, the production brings the European story into an American context.
Having fully immersed myself into “Into the Woods,” I find it rather difficult to express what I felt and thought. It is a meticulous and impressive production carried out by the theater department at Dartmouth, and it is a lot more than a musical out of which one walks and exclaims, “I enjoyed it and will carry on with my life without thinking about it for another second.” The lesson it attempts to deliver provokes much thought about not only the story itself but also our very own lives and this world. Before explaining why that is, let’s first take a look at the story and the amazing production.
In March of 1998, Dartmouth witnessed a historic summit on black theater, intended to address specific strategies to build and maintain black theater companies and institutions.
Although 2018 is just starting, there have already been many times this year that I’ve found myself wondering if I am living in a twisted dystopia.
“1984,” Dartmouth’s stage adaptation of Milton Wayne’s radio adaptation of George Orwell’s synonomously-named classic, gives a twist to the original setup of the novel to make it more relevant to the world today.
With the end of fall term approaching, the theater department’s fall musical is right around the corner.
As director of last spring’s student production “What Every Girl Should Know,” president of the all-female a cappella group the Subtleties and actress in “In The Next Room,” “Urinetown” and this fall’s “Cabaret,” performer and playwright Virginia Ogden ’18 has completely immersed herself in the arts at Dartmouth.
A new name has been posted on the office doors of Shakespeare Alley, welcoming Monica White Ndounou, who joined the Dartmouth faculty as an associate professor of theater earlier this year. The theater department now has nine faculty members, not including adjunct faculty.
What does a play written 2,500 years ago and a suburb of St. Louis have in common? The upcoming Theater of War production of “Antigone in Ferguson” at the Hopkins Center for the Arts draws parallels between the events of the ancient Greek play by Sophocles and those in Ferguson, Missouri surrounding the death of Michael Brown in 2014.
The world-renowned production company New York Theater Workshop commemorated its quarter-century-long relationship with Dartmouth College at its annual spring gala last night at the Edison Ballroom in New York City.
The audition process can cause even the most confident and experienced performer, such as those who auditioned last week for the theater department’s production of the Tony Award-winning satirical musical “Urinetown,” to descend suddenly descend into a vortex of self-deprecating, worst-case scenario concerns: my hands are so sweaty, I’m going to damage everything I touch and get blacklisted by the Hop.
One Psi U. Two Sigma Delts. Two Phi Taus. Two unaffiliated women, one who had de-pledged. One KD. Two Tri-Kaps. And one women’s and gender studies professor. The theme? The Greek system — or rather, breaking down the invisible walls that surround it.