Malvolio swaggering towards Lady Olivia with yellow stockings cross-gartered around his legs is the “Twelfth Night” audiences remember: A raunchy tale of mistaken identity and dastardly hijinks. Shakespeare did not, however, intend for Malvolio to suggestively bounce on a pink exercise ball as if it were a mechanical bull while delivering his lines. The Northeastern Shakespeare Society took the creative liberty of adding that for their production at Faneuil Hall on Sunday, Sept. 18.
I am someone with a million interests who dreams of making use of every opportunity life has to offer. Unsurprisingly, what comes with this high-spirited, fast-paced lifestyle is the constant risk of stress overload and burnout. I regularly find myself devoting too much energy to decision-making or beating myself up for failing to tick off all the items off my to-do list. It was the violin that taught me the art of living a balanced life.
A woman with doe eyes and full, yellow lips. A man with gray hair and a chiseled jawline. A woman with a small waist and slender features. A figure with a dress that defies gravity, suspended in air. These innovative mannequins are a part of a new exhibit called “Ralph Pucci: The Art of the Mannequin,” currently on display at Gallery 360 in the Curry Student Center.
What shines brightest in the Huntington Theatre Company’s respectful new production of Stephen Sondheim and James Lapine’s musical “Sunday in the Park with George” is the sheer brilliance of Sondheim’s music and lyrics. Performed as the season opener and part of the Huntington’s “Sondheim Cycle,” the classic 1984 musical is currently playing at the Boston University Theatre, the company’s main stage.
Two Boston-based nonprofits, the Inquilinos Boricuas en Acción (IBA) and The Theater Offensive, are collaborating on “OUT in Your Neighborhood: Latinx LGBTQ Film Series,” a weekly series that aims to showcase the lives and humanity within Boston’s diverse community.
Attempts to define Modern American art are as futile as trying to pin down what exactly an American is. Luckily, a continent comprised of such varied peoples and perspectives can speak for itself, as can be witnessed firsthand at the Museum of Fine Arts’ (MFA) new Art of the Americas reinstallation, “Making Modern.”
When I tell people I’m an anarchist, I usually get a lot of confused looks that hint at my potential lack of reason. In a society where certain stereotypes are formed and have not yet been dismantled, admitting you’re in a political minority inevitably leads to judgement.
New and returning students gathered at the Fenway Center Saturday to watch members of NU Stage, Northeastern’s student-run musical theater group, air out their young adult grievances in the summer revue “My Quarter Life Crisis.” Performances by 26 Northeastern students provided a comedic look at the problems faced by those rapidly approaching the void of total adulthood.
New exhibits at the Museum of Fine Arts (MFA) shed light on two little-known American modern artists of the 20th century: Imogen Cunningham, a pioneering female photographer and Terry Winters, a painter, draughtsman and printmaker whose focus lies at the intersection of art and science.
The side of Behrakis is now host to a colorful mural created by Cedric Douglas, a graduate of Massachusetts College of Art and Design and former Northeastern artist in residence.
