If Bertolt Brecht and Steve Jobs collaborated on a play about economic downturn, the end result might look something like the lifeless, sluggish production of Clifford Odets’s “Paradise Lost” currently running at the American Repertory Theater (A.R.T.).
The very existence of a greatest hits album for this band—whose closest approximation of a hit was 1994’s “Cut Your Hair,” which peaked at the giddy height of 10 on the Billboard Alternative Chart—seems more or less unnecessary, but even when one accepts the notion, this particular collection of songs proves frustratingly off.
On “Broken Bells,” however, Danger Mouse is billed as Brian Burton, and has spoken of his desire to make clear that he is not just producing an album by another artist; Broken Bells is meant to be a stand-alone project. It’s hard to say from the debut, though, if it will stand as more than just a brief, albeit enjoyable, collaborative adventure.
The Bach Society Orchestra (BachSoc) gave its third performance of the season this past Saturday in Paine Hall. Under the ...
The Bach Society Orchestra played selections from Prokofiev, Poulenc, Mozart, and “Nightclub Scenes”, conducted by Yuga J. Cohler ’11.
Stewart N. Kramer ’12 and Matthew J. DaSilva ’12 share a tense moment as Clive Harrington and his father Stanley, respectively, in Peter Shaffer’s “Five Finger Exercise.”
Five Finger Exercise—which runs through March 12 in the Loeb Experimental Theater—examines class, cultural, and familial divisions.
Members of the Harvard Radcliffe Orchestra perform pieces from Chopin, Brahms, and Kirchner in their third concert of the season in Sanders Theatre.
Writing not long after the death of Leonardo da Vinci, art historian and biographer Giorgio Vasari described the late master’s “Mona Lisa,” placing special emphasis on the lady’s uncanny simper. “And in this work of Leonardo’s there was a smile so pleasing, that it was a thing more divine than human to behold; and it was held to be something marvelous, since the reality was not more alive,” he wrote.
