Cultural center “El Centro Chicano” has expanded its name to “El Centro Chicano y Latino” to better represent the increasingly diversified demographics of Stanford’s Chicano and Latino student population.
Running from Aug. 13 to Aug. 14 in Annenberg Auditorium, Stanford’s Asian American Theater Project (AATP) presented their take on the Broadway musical “Company,” originally written by Stephen Sondheim and George Furth. The musical follows Bobby, a single 30-year-old man played by Andrew Forsyth ’14, navigating his romantic life in the midst of his married upper-class friends. From the very beginning, it immerses you in Bobby’s company of friends, starting off with a variety of voicemails left by his friends. The marriages and relationships presented in “Company” are far from perfect, making it often humorous to watch.
On Friday, Aug. 15, at the Nitery Theater, the Stanford Repertory Theater (SRT) revived the riveting thrill of Orson Welles’ Mercury Theater on-the-air performance of “War of the Worlds,” a radio drama that left an indelible mark on its nationwide audience in 1938. When this version of H.G. Wells’ science-fiction masterpiece was first aired on the Columbia Broadcasting System, the American public was stirred into a panic. So impeccably were voice drama and sound effects integrated into the performance that many listeners became convinced they were hearing an actual news account of an apocalyptic Martian invasion. Because of the ensuing outrage and mass hysteria, the event is often labeled as one of the most infamous in broadcast history.
Stanford Medical Center is undergoing extensive reconstruction to meet seismic requirements, incorporate more advanced medical technology and accommodate growing capacity needs.
Three weeks of intensive rehearsals culminated in a third and final performance by the Stanford Youth Orchestra (SYO) on Friday, July 25 at Bing Concert Hall. Christine Parker, associate director of Stanford’s Pre-Collegiate Summer Institutes, opened with a few brief words. She explained that this program — designed to bring together academically and musically gifted students — was launched last year to coincide with the opening of Bing Concert Hall. Parker commended the hard work and dedication of the students, instructors and staff during the three-week experience and then welcomed the musicians onstage.
The mention of “Moby Dick” might call to mind the image of a fearsome white whale, glittering harpoons and roiling waves. It may be surprising, then, that the set of “Moby Dick — Rehearsed,” performed by the Stanford Repertory Theater (SRT) and directed by Rush Rehm, contains none of these things. The first production in the SRT’s summer festival, Orson Welles: Substantial Shadows, the production celebrates Welles’ outstanding cinematic career and the short drama he wrote based on Herman Melville’s classic “Moby Dick.” This unique rendition relies on the bare minimum of props, a dynamic cast and the audience’s imagination to conjure the setting of a vast ocean filled with whales and venturesome sailors. At the start of the play, a motley group of actors dressed in street clothes clusters onstage, grumbling about its director’s (Courtney Walsh) bizarre ideas about theater. After a few uninspired (and rather amusing) attempts at rehearsing Shakespeare’s “King Lear,” they give up and instead begin reading the script for “Moby Dick — Rehearsed” that one of the actors, an aspiring playwright (Louis McWilliams), has written.
If you happen to be anywhere remotely near Stanford this summer, be sure to catch a few performances at the Stanford Jazz Festival, a summer-long celebration of jazz music where enthusiasts, students, educators and musicians convene to enjoy the rich multitude of performances presented by breakthrough artists and legends of the industry. Over the course of…