On the surface, “Hairspray” is the story of a girl who’s out to show the world what makes her special, but it’s also a story of sharp racial divisions and the breaking down of prejudice. In light of recent events, Savage had much to say on the topic of race in theater and how it will inform his directing of the iconic musical.
The TAPS production of Sophie Treadwell’s 1928 play this past weekend at the Nitery Theater was indeed mechanical — well-executed and smartly designed. Directed by Sammi Cannold ’16 and produced by Christina Medina ’15 as her senior project for TAPS, the show efficiently tells the story of a woman, Helen Jones (Elisa Vidales ’18), accused of murdering her husband and the path that led her there. Often symbolic rather than personal, we understand Helen’s journey intellectually without necessarily connecting emotionally.
“Daring to be authentic.” That’s the way Amy Freed approaches the theater she creates, both as a playwright and as a director. Next quarter, she’ll be tackling Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead” in conjunction with Shakespeare’s “Hamlet” for the Department of Theater and Performance Studies’s (TAPS) annual Undergraduate Acting Project.
The ongoing renovation of the Roble Gym, a previous haven for performance arts studios, has left many dance groups struggling to find practice spaces that fit members’ needs, both in regards to scheduling and physical logistics.
A calming moisture levitated in the cool air last Friday evening as I locked up my wet bike and headed towards the side entrance of Memorial Auditorium. I walked up a small set of stairs and through a set of large wooden doors into a small room packed with people, all waiting expectantly for the doors to open to the Theater and Performance Studies (TAPS) performance of Swan Lake Recalibrated, as choreographed by Alex Ketley.
Stanford production of Martin Crimp’s “Attempts on Her Life” combines powerful performances and innovative design to pack an emotional punch.
You’re probably already familiar with “The Crucible”. The play, written in 1953 by Arthur Miller, is his most frequently produced work worldwide and a commonly read text in high school literature classes. Even if you’re already familiar with the play, it’s definitely worth coming out to see the Stanford Theater & Performance Studies (TAPS) production, which provides some interesting fresh takes on the play. For those unfamiliar with the story, “The Crucible” is a dramatization of the 17th-century Salem Witch Trials; it also serves as an allegory for the House Un-American Activities Committee anti-communist investigations that were taking place at the time Miller wrote they play and under which he was questioned. Although the connections between the two events are clear, the story is easy to understand even without any context.