THEATER REVIEW: In “Blood Will Have Blood,” An Attempt at Sanguine Rebirth
Were Macbeth less ensnared by his violent ambition, he might have discovered that his monologues were just as compelling when sung. Baldwin Giang’s ‘14 “Blood Will Have Blood,” an inspired leap for undergraduate productions, investigates the skeleton of the original work by daring to refit it with new, musical skin.
You could call Richard Prum a birdbrain if you’d like, but only if you meant it in the strictly literal sense.
The Vibrancy of Gray
First fruit had become firearm, and now security guard had become scholar. The guard’s name, he said, was Jerry Gray.
When love was in the air
Glancing over the exhibit, which celebrates the formal opening to research of the Lindberghs’ papers, feels a tad like rummaging through a dry file cabinet. On display is a smattering of maps, missives, postcards and photographs that chart the daring duo’s legacies beyond Charles’ famed solo trans-Atlantic flight from New York to Paris on the Spirit of St. Louis in 1927.
Wounded, and Not Walking
In the exhibit “Portraits of Wounded Bodies: Photographs of Civil War Soldiers from Harewood Hospital, Washington, D.C., 1863–1866,” we find portraits with a palpable defiance, not the anxious tremors of the fallen.
No Clues for this Code
If you knew nothing at all about Alan Turing, the place to start gaining a favorable impression of the man would not be in the opening scene of Hugh Whitmore’s 1986 play “Breaking the Code,” currently revived in a production by Amanda Chang ’13, as her senior project. Watching the stammering, fidgety Turing (Iason Togias ’16) unconvincingly report the details of a burglary to a skeptical detective, you might question the playwright’s choice of a protagonist seemingly unqualified to do anything except bite his nails.