Author Archives: Luis Santoyo-Mejía

“And there we are, the lot of us, so miserably afraid of the light,” Helene Alving confides in Pastor Manders. This production of Henrik Ibsen’s “Ghosts,” however, does not share its character’s fear. The lights are too bright and expose too much of the stage, which doesn’t feel at all like the intimate or homey »

Gag me with an extra bulky Smitten If you’re feeling lonely on V-day, take comfort: a lot of couples are really gross. So gross, in fact, that it even screws up their style (gasp!). You may not feel like a fashionista in your sweats, aimlessly surfing Facebook for prospects, but you’re a whole lot better »

“Coming Home,” celebrated playwright Athol Fugard’s latest play, begins in an abandoned one-room house located in rural Nieu Bethesda, part of South Africa’s Karoo region. It tells the story of Veronica Jonkers (Roslyn Ruff), a woman returning to her childhood home after years of unsuccessfully pursuing a singing career in the big city, Cape Town. »

As part of a composer-pianist concert series, a group of nine young musicians — current and former Yale School of Music and Harvard students — will be performing original solo compositions for piano tomorrow at Firehouse 12. “Each [pianist] brings a unique musical voice and perspective on composing and performing,” Douglas Fisk MUS ’06, the »

A tragedy in five acts, Jean Racine’s “Britannicus,” as directed by Max Kahn ’09, is a calculated exercise in silence, movement, sound and lighting. There is always an enveloping silence, even when the characters are speaking. The scarcity of movement creates tension, but when it is present — as in the caress of a cheek, »

Police officers wearing short shorts suggestively handle their candy cane–shaped batons. A witch skips in and delivers her characteristic screech. A woman — red horns on her head, red tail dangling from her lower back — speaks with a French/German accent. A cranky janitor wearing the classic Groucho Marx disguise unexpectedly snaps at two sets »

“Faith Healer” is a play governed by the idiosyncratic memories of its three characters: Frank, his wife Grace and his business manager Teddy. In the four long monologues that form the play, these characters elaborate on, and sometimes contradict, each other’s versions of the truth. Frank (Robert Allen ’09), the faith healer, a man who »