Author Archives: Violet Woodward Pu

In the 1700s, Bernini’s sculpture “The Ecstasy of St. Theresa” stirred up controversy because the titular character appeared to be in the throes of sexual — possibly masturbatory — passion and not the cherubic consort suggested by the title. Perhaps those 18th-century art critics were onto something with all that back-and-forth about beatification and boinking. »

Since 1931, Westport Country Playhouse in Westport, Conn., has hosted monumental actors and actresses and played host to the stage debuts and finales of such playwrights as George Bernard Shaw, Eugene O’Neill and A.R. Gurney. The theatre’s recent two-year-long renovation is being celebrated with the release of Richard Somerset-Ward’s book “An American Theatre,” published by »

Visitors to the Yale University Art Gallery will find that the imposing full-sized portraits have some small neighbors this month. “Private Faces of Public People: 1750-1900,” which opened Aug. 17, showcases a few outstanding pieces from Yale’s collection of portrait miniatures. The theme of the exhibit, as the title suggests, is well-known figures portrayed in »

While most students were schlepping boxes or navigating online course evaluations this past week, two Yalies were making wanton promises of eternal love and ingesting vials of poison. Natalia Duncan ’06 and Alex Organ DRA ’06, who play the titular roles in the Elm Shakespeare Company’s production of “Romeo and Juliet,” have been in New »

Despite the fact that he has seen four of his plays enjoy successful runs on Broadway, legendary black playwright August Wilson still considers the Yale Repertory Theatre — and the Elm City — his home. Wilson began his monumental career in New Haven in 1984, when his second play, “Ma Rainey’s Black Bottom,” premiered at »

Sophomore Chris Kochevar’s production of Neil LaBute’s “The Shape of Things” is delightfully minimalist. Indeed, this show is a far cry from the 2003 feature film based on the play. Thankfully, Kochevar’s production does not borrow much from the film version. A Pierson Sudler grant replaces a million dollar movie budget, and the show is »

As if spring’s rising hemlines aren’t enough to make you feel guilty about winter’s overindulgences. Whether it was a few too many trips to the Commons pizza station or a wavering commitment to Payne Whitney that did you in, the dress code shift from collegiate hoodies and corduroy pants to flirty halter-tops and thigh-baring skirts »

“And why should I be happy?” bored ex-aristocrat Hedda Gabbler (Christianna Nelson DRA ’05) asks a friend in the Yale School of Drama’s production of the Ibsen classic. The unsatisfied housewife — glamorous, beautiful and as skilled in flirting as she is in marksmanship — spends her days jealously scheming her friends’ downfalls while avoiding »

The promotional picture for the Yale Rep’s latest production promises Harlequin novel-esque bodice-ripping. “Miss Julie,” based on the 1888 play by August Strindberg, begins with a mutually satisfying one-night-stand between the titular protagonist (Yvonne Woods) and her father’s valet, Jean (Peter Macon). Like a good romance novel, the play uses the possibility of further liaisons »

Eugene O’Neill chose the perfect title for his semi-fictional “A Moon for the Misbegotten.” The Long Wharf production, directed by Artistic Director Gordon Edelstein, bears striking similarities to its title: it’s lyrical, captivating and of indeterminate meaning (even after three hours, one intermission and expressive acting). The title sure is fun to say, though. So »

The titular lovers of Federico Garcia Lorca’s “The Love of Don Perlimplin for Belisa in the Garden” seem like a match made in gold-digger heaven. Belisa (Kristen Connolly DRA ’07) frequently refers to her husband with the not-quite-sexually-appealing nickname “my teeny Don Perlimpleeny-weenie,” and Perlimplin (Michael Braun DRA ’07) proclaims to love his young bride »

The impact of radiation on plant seeds, as alluded to in the title of Paul Zindel’s “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” is surprisingly positive. As for the play itself, a top-notch cast and compelling performances do little to stem the soporific effect of the banal text on audience members. “The Effect of »