The play began to feel as though it were a series of interviews with unrelated subjects, each one addressing the audience to detail the horrible effects that the crisis had on their life. The great disparity between the messages of these characters, however, diluted any central narrative or take away that might have developed.
In an email to staff and faculty in the School of Music, Theatre & Dance sent out on Feb. 14 by SMTD dean David Gier, the school announced it will be replacing all faculty, staff, practice room and instrument storage doors to include transparent panels. The change has not been announced publicly, but according to the email it is due to a “heightened climate … surrounding sexual misconduct prevention.”
Gier’s email explained the specifications of the doors, which will be installed over the summer.
This past weekend, I was responsible for recording a performance of the opera “Alcina.” I was stationed with my little recording unit on a platform above the stage of the Lydia Mendelssohn Theatre — though I could see everything happening below me, neither the performers nor the audience could see me.
Throughout his early career, Ware described treating his art as refuge from this abuse. During his doctoral studies, however, Ware decided to write a symphony about his experiences. This work, which eventually became Ware’s first symphony, dealt with the trauma male survivors frequently face in a society with rigid definitions of masculinity and masculine emotions.
The London Philharmonia’s performance for the University Musical Society in Hill Auditorium this past Thursday was a tour de force in late-19th-century German orchestral music. After a Tuesday night performance of conductor Esa-Pekka Salonen’s “Cello Concerto” and Stravinsky’s complete ballet version of “The Firebird,” the orchestra settled on two staples of the repertoire: Schoenberg’s “Verklärte Nacht” (“Transfigured Night”) and Bruckner’s “Symphony No. 7 in E Major.”
The sudden change from extremely dark subject matter to inspiring legal challenges made me question the plot, particularly the selection of these six specific cases and the degree to which they are representative of the larger American criminal justice system.