Word: showness
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...With an evocative, surreal set by Grace C. Laubacher ’09 and an incredibly complex program of sounds by Josh R. Stein ’09, the show flows and breathes like nothing else I’ve seen at Harvard. It’s sort of a technical miracle, actually. I was told the cast rehearsed six hours a day to make this kind of seamlessness possible. Who knows if that’s fact or exaggeration? It was worth the effort, in any case...
...course, the show also spends a lot of time going to places we haven’t been. In the second act, Feynman follows his departed Eurydice to the underworld, where the loudspeaker that greets him turns out to be very funny: “Welcome to Hell! Where the local time is . . . irrelevant.” Tied to nothing but Videt’s own imagination, Feynman’s performance of the Orpheus myth doesn’t work so well—it’s the one time the word “pretentious?...
...It’s not until Oppenheimer and history return to view that Hell makes sense, with a line slyly borrowed and modified from Bertolt Brecht’s “Life of Galileo”: “August 6, 1945: Heaven abolished.”The show doesn’t so much end as dissolve, which is meant as praise. Too often artists use History to de-fang the past—think “Schindler’s List”—but Videt finds resonance in events which remain indeterminate, unknown...
...It’s appropriate that the show should open on pre-frosh weekend. With its sincerity and intellectual openness, the show reminded me of those late night dorm conversations that everyone goes through freshman year, when the world seems on the verge of giving up all its secrets. Unlike a stoned freshman, however, Calla Videt knows what she’s talking about. She has real ideas about how people and history work together, and while they’re sometimes fuzzy, they can’t be easily dismissed; I’ve decided...
...took the art of Greece and Rome and made it their own: bigger, better and more vulgar. "Baroque 1620-1800: Style in the Age of Magnificence," at London's Victoria & Albert Museum until July 19, seeks to unravel Baroque's complexities while celebrating its influence across the globe. The show captures the opulence of the era by presenting key decorative objects - from silver furniture to theater costumes - alongside images of cathedrals, and reconstructions of performances and modern-day religious processions...