Duct Tape Productions (DTP) debuted their fall musical, “Pippin,” co-directed by Katherine Heyman ’24J and Eve Mekahlick Wilcox ’22, in the Davis Ballroom on Nov. 18. This is the student-run theatre company’s first show since the cancellation of “Newsies” due to COVID-19 in March of 2020.
Hearing that the “girth of the elephant's cock is staggering” was not what I anticipated hearing on a Thursday night. But then again, nothing that happened in this reading was even slightly predictable.
It has been a year and half since the curtains rose and the spotlight shone at Hallie Flanagan Studio Theater, but this lull in live productions didn’t stop the Smith Theatre Department from putting on a show-stopping rendition of Christin Eve Cato’s “Stoop Pigeons.”
As dancers navigated the runways with clean lines, leaps and spiraling torsos, a distant voiceover listed off indiscriminate dates, which would continue intermittently throughout the performance: March 13, 16, all the way to Oct. 18 of the following year. It was with the listing off of these dates that I realized “Afterwardsness” was a pandemic project.
A line of people extended into the street in front of Northampton’s Masonic Street Laundromat Saturday, Oct. 23. These people were not waiting to wash their linens. Rather, they were in line to attend the opening night of an art show, put on by Amrita Acharya ’23J, being displayed in the space.
The Boutelle-Day Poetry Center hosted the second guest poet of the Fall 2021 Reading Series, Jenny Johnson, a writer known for her exploration of queer identity in relation to nature and reality.
As I arrived at Amherst College’s first live show of the season, sponsored by their radio station WAMH, I discovered that no one was in…
This semester, the Smith College Music Department made an unprecedented change: it will now allow all students to take performance lessons.
A show that only knows how to develop female characters by raping them is not a show made for women or survivors. When writers create strong female characters, they are creating some of the only positive role models that young viewers have. Raping them to make them more appeasing to the male gaze is a vile and inaccessible dramatic mechanism that carelessly perpetuates gendered violence.
In Avatar, the Water Tribe is conceived as an expansive global culture, but self sacrificing women in the real world often operate on a smaller scale, one of family or community
