Blogs
Congratulations to Taurus Broadhurst, who is the recipient of the inaugural Audience Choice Award at the 32nd Annual Choreographer’s Showcase!
Calling all artists in the DMV area! Are you a local performing artist who is interested in developing new work? Do you or your company want audience feedback on projects you are designing? Do you value input in your creative process?
This blog post is by Emily Schweich, junior broadcast journalism major.
Cosi fan Tutte (“Women are like that”) is one of the most oft-performed operas today, so it’s hard to imagine that throughout the 19th and early 20th centuries, the opera was rarely performed. Infidelity, disguise, trickery – all cloaked in a beautiful, melodic Mozart score – were considered topics too risqué for the stage. Today, the opera provokes a contemplation of gender roles and the human challenges of fidelity.
Perhaps…“Cosi fan tutti” would be a more appropriate title for this whimsical opera that explores the human heart and the power of the human spirit for forgiveness.
This blog post is by Emily Schweich, junior broadcast journalism major.
Helen Huang, Professor of Costume Design in the School of Theatre, Dance, and Performance Studies, has published Elizabethan Costume Design and Construction, a how-to book chronicling the process of designing and constructing Elizabethan costumes.
This post was written by Lauren Burns, a sophomore Multiplatform Journalism and History double major.
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The deaths of Michael Brown, Trayvon Martin and Jordan Davis, among others, remind us that our country has much to do in terms of reconciling our nation’s past sins with its present.
The play never lost focus of its message: freedom isn’t free, and not all Americans have the same amount of freedom, if any at all.
This blog post is by Emily Schweich, junior broadcast journalism major.
Telling the stories of war and the struggles of returning veterans can be a difficult task. Artists and journalists often fall back on cliche narratives and tropes to express the difficulties that these men and women face as they readjust to civilian life. Sometimes, some of the most important voices are left out of these stories – those of family and community members who are also touched by the perils of war.
As producer Anne Hamburger said in the conversation following the performance, AJ’s story was that of the “everyman.” His and Melissa’s experience reflected many common struggles that returning Marines and their families face.
The Clarice is creating the future of the arts with provocative programs that invite you to share in the artistic process, explore important social issues and enjoy the arts in your favorite local hang-out. Here is some of what's now from The Clarice.
This blog post is by Emily Schweich, junior broadcast journalism major.
My love affair with the tenor voice began in late high school. When I began seriously studying voice, I realized that not all tenors were pubescent boys who had to tip their chins to the ceiling in order to hit high notes. Since then, I’ve been hooked. A well-trained tenor voice is one of the most beautiful sounds in the world to me, and British tenor Mark Padmore delivered in his exquisite Clarice performance, a collaboration with American pianist Jonathan Biss.
It’s safe to stay that tenors are still my favorite voice part.
By Emily Schweich, junior broadcast journalism major at the University of Maryland.
To truly appreciate The Me Nobody Knows, one needs to understand where it came from.
The musical is based on the 1969 book The Me Nobody Knows: Children’s Voices from the Ghetto, which compiles the voices of 200 students from Harlem. Teachers encouraged these students, who were between the ages of 12 and 18, to write down their deepest thoughts, fears and concerns. The book’s editor, Stephen M. Joseph, asked his students to respond to four dimensions of their identity – how they see themselves, their neighborhoods, the world outside, and the things they can’t see or touch.
The result: A moving collection of young people’s voices that was adapted into a musical by Robert Livingston, Gary William Friedman, Will Holt and Herb Schapiro in 1970. Alvin Mayes and Scot Reese, co-directors of the School of Theatre, Dance, and Performance Studies’ production, have situated these teenagers in a church basement, in a therapy/support group of sorts.