Performing on the popular morning talk show Good Morning America, the Tones were broadcast into the homes of millions of Americans on Christmas morning around 7:30 a.m. EST.
Performing on the popular morning talk show Good Morning America, the Tones were broadcast into the homes of millions of Americans on Christmas morning around 7:30 a.m. EST.
“As You Like It,” which premiered on Nov. 20, is the second PSC production I’ve seen — or, I should say, heard. Unlike previous PSC shows, this comedy took place virtually in the “radio play” format, named for the historic practice of theater works which are performed over radio broadcast.
Deana Lawson, Professor of Visual Arts, was named the winner of the 2020 Hugo Boss Prize in October. She is the first photographer to be awarded the prize.
At the 54th annual meeting of the New Jersey State Council on the Arts on Oct. 27, the Arts Council of Princeton was named the recipient of a $50,000 grant in an effort to support New Jersey’s arts organizations in weathering the effects of the COVID-19 pandemic.
Rarely do short stories propel authors into literary fame. But, ZZ Packer’s “Drinking Coffee Elsewhere,” a surprisingly honest anthology of eight short stories imbued with a masterly command of language, which had — and continues to — dazzle audiences.
The first installment of the Program in Creative Writing’s C.K. Williams Reading Series featured Lebanese American author Rabih Alameddine, writer of the critically acclaimed and National Book Critics Circle Award Finalist, “An Unnecessary Woman.”
Today, we launched Intersections, a newsletter run by The Prospect section of The Daily Princetonian, dedicated to delivering arts and culture to your inbox. We round up articles from the week and share our recommendations for what to do this weekend.
What will football look like in the future? Jon Bois explores this question and much more in his long-form multimedia speculative fiction narratives “17776” and “20020.” Staff writer Molly Cutler ’23 reviews these works and reflects on their surprising power, even for those who aren’t sports enthusiasts.
Glenna Jane Galarion ’21 is the opening act for Jason Derulo, the headliner chosen for virtual fall 2020 Lawnparties. Born in Tokyo, Glenna Jane considers Las Vegas her hometown, but she is currently living in Ocean City, N.J. She is an anthropology major with certificates in theater and music theater. The Daily Princetonian sat down with Glenna Jane to discuss the event and her music.
Every year, PUP and Theatre Intime put on a shadow cast performance of “The Rocky Horror Picture Show”, where actors pantomime the actions of characters as the movie is projected onto a screen behind them. This year’s performance will take place entirely over Zoom. Cast members and the production team reflect on their experiences.
Increasingly political content in entertainment is quickly becoming an epochal, cultural trend. But despite its increasing frequency, it continues to be accompanied by staunch, resolute objection: people continue to dislike the invasive nature of today’s politics, and especially its invasion into entertainment and media. But perhaps those voices are forgetting that entertainment has always been political and nowhere is this more clearly seen than in the rich history of protest music in the United States of America.
Songline Slam Poetry held a virtual “Newbie Arch” on Friday, Oct. 16, featuring five new members.
By the time the last word comes and the story breathes its final breath, Ng’s characters feel so real and so tangible. In a profound sense, they are.
The live-action remake of “Mulan” tries to incorporate many new elements with good intentions, but ultimately, the movie is poorly executed. It doesn’t work as a film that elicits nostalgia, it doesn’t work as a historical drama that explores Chinese culture, and it doesn’t even work well as a standalone film considered completely separate from the original.
Based on the seminal James Baldwin novel of the same name, Barry Jenkins’ “If Beale Street Could Talk” (2018) mesmerizes viewers with Jenkins’ Academy Award-winning directing, the actors’ poignant performances, and composer Nicholas Britells’ rich, melancholy score.
