Grind Arts Company’s production of Bert Royal’s parodic play “Dog Sees God: Confessions of a Teenage Blockhead,”directed by Steven Tran ’15, takes on an irresistible premise: What would happen to Charlie Brown and his Peanut friends if they grew up? It's about 10 years later, and — prepare yourself — Snoopy has been put to sleep after ripping Woodstock to shreds in a rabid rage.
From its first moments —when Ken Kesey leaps out of the audience onto a stage patterned with light, sporting a fraying straw hat, the poetry of e.e.
We’ve all met our fair share of legendary divas, but the characters in Douglas Carter Beane’s The Little Dog Laughed make Miranda Priestly look like a strawberry shortcake.
Some plays are foolproof.“Romeo and Juliet”isn't one of them — in fact, the hazards are numerous.
For one weekend only, Princeton University Players presents “Little Shop of Horrors.” Composed by Alan Menken and written by Howard Ashman, this musical incorporates horror, comedy and rock in the tale of a florist shop worker raising a flesh-eating plant.
This show begins like any episode of Law and Order — with signs of a struggle. A white, semi-translucent scrim delineates three walls of an apartment, in which books and ripped papers litter the ground, the bedspread lies on the floor, cardboard boxes are busted open and memories are strewn about.
Close your eyes, and imagine you’re walking into a Broadway theater. What comes to mind? Neat rows of padded chairs.
When an artist confronts his materials, a battle must be waged. The painter’s bare canvas, the poet’s blank page, the empty stage that awaits the actor, the immobile dancers waiting for the choreographer to give them motion — every piece of art begins with a terrifying void that dares you to fill it.
Director Adin Walker’s ’16 troupe of performers is only the latest of many tenants to spend time in “Rent,” the 1996 musical and worldwide sensation that tells the story of a ragtag bunch of artists living la vie bohème in New York’s East Village. The title refers to the financial anxiety with which playwright Jonathan Larson’s characters grapple, as they struggle to survive in a world where artistic ideals don’t pay the rent.
In Arthur Miller’s “All My Sons,” an American businessman and father struggles with prioritizing large-scale morality over the narrow goal of making money for his immediate family.
