The Jackson Graeter Backstage Theatre Of The Mary Alice Marshall Performing Arts Center

Love is one of the most powerful aspects of the human experience, however it often is not simple. Oftentimes love is confusing or messy – sometimes even painful. The Student Experimental Theatre Organization presented Almost, Maine on April 5, 2017 and displayed an intriguing depiction of the complexity of love. Exploring the power and otherworldliness of this fundamental human emotion, Almost, Maine showed me the allure and tenderness that only a theatre experience can foster. Almost, Maine is a beautifully executed, intimate experience that draws you in through the acting of the performers, stage and lighting design, and directing.

Her high school experience with theatre and contemporary dance doesn’t seem to be helping. She tries to hide her stress with a shrug and a half-hearted, “It’s been a while”, as June takes extra slow steps towards the podium near the blackboard to grab her copy of the book (later, June tells me that she thought the awkward silence she’d created would ease Damola’s jitters). Despite their efforts, Damola stumbles through the first verse of the piece—and the later excerpts—June gives her.

Part of the beauty of living in a Dallas highrise is the lock and leave lifestyle and convenience of having everything at your fingertips. And that includes the nearby cultural venues that enhance your quality of life. The AT&T Performing Arts Center, also known as the Dallas Center for the Performing Arts, is just one of the many such sites that bring you a wide variety of cultural, educational and other entertainment opportunities.

Performing from Broadway, to Madison Square Garden, to the Hollywood Bowl for 17,000 Joshua Colley is a fourteen year old boy of incredible talent, with a big heart, a personality larger than life, and an offbeat humor that keeps you on your toes.

Juilliard’s Paul Recital Hall was where jazz drummer Douglas Marriner had his graduation recital, which happened on Monday, May 8th.

When I walked into Paul Green Theatre to watch Detroit ‘67 and took my seat on stage right, my first thought was this story is going to be entirely depressing. The scene was a dingy living space of a family in the 1960’s with a cold concrete floor that served as a modest barrier between the stage and audience along with a dimly lit single room containing a couch and a record player in the front of the stage. I could almost feel the chilly aura being emitted from the concrete floor and poorly-painted, solid grey steps leading up to the stage exit. In the back of the setting was a combined kitchen, wash, and bar area. All these signs of destitution were nothing special except for one piece of the scenery that did not fit the rest. The Christmas lights that served as decor for the backstage bar area stood out to me and I figured the time took place around Christmastime. Even still, the lights could not eradicate the dreary feeling looming overhead in the dark theatre. Then, I heard the music and everything changed.

Though theatre has been performed on UA’s campus in various forms, by various students and at various times for the past 125 years, theatre and dance became an academic entity only in the late 1930s.

The music event took place at the Harvey Theater in the Brooklyn Academy of Music (BAM). The venue looked like it has risen from the dead; the architecture shakes at its bare brick walls and ghosts of decades carved out of the walls, columns, and ceiling. To the right of the entrance, past the box office, is a spacious waiting area where

I was so into the song that I didn’t see Evy slip away into the back of the stage where she had hymned the background music. The audience erupted into a roar. Everyone in the audience stood up. A person was walking towards the stage. I recognized him immediately. His name was Ansel. He was a college scout for Juilliard. He asked to see me after the show.

The Temple Theatre was built in 1926 by the Elf Khurafeh Shrine after the Music Academy burned down. The new building was considered a modern-day marvel at the time, featuring fireproof construction, geo-thermal cooling, better acoustics, and a state of the art stage rigging and dimming system. The outside of the building has a classical design and was decorated with an ornamental iron marquee. It is unclear if the iron details remain today. Overall, the building cost $1 million, and was later rented to Butterfield Theaters. The Temple also had a "trolley car" (box marquee) design, but this feature was later removed in 1960 because of an animal infestation. The sign was replaced with a modern wedge design, which was popular due to the rise

The Beatles Love is a Cirque de Soleil show located on the Strip inside of The Love Theatre at the Mirage Hotel and Casino. It is a show dedicated to, and centered around, the British band 's impact on the music industry and the world. It combines circus acrobatics and theatricality along to The Beatles ' most iconic and revolutionary hits. It takes the audience through a captivating performance that shines a light on the struggles that were faced during the 1960 's and 1970 's, and how they helped inspire The Beatles to give the audience a well-crafted, "three-time Grammy award winning" show. The Beatles Love is a must-see because of its soundtrack, choreography, costuming, acting, visuals, stunts, and interactivity. It is a wonderful tribute to one of the most influential bands in history, and is a great show for anyone to see – Beatles fan or not.

It has been an honor to have been Renee Rule’s high school peer for the last four years. I have seen her flourish not only her musical journey as her stand partner, but also her academic journeys as her fellow classmate.

The fluorescent house lights of the Rex Cramphorn Theatre, and even those of the kitchenette where we sat, have been turned off all day. We have been sitting in darkness, aside from the gentle glow of the stage lights hanging from the ceiling, draped in cream-coloured lace sheets of various lengths, and the contrasting LED light from the Carlos, Sam and Gail's computers. The hanging lights cast tiny flecks of light onto the walls over Sam's projections, barely affecting the picture due to how faintly there were lit. Katia comments on how pretty the hanging lights look against the darkness of the set and Gail responds, "We almost live by this level of light". Later in the week, Gail recounts, "I threw a tantrum in the bedroom this morning - 'I CAN'T SEE ANYTHING! I'M SICK OF BEING IN THE DARK".

On the evening of Thursday, November 10, I saw the OBU Theatre production of You Can’t Take It with You at the Craig-Dorland Theatre in Shawnee Hall. This comedic play was split into three acts titled A Wednesday evening, A week later, and The next day. The entire show lasted about two hours and thirty minutes including a ten-minute intermission. This play was written by Moss Hart and George S. Kaufman in 1936 and it’s first ever performance was that same year on Broadway. This particular OBU production was directed by Matthew Caron and performed by members of the theatre department.

She stubbed her cigarette on the heel of her shoe and flicked it to the side. It was time for her break, which would have amounted to five or six minutes, and instead of going to greet Cecil she lingered on stage with her back turned in his direction. She removed her compact mirror with intentions to spot-check her makeup. What she saw did not displease her: her eyes were outlined with mascara and kohl, the dark red tint to her lips had yet to run, and her rouge still looked quite nice against her pale complexion. She wore a beige-colored dress that came a few inches above her knees, exposing her stocking-cladded stick thin legs. The dress was straight and loose and covered her boyish figure. She wore a long bead of pearls around her neck. And if one looked close enough, they could see a dust of freckles over her button nose. She was everything her parents hated about the younger generation. No wonder they had set her up with such a