Your search for the readers' theatre returned 22 results

Rebuilding the Wreckage: Wrecks at the Readers’ Theatre of Ithaca

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By GWEN AVILES

Writing theater previews is a particularly difficult task when you’re a performer yourself. I’ve been acting ever since coming home from the first Spiderman movie, whereupon I ran to my room with a half-eaten bag of buttery popcorn and proceeded to jump from my sister’s bed to my own, pretending I was Mary Jane on Spiderman’s back and he was webbing us from building to building. Needless to say, I love theater for the transformative, magical process it is. I know how much work is put into a production from character development to intensive rehearsals to elaborate scenery, costumes and lights. Theater is a commitment from all involved to tell someone else’s story.

God of Carnage Comes to The Readers’

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By ALISON GABAY

God of Carnage, written by Yasmina Reza and directed by Anne Marie Cummings, opens with two pairs of parents trying to figure out the best way to deal with the recent altercation between their sons. After a playground argument between the two boys, the seemingly carefree parenting style of one family instantly clashes with the conservative parenting style of another. For the preview performance of the play, premiering at The Readers’ Theatre this weekend, Cummings, who is also the founder of theatre, used her home as the stage. The set, located in her small and intimate living room, consisted of a couch, two chairs and tulips. It was just the right size for the four actors to make the intimate story come alive.

Blind Faith Moves a Mountain at the Readers’

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There is no air on this Savage Mountain. Pummelling walls of ice, a lawyer and a physicist tear through the big questions of life and love, with more than a few raucous jokes thrown in. On a narrow ice ledge, thrust out from the formidable K2, two mountaineers are stranded. Their hopes of escaping the icy clutches of the world’s second tallest mountain are fading fast with the diminishing daylight. Taylor (Tim Mollen), a hardened district attorney, makes another troubled attempt to retrieve a rope crucial for the pair’s descent.

Arts & Culture

Art in the Time of Crisis

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While we settle in and practice social distancing, we’re going to have more time than ever to lock into our favorite entertainment and provide you with more things to do and enjoy besides Office reruns and stale memes about Zoom lectures.

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SWAN | Not a Review of La La Land

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I haven’t even seen La La Land, so this is not a review of that film. The picture accompanying this article is only related to the subject in spirit and is primarily there for bait to increase readership. La La Land seems like a pretty cool movie, and from the brief snippets I’ve heard of its soundtrack, its music is probably intoxicating, jazzy, and maybe even original. Its two starring actors manage to look highly attractive and suave in all of the ads and stills I’ve seen and I bet that this translates into captivating motion on screen during the actual event of watching La La Land. I’ve gathered from some media outlets, including Saturday Night Live, that La La Land may represent yet another tiring instance of Hollywood “whitewashing,” as it is a film about jazz that stars two white actors (this criticism resting on the implication that jazz music was gradually formed by the profoundly unique experiences and reactions of African-Americans in the twentieth century – an assertion I can adamantly defend).

Blogs

THE E’ER INSCRUTABLE | 1916: Annus Fugae Deorum

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“Nulla è cambiato, la terribilità della tragedia è identica, tutte le apparenze effimere con cui la civiltà maschera e diversifica nei tempi il puro istinto umano sono qui abolite; l’uomo modern, l’uomo del secolo ventesimo, l’uomo che possiede cannoni e torpedini si ricongiunge al suo progenitore selvaggio, al suo antenato remoto armato soltanto del suo rude vigore e del suo coraggio feroce.” -Mario Morasso, writing of the Russo-Japanese War, April 3, 1904

This is my last article during my first year as a student at Cornell. I normally avoid personal pronouns and excessive self-reference in my articles; today, however, calls for a break in that routine, hopefully not to the displeasure of my readership of one and a half. I have a contention to make: 1916 was the year Germany should have won the war. The world would have been a better place if the apish “Mad Brute” of American wartime caricature, if the perpetrator of the Rape of Belgium had carried the day at Verdun and at the Somme. This is, I am aware, as argumentum ex silentio as it gets: bear with me.

Arts & Culture

50 Years Ago Today: A 24-Year-Old Bob Dylan Electrifies Barton Hall

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By SCOTT MARSHALL

Bruce Dancis ’69, a 17-year-old freshman at Cornell, was beside himself: Bob Dylan was coming to town. The 24-year-old singer-songwriter would be playing Barton Hall on Nov. 6, 1965. The now-retired longtime journalist didn’t know it at the time, but he was one year away from making history with an anti-Vietnam War protest. Dancis, who didn’t finish at Cornell — and served a 19-month federal prison sentence for his trouble — managed to procure a Cornell University Press contract for his memoir of last year, Resister: A Story of Protest and Prison during the Vietnam War.

Arts Around Town | O-Week 2013

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LA Riots at 7 p.m. on Wednesday on The Arts Quad

DJ and producer Daniel Linton, known to fans as the man behind Los Angeles-based EDM project LA Riots, is no stranger to danger. This summer, he skydived into his DJ-set at Montauk’s “Day and Night” festival. More recently, he dared contribute a track to the summer’s most thoroughly mediocre film, Mortal Instruments: City of Bones. Now, he will brave a trip upstate to headline Wednesday’s Arts Quadrager. Riot gear is optional.