Get the memo: Yeats isn’t just a poet, as is his overwhelming identity to the intellectual bourgeoisie. Just ask John Raimo ’08 or co-director Courtny Hopen about their Cuchulain Comforted, the name they’ll given for a selection of At the Hawk’s Well, On Baile’s Strand, and The Death of Cuchulain—three plays in a series of…

Cocksure I stand that this lesbian play has become the first theatrical hit to reach Princeton this school year. How fine it is to go to the theater and find yourself in a proper Boston living room, replete with pomp and circumstance. But take this turn of the 20th century propriety and subvert it with…

Jed Peterson ’06 has created an epic version of the tragic love story of Romeo and Juliet – so creative and grand that his remains the best Shakespeare performed at Princeton in the past few years and the best play thus far of Princeton’s 2005-2006 theatrical season. The success of this play comes in large…

It takes an impresario to found a Russian movement. But for a moment’s continued interest in the present, a queer and inexplicable slavophilia must appear to have its dance with history. And now, 15 years after the fall of the Soviet Union, with access to loans of prestigious paintings, Princeton’s University Art Museum plays host…

It’s a show of love, soul, ravished innocence, sexual passion, emotional pain, Nordic landscapes. At a time in which art shows tend toward the massive; jam-packed galleries swarming with fat-upper-armed women loaded with streams of banalities, New York has been granted a reprieve at the MoMA by an artist best known for the now-stolen painting…

What a supremely difficult task it would be to make Samuel Beckett’s Waiting for Godot a theatrical catastrophe given the rich nature of the existentialism, the slap-stick comedy, the downright absurdism. That said, what a trying undertaking it is to do complete justice to the text of Beckett’s mid-twentieth-century masterwork given the requirement for such…

“TRUST but verify,” goes the Old Russian proverb, and such a maxim can apply to the Guggenheim’s current “RUSSIA!” exhibit, which seems to require further probing – further verification – to find the reason for the obvious compensation attempted by using all capital letters and an exclamation point in its title.