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Almost 30 years ago, Bijan Moore’s mother attended protests in San Francisco following the savage beating of Rodney King by four Los Angeles Police Department officers. Now, the School of International Service senior is participating in another set of protests, ones he hopes will lead to better awareness, representation and protection for Black people across the United States.
Zoom, the popular video conferencing application heavily relied upon by American University and other colleges for remote education, experienced widespread outages Monday morning, as the University began its first day of the fall semester.
This year marks the 50th anniversary of the Apollo 11 moon landing, and the Kennedy Center’s Theatre for Young Audiences program celebrated with the musical “Earthrise.” The world premiere commission ran from July 18 to Aug. 4 and is part of the center’s yearlong Human Journey initiative. The show was directed at an audience of mainly children, yet I thought that it was a well-crafted work of theatre in its own right. I hadn’t felt that much whimsical joy while watching a musical in a long time.
Not all students are up early on a Sunday morning. But for the cast of AU’s production of “The Wolves,” they’re already hard at work, rehearsing in the lobby of the Greenberg Theatre. As director Colleen Sullivan looks on, actors engage in a “flocking” exercise, in which each actor takes their turn leading the group through improvised movements, dashing around the space as one unit, one team and one family.
On Nov. 10, the Student Union Board, Women’s Initiative and WVAU will host a 2000s-themed party called “Drop It Like It’s Hot,” SUB director Bisagna Suh announced in a press release today. The party will feature DMV-based artist collective MXDHOUSE as a musical act.
Most of AU’s a cappella groups took the stage for the first time this semester at their preview concert on Sept. 8. On A Sensual Note, Treble in Paradise, Dime a Dozen and Pitches Be Trippin’ performed two songs each for a packed crowd in Kay Spiritual Life Center, stirring up excitement for the year to come for the a cappella community. The concert was held a week before their auditions on Sept. 15, and each group hoped to show new students what they’re all about.
When new students arrive at AU, they may not be aware of Washington’s thriving music scene at first, and in past years, The Eagle has given students a guide or two on some of the quintessential district music venues.
On Aug. 25, the Student Union Board will kick off the school year with an “end of summer party” in Bender Arena headlined by Atlanta-based D.J. and producer Metro Boomin, SUB director Bisagna Suh announced Thursday. “The Nightshow” will also feature local rapper Kelow LaTesha and DJ Shiva.
As a freshman, Sofia Kim struggled to find a strong Asian community at AU. As a sophomore, she met the then-president of the Asian American Student Union (AASU), Janny Jang, who encouraged Kim to join the group through her philosophy of “just come!”
When Sabrina Ortiz Vázquez arrived at AU’s Center for Language Exploration, Acquisition and Research, or CLEAR, with an eight-page arrangement of Luis Fonsi’s “Despacito” in hand on April 8, she didn’t know what to expect.
The crowd at AmFest was thin throughout the night, but as Aminé’s performance approached, the Tavern became increasingly filled with students. When Aminé took the stage, his voice flowed through the room and the lights danced across his face. The crowd lit up and welcomed the Ethiopian rapper they had been waiting for.
The Student Union Board and Women’s Initiative will kick off their new SUB Madness series by hosting comedian Dulcé Sloan on March 24, SUB announced Monday. Sloan is the newest correspondent for “The Daily Show with Trevor Noah.” She can also be seen on “Greatest Ever” and “Comedy Knock-Out” on truTV.
It’s Tuesday, Dec. 5, and MGC 4 has been transformed into a performance space by Rude Mechanicals. As tech rehearsal begins, flowers are scattered across the floor, seven chairs are in a circle and actress Cat Ashley sits center stage. The other actors enter the space one by one, and eventually they all come together to do warmups, in front of the audience. They transition into the first scene, in an audition room, and at first it seems like it’s just another audition. But it soon becomes clear that this isn’t an audition, rehearsal process or performance like any other, just like the development of the show itself. This is “Shakespeare Is A White Supremacist.”
As a person who has never seen a Shakespeare play live before, I wasn’t sure what to expect when I decided to see theatre troupe Duomuzi’s production of “Antony and Cleopatra.” I was worried that I wouldn’t be able to keep up with it. I didn’t think I would be so moved.
Antara Kshettry took the stage as the final solo performance at the South Asian Student Association’s Jalwa. Kshettry’s performance would make audience members be “shook,” hosts Maya Krishnan and Bakhtawar Mirjat warned, and they were shook, indeed. Kshettry began a Bollywood-style dance performance, moving and swaying to a mashup of several different popular item songs, and she was simply radiant. She felt the music, moved with grace and elegance. The audience went wild.
It’s a sunny Friday afternoon on the Don Myers Plaza, and American University alum Matt Fagan can’t hide his excitement. Today is the day of AU’s STEAM Fair, where he is showcasing his music app, LightSignature, to the public.
It’s 1997. Theater professor Caleen Jennings calls student Tru Tranh into her office. She just cast him as Richard III in Shakespeare’s “Richard III” and believes he’s the most capable actor to play the role. Yet, she’s thinking: how does Tranh feel as an Asian-American portraying a villain in Shakespeare’s canon, possibly enforcing a stereotype?
How do you break the magic? That’s what Rude Mechanicals sought out to do in creating “Something Wicked,” their fourteenth annual variety show that was performed on October 5-7. Unlike their previous variety shows, this show gave a dark twist to classic tales, connecting all of the 10-minute scenes to tell one cohesive story that made audiences shiver with fear.
As audiences walked into Katzen 112 on Friday, Oct. 6, a sign just outside the door read: “What would a better world for women look like?”