Podcast episode 1: Kathe Darr

This article and podcast was originally published in The Prophet -- a journal created by and for the students at the Boston University School of Theology (BUSTH) to amplify the voices of STH students by promoting and sharing a range of perspectives on matters of concern including, but not limited to, spiritual practices, faith communities and society, the nature of theology, and current affairs. It serves as a platform for STH students to share their academic work, theological reflections, and life experiences with one another and the wider community.Professor Kathe Darr, newly-installed Harrell F. Beck Chair of Hebrew Scripture, speaks to Emily Ling (MDiv ’19) about her new role, her life at and away from BU, and the occasional Netflix binge

Beauty and the Beast Lighting Design

For Ohio Northern’s production of Beauty and the Beast, the director Matt Simpkins wanted to make a new aesthetic for the show: ominous, mysterious and dramatic yet still enchanting. This was not to be your typical Beauty and the Beast. Because of the director’s film background, the scenery was to act as film set where projections set the environment for each section. Lighting was to highlight the dark mood of the piece while also acting as the “close up” for the intimate nature many of the scenes have. Backlight was very important for separating the actors from the projections/scenery but also because of the desire to see the shafts of light coming thru the space. Between fog, dry ice and/or haze, one was always running during the show. Seeing actors in silhouette with the contrasts of light and dark was integral to the mood of the piece. Even during “Be Our Guest” the quintessential musical theatre extravaganza, Bella and Lumiere were the only two characters completely visible, the others were lit with sidelight, backlight or footlights