Media Archive

Puppeteer Kate Brehm spoke with Life of Pi’s Puppetry Design & Directing Team about their work on the show.

Reflecting on the process of adapting Yann Martel’s novel for the stage, Chakrbarti says, “My job as adapter in this case is to leave space for your view.”

Director Max Webster on Pi, puppets, and the magic of storytelling.

It’s a strange business, adapting a novel. Words, after all, have just that right variable mix of the nebulous and the precise.

The five actors of the revised version are of different races, representing the “threads and weaves in the ragged tapestry of American identities.” The show demonstrates the complex dynamics among racial groups and their positions in American society.

As artists, audiences, and community members, we each play a role beyond the theater space that creates a rippling impact in the ways we see and engage with one another in the present moment.

The 1991–92 Harvard Bunting Fellow talks about the continued relevance of Twilight: Los Angeles, 1992 and the role Harvard and the A.R.T. have played in her career.