Music/Theater

FATHER, DAUGHTER, MATHEMATICS: Catherine (Arielle Sandor) and her father Robert (Shawn Fennell), both troubled math geniuses, struggle with their inextricably linked lives and careers in Theatre Intime’s production of David Auburn’s Pulitzer Prize-winning drama “Proof” at Hamilton Murray Theater on the Princeton University campus through Saturday October 3.

David Auburn’s “Proof” Opens 2009-10 Season at Intime: Mental Illness, Math and Romance Mix in Moving Family Drama

Donald Gilpin

Math-phobes need not fear. Yes, the “proof” of the title does refer to a mathematics proof, specifically proof of a theorem about prime numbers that mathematicians for centuries have been trying to verify. Yes, the play is set in a mathematical realm: on the porch of the home of a genius mathematician and his mathematician daughter. And, yes, three of the four characters in the play are talented mathematicians.

Princeton Treated to Rarely Heard and Unique Performance of Spanish Baroque

Nancy Plum

When one thinks of the Baroque period of music history — that century and a half between 1600 and 1750—one usually thinks of the giants of the Italian and German schools of music. However, those same 150 years were experienced by the rest of the world as well, and lesser known but no less influential were the 17th century composers of Spain, Portugal and, across the Atlantic, Latin America. Virtually ignored by scholars of “Western” music until fairly recently, these composers and musical idioms combined the towering instrumental and keyboard forms of the rest of Europe with a particular flair from Hispanic dance and folk culture.