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One of Ofodile's goals is to use her time at the Kennedy School to broaden knowledge about the emerging and changing legal framework for CSR and the positive as well as negative impact of business operations on human rights across the entire global value chain. Ruggie, the architect of the United Nations Guiding Principles on Business and Human Rights. At the Kennedy School of Government, Ofodile will work closely with Professor John G. Ofodile's research will focus on the legalization and regulatory hardening of corporate social responsibility in diverse jurisdictions around the world and also on the emergence of CSR language in international investment and trade agreements. Drawing on the unparalleled intellectual resources of the Kennedy School and Harvard University, and bringing together thought leaders from both business and government, the center conducts research, facilitates dialogue and seeks answers that are at once intellectually rigorous and policy relevant. She even has Stella explain to Bryan the relevance of their names (Stella, as in constellation Cassie, as in Cassiopeia).The mission of the Mossavar-Rahmani Center for Business and Government is to advance the state of knowledge and policy analysis concerning some of society's most challenging problems at the interface of the public and private sectors. Unfortunately, the contrivances feel so deliberate that the effect is distancing, especially since Berryman is rarely content to allow her ideas and allusions to resonate on their own.
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Not only are Stella and Cassie twins, they’re placed in multiple oppositional positions - their shared past versus their separated present, Earth versus other planets, belief in the human scale versus the space program, whether or not to have children - so it’s abundantly clear that Berryman is setting up warring dualities. Like David Auburn’s “Proof,” Charlotte Jones’ “Humble Boy” and Lucy Kirkwood’s first-rate “Mosquitoes,” this is another play seeking to illuminate important scientific questions via personal ones and vice versa. And so it proves with Stella and Cassie locking horns. With Cassie’s arrival after a year in space, director Ian Rickson’s typically patient production lifts up a notch with the clear expectation that there will be less revelry, more rivalry. Stella and Bryan are following in footsteps of Thoreau, living in a homey cabin in the woods, beautifully suggested by designer Rae Smith beneath Azusa Ono’s atmospheric light and Emma Laxton’s subtle sound design. The two of them are part of a mass movement dedicated to simple, low-tech, self-sufficient lives, consistent with saving this planet rather than looking beyond it to the moon and Mars. Stella has abruptly quit her past life, switching “sides” to align herself with her partner Bryan (Fehinti Balgun, bringing warmth to a faintly stolid role) who is an Earth Advocate. Stella worked for NASA as an architect, and it was she who developed the program that Cassie worked on. This is less exceptional than it might seem since not only was their father an astronaut, but Cassie was too. The last of these has included Stella’s brilliant twin sister Cassie (scrupulous, driven Lydia Wilson), a NASA botanist, who has been exploring the possibilities of life beyond Earth. space project is celebrating the safe return of the Moon Habitat team. We discover the world is struggling with the disasters of climate change: A tsunami in Sri Lanka has taken a million lives thousands of refugees have poured into India, which has already been torn asunder by a war over potable water and a massive U.S. debut with “Walden,” the three-actor season opener that has its eye on the future of the planet and beyond.Īlthough the date is left unclear, we’re promptly made aware of the fact that we’re in a none-too-distant future, courtesy of a news bulletin that Stella (a not so much febrile as high-wired Gemma Arterton) listens to on her phone. playwright Amy Berryman looks further still. But while Friedman looks to the future of theater, young U.S.
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Producer Sonia Friedman returns to the post- pandemic West End not with a safe revival but with a succession of brief runs for three socially-distanced world premieres by young writers, and it is an impressive act of faith in the future.