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Last Friday — Groundhog’s Day Eve — Improv group “Bad Grammer” put on an excellent Groundhog Day-themed show in the Pollack auditorium. Their Facebook promotional photo showed Mitchell Redfield ’20’s face on a groundhog, and when they bounded onto the stage, they announced that they would check Redfield’s shadow when the show ended.
Women composers are notoriously little-known. Nevertheless, last Sunday the Women and Music Mix of the Women’s Studies Research Center sponsored a concert entirely of pieces composed by women. Appropriately titled “Composing Women,” this concert reflects the goal of the Women and Music Mix to study the contributions of women to music and bring knowledge of these contributions to a wider public. This concert was the fourth in a series dedicated to Alfredo and Demitra DiLuzio, the aunt and uncle of WSRC co-chair Rosalie Ripaldi Shane. The past concerts of this series were also exhibitions of female composers, but this was the first concert whose name reflected this.
Disappointment is inevitable when reading awards show nomination lists; it’s ridiculous to think that a film or a performance can win “best art.” These lists are less about honoring artistic achievements and more about recognizing valiant efforts. Ignoring for a moment the fact that these awards are determined by million-dollar campaigns and heavily biased against genre films, the nominations are still reliable indicators of quality — especially if they are determined by peers in their respective industries. Observe the recognition given by guilds: Screen Actors, Directors, Editors, Producers, Production Designers, etc. The Oscars ceremony is a culmination of these guild nominations, creating a compromise that mostly benefits the network by nominating and rewarding popular films in order to secure higher ratings.
FACE TO FACE: Recently returned astronaut Mark Vande Hei speaks with Director Damien Chazelle at the premiere of film “First Man.”
RED CARPET: The cast of “First Man” at the film’s premiere at the Smithsonian National Air and Space Museum.
2018 proved an unimpressive year for movies.
Art from Netflix's "The Ballad of Buster Scruggs."
On Friday night in The Levin Ballroom in Usdan Student Center, Club Cantonese presented their second annual cultural show. The theme this year was Jook-Sing, which is a derogatory Cantonese term for people of Chinese descent born in the West. The term is derived from the word for bamboo, using its hollowness and compartmentalized nature to suggest that foreign-born Chinese people are empty of traditional Eastern values, but are not quite Western either. Club Cantonese chose this theme to challenge the derogatory nature of Jook-Sing, choosing to take pride in their dual heritage rather than be ashamed of it.
The impression of ballet I had from years of dance classes was that of an exclusive, cold and uncaring environment. It was a culture that constantly told me, “You’re too fat to do real ballet,” “White girls are just naturally built better for ballet,” and “One bad injury and you might as well throw away your leotards.” Perfection was all that mattered. One noticeable mistake was as bad as not knowing the entire combination.
JustArts: Why don’t you tell me a little bit about your experience directing?
William Shakespeare wrote “Twelfth Night” for the Christmas season. So, even though Hold Thy Peace normally produces a show in October, it only made sense to put on a performance in early December to entertain students before they drown in papers and finals. In HTP’s abridged “Twelfth Night,” twins Viola and Sebastian are separated during a shipwreck. Believing that her brother has perished, Viola arrives in the foreign town of Illyria takes on the identity of a pageboy named Cesario to work for the duke Orsino, who is in love with a countess Olivia. However, Olivia does not return these feelings and finds herself attracted to Cesario. The majority of the play is about the love triangle between Viola/Cesario, Olivia and Orsino.
Boris’ Kitchen held its annual Fall Fest two weeks ago at the Shapiro Campus Center, hosting four different sketch comedy groups from neighboring universities. They did two shows that weekend, one on Friday one on Saturday. I attended Friday’s, where Boris’ Kitchen shared Act One with Emerson College’s Jimmy’s Traveling All-Stars and Boston University’s The Callbacks. That following Saturday, they invited Skidmore’s Sketchies and Tufts’ “The Institute.” The sketches in Act Two were all written by Boris’ Kitchen members, with Perry Letourneau ’20 and Anderson Stinson ’21 serving as co-directors this year.
SONG AND DANCE: Sophia Massida ’20, playing Feste, delighted theater-goers with both original and covered music.
STUPOR: Sir Andrew (Eli Esrig ’19) and Sir Toby (Ryan Sands ’19) lay on the ground in a drunken haze.
MARVELOUS MALVOLIO: Alex Wu ’19 as Malvolio gives Sebastian Olivia’s ring at her request, as a token of her attraction.
PERENNIAL DUET: Emma Belkin ’21 as Clara and Eleanor Lavin ’22 as Dewdrop take center stage during the Waltz of the Flowers.
MOURNING: At the play’s outset, Olivia (Rachel Greene ’20) is in perpetual mourning for her late brother.