(08/27/13 4:00am)
I'm typing this article on my MacBook Pro while listening to iTunes and texting on my iPhone. My first iPod was a pink, first-generation mini and my technological life hasn't been the same since. We owe all these creations to the innovative and driven spirit of one man, Steve Jobs, and the company that he created from scratch. Less than two years after his death, the biopic film Jobs, starring Ashton Kutcher, was released to far less acclaim than I had expected after it being in the news for months. Drama between the movie studio and Jobs' old friends and coworkers built up hype around the movie, promising a story about an American legend that it just couldn't deliver. Maybe the timing was too soon; I agree with other reviews that argue that the movie did not capture the full story. What we should really be looking at here is Kutcher's ability to carry a story-being able to embody a single person and bring the character to life. Though he was not in the public eye too extensively, Steve Jobs is an iconic figure, and Kutcher nailed his mannerisms, his slightly hunched walk and brisk attitude. Those who knew Jobs personally often say that he was not a nice guy, had a short temper and was often rude to his friends and employees-it isn't easy to build a movie around an inherently unlikeable protagonist. I do wish the movie had delved deeper into Jobs' anger toward employees (or their incompetence) and other personal issues, as it barely skimmed their surface. There were only a few scenes that actually showed Jobs' true demeanor-and those were some of the best in the film. The point of a biopic is to show the 'man behind the mystery,' and Jobs fell slightly short. The movie spans from Jobs' time at Reed College (where he wasn't actually enrolled and did hallucinogens) to his triumphant return to Apple in 1997 to save the company. Spoiler alert: he does save it and introduces the first iPod in 2001, but that is where the film ends-leaving a decent amount of time between the depiction of the on-screen Jobs and the later legacy of the man who became so famous in real life. Though it would have been interesting to see the latter years of Jobs' life, I think that cutting off the film in 2001 leaves the audience with their own memories of Apple's growth over the past 12 years. The film also left out some of the most influential years of Jobs' life during his absence from Apple (when he worked on NeXT, Inc. and Pixar), yet alludes to how important the time was for Jobs by later commenting on how much he had "changed." One of the most visually stimulating portions of the film is a scene that Jobs and his friend Daniel Kottke (Lukas Haas) spend in India, traveling around the country. His experiences abroad influenced both his attitude and mindset about technology as he returned to California, and Apple Computers was finally born (in Jobs' parent's basement) with co-founder Steve Wozniak (Josh Gad). Interestingly enough, the film had a separate cinematographer, Aseem Bajaj, for all the scenes shot in India. These scenes, though fast-paced and rapid, had a very realistic and mystical vibe-corresponding to what Jobs may have been feeling during his influential visit. Gad gave a memorable performance as the friend who remains in the background during Jobs' success-in fact, this literally happens during the scene in which Apple signs with their first major investor Mike Markkula (Dermot Mulroney). I found myself feeling bad for Wozniak, from the moment Jobs hijacks his fun computer project, which becomes the first Apple computer system, to Wozniak's emotional goodbye to an unfazed Jobs when leaving Apple. Though the movie advertises them as the best of friends, Jobs takes advantage of Wozniak's intelligence and loyalty at every turn, and Gad perfectly captures the emotional state of the character. I'm not sure if the movie was written to their relationship as best friends, but it comes across as Jobs not appreciating who his true friends are and all they do for him. Jobs might not have been my favorite summer movie, but I do appreciate its effort. Anytime one creates a biographical film, there are always discrepancies between what actually happened and what the production portrays. Jobs is a decent film that bombed in its first weekend at the box office (only $6.7 million opening weekend), but there is yet another biographical Steve Jobs movie in the works. Sony Pictures is producing a movie based on Walter Isaacson's best-selling biography, and most notably, Aaron Sorkin-the same writer who gave us The Social Network-is writing the screenplay. With old friends and coworkers scrambling to take sides on which production better represents Steve Jobs, the success of Jobs cannot truly be measured until we see its counterpart. I enjoyed watching the movie-especially seeing Kutcher take on a different role than his usual comedies-but in the end, I was left thinking there was still hidden potential that the film didn't reach.
(08/26/13 4:00am)
In our first issue of the year, JustArts talked with Brandeis alumna Lynda Bachman '10, who worked at an arts camp on campus over the summer. Bachman graduated with a B.A. in Sociology and Theater Arts and was involved with the Undergraduate Theater Collective and Rather Be Giraffes. JustArts: How did your time here at Brandeis affect your future career or artistic inspirations? Lynda Bachman: I didn't really explore theater seriously until college. The UTC was this incredible playground where I got to experiment, make mistakes and figure out what I really care about as an artist. It was also my first real artistic community. The Theater department gave me a strong foundation in technique and an opportunity to develop my craft with really excellent teachers and mentors. JA: Do you have a particular theater or other artistic project that has been a favorite to work on? LB: That is a really tough question. I don't think I could name a favorite. Partly because since Brandeis I have a made a concerted effort to expose myself to as many different types of theater as possible and I have loved so many projects for very different reasons. I have worked on Sondheim, Shakespeare, devised work, musicals with kids, new plays and a wide range of other projects. I've been very lucky and I have learned a lot about myself as a theater artist. I work as both a director and a teaching artist. One thing I do know for sure is that teaching theater is the most fulfilling thing I do as an artist. JA: This summer, you spent four weeks at Brandeis teaching art in a Jewish setting to high school student as part of BIMA, a program hosted here. What encouraged you to get involved with this summer program? I was recommended to BIMA by my friend and mentor, Jon Adam Ross, and so glad that he helped me make that connection. BIMA is an exceptional program for high school students. Truly exceptional-there is no other program like it. I jumped at the chance to return to Brandeis to teach and devise theater with smart, engaged, creative high school students in a pluralistic Jewish setting. As a director I am not always able to marry my Jewish background with my work. It is a major part of my identity and of course informs everything I do, but at BIMA I not only get to teach as a Jewish artist, but also explore what being a Jewish artist means to me. Also, devising theater with teenagers is my favorite thing to do as a director and teacher. It combines all of the things I love most about theater: collaborative creation and education. BIMA is a perfect fit for my goals and interests and it was an incredibly fulfilling summer. JA: Could you give a brief summary of what exactly you did with the BIMA students? What do you think is the most important lesson or skill the students got out of the program? LB: There were multiple components to the theater major at BIMA: technique and skill development classes, a special workshop with a professional playwright, seeing professional productions in Boston and devising an original play. The summer started with an intensive focus on skill development and honing the craft. As the summer progressed our focused shifted to applying the techniques and skills to our devised process and working toward completion of our collaboratively created play... if I could only teach them one thing it would be that theater is the art of empathy. JA: Among your many roles, you were the head of the theater arts program at Camp Ramah in Wisconsin. How did you combine Jewish traditions and themes with theater while working at the camp? LB: Easily. One of the things I love about theater, and art in a general, is that it a conduit for expression. You can use the theater to explore just about anything. At camp, this manifested in a wide variety of ways. We create Jewish theatre-exploring Jewish texts, themes, rituals, etc. through theatrical representations. We put on big musicals in Hebrew ... We teach Storahtelling, which is a method of studying Jewish source texts through theater and performing theatrical translations of Torah readings. Part of the goal of theater at Camp Ramah is also to teach high level skills and actor training, so that campers can develop as artists and still go to Jewish summer camp. JA: What makes your unique artistic style different than other directors and educators? LB: I am still figuring that out. I know that collaboration is at the heart of my work as a director and educator. I believe strongly in empowering my fellow artists to bring their creativity to whatever work we are doing. As a director and teacher I see my role as a facilitator and a guide-I challenge, I support and I both contain and channel the ensemble's vision to its final realization. I gravitate toward theater that is challenging and rich, both in text and subject matter. And I enjoy a good dose of theater magic. -Jessie Miller
(08/26/13 4:00am)
Graceland: one word and you're thinking of music icon Elvis Presley's southern home. But this summer, USA Network introduced a new form of a television series. The original drama, simply entitled Graceland, follows the tumultuous lives of six undercover FBI agents working in southern California. When they're not catching criminals or setting up a drug bust, the agents are dealing with their own problems, including relationships and substance abuse. The show is a classic good guy vs. bad guy chronicle, with all the necessary emotional and moral issues, yet it still invents its own entirely new style. This isn't just another cop show-it has a much edgier, gritty feel that I can't get enough of. It all starts when Mike (Aaron Tveit) graduates at the top of his class from the FBI Academy in Quantico, Va. and the rookie agent is sent out to California, where he joins other undercover agents in a seized beach house named Graceland (the reasoning behind the name is cleverly explained in the first episode). Mike is not thrilled about the assignment-he has big dreams that mostly include assuming a high level position in Washington, D.C.-but he soon finds out that he is actually in Cali to investigate fellow FBI agent Briggs (Daniel Sunjata), who is the natural alpha of the house. The series premiered on June 6 and the season finale is slated for Sept. 12, meaning I only have two more episodes left to satisfy my Graceland addiction. Conveniently airing on Thursday nights after my other USA favorite Burn Notice, Graceland has been the perfect summer hit series-action-packed intrigue and dynamic relationships. In fact, the development of relationships between the characters is one of the most notable aspects of the show. Spy shows, between the action, murder and deception, often lose the more delicate sides of a plotline. However, Graceland does an outstanding job at balancing the action with more emotional appeals, especially the tight-knit relationship between the agents. FBI agent Charlie (Vanessa Ferlito) is a standout on the show for both her motherly vibe in the house and her trashy, heroin-addict undercover role. Charlie has a great friendship with newbie Mike and even a romantic flicker, but it is her support, yet suspicion of bad boy Briggs that really drives the show. An undeniable trust exists between Briggs and Charlie, yet the audience also sees the friction of their relationship and how neither fully lets their guard down. Comic relief is provided by Johnny (Manny Montana), another FBI agent who seems to have little cases of his own and often takes backstage to Briggs and Mike's ever-evolving needs. Johnny is much less serious than the other agents, which does seem to leave him with the relentless thought that he is underappreciated. And when tension is particularly hot between Charlie and Briggs, Johnny becomes the middle man-like a child running between fighting parents. Although he does play a comedic role, Johnny is one of my favorite characters and knows exactly when to bring the charm. Paige (Serinda Swan) was less prominent toward the beginning of the season, but in episodes six, seven and eight, her relationship with Mike grows after he reveals an important secret to her-giving her much more screen time. The undeniably beautiful actress has a lot of potential to bring to the show, and I hope that her character will continue to play a main role. As the season finale comes ever closer, I'm eager to see where the season goes with so many things hanging in the balance right now. Graceland has managed to coax the perfect amount of curiosity and dedication from the viewer, so it is my guess that it will return for a second season. My other USA favorite, Burn Notice, is ending, so it only makes sense to fill that slot. With its interlocking, endlessly entangling web of secrets that the characters spin, Graceland has proven to be one of the hottest shows of the summer.
(05/21/13 4:00am)
Our campus is blessed with a wealth of performing, visual and interactive art performances, displays and events all year long. As the academic year comes to a close, JustArts highlights some of the most memorable events. The amazing capability of Brandeis students and artistic contributors to constantly reinvent traditional mediums, ideas and traditions shows through each of the events that we have selected.
(05/20/13 4:00am)
Disclaimer: Before this week, I had never actually seen a Star Trek movie or television episode and can't call myself a true fan. But after watching Star Trek Into Darkness on its opening weekend, I am a newly-converted Trekkie. Though die-hard fans may have their qualms with the most recent installment, I thought director J.J. Abrams created a true science fiction action film that also captures the emotional themes of the story. Clearly other moviegoers agree, because Star Trek currently holds the number one spot at the box office, beating out Iron Man 3 and The Great Gatsby. The movie opens with Captain James Kirk (Chris Pine) and Dr. Leonard 'Bones' McCoy (Karl Urban) frantically running through the jungle of Nibiru, chased by a brigade of the planet's primitive inhabitants. Though probably overlooked by some, I thought the costume of the natives was absolutely stunning-they were painted in thick white paint, with piercing black eyes that so adeptly convinced me of their innocent nature. But, of course, Kirk goes a bit rogue and is summoned to the Starfleet Command, where his ship Enterprise is taken away. However, with a dramatic turn of events, the central command is attacked by Commander John Harrison (Benedict Cumberbatch) and Kirk vows to avenge Admiral Pike (Bruce Greenwood), his father figure and mentor. Kirk reunites with Spock (Zachary Quinto), and they set off on the Enterprise to find Harrison. Their search takes them into the enemy territory of the Klingons, but Harrison quickly surrenders-reason unknown-and reveals himself as Kahn, a genetically enhanced superhuman. Kahn may be deadly, but the crew ultimately turns to him for help when under attack. The scenes that took place in outer space, as well as the space stations and ships, were well done, giving me hope that Abrams will do Star Wars justice when he directs it over the next two years. With a run-time of over two hours, visually capturing the audience is incredibly important. In terms of dialogue, there were opportunities to develop more background and plot. Cumberbatch, as Kahn, could have embraced his role as the villain more, and until the last few scenes, his raw anger remained hidden. His utter coldness and dark stare are effective, yet his scenes with Kirk could have been more powerful and failed to illicit more of a reaction from me. In one particular scene, Hikaru Sulu (John Cho) powerfully addresses Kahn with much at stake-he delivers one line incredibly well, but the moment could have been much stronger. Spock and Kirk's relationship in the movie verges on dysfunctional most of the time because the two are so different. As a Vulcan, Spock is deeply logical, which sometimes comes across as cold-hearted. However, the film shows that he truly does care and I really appreciated the evolution of his character over the course of the movie. In addition, Spock's relationship with Nyota Uhura (Zoe Saldana) could have been more pronounced, but its subtlety allowed their relationship not to dominate the plot. Quinto is flawless as Spock, from his facial expressions to tone of voice, and his emotional realizations make for some of the most touching moments in the entire movie. Kirk struggles with issues of morality when faced with challenging events and Pine proves he is more than just a pretty face in this role. His character may be reckless at times, but Pine depicts Kirk's personal growth well. In the end of the film, Kirk is truly selfless and he gives a touching performance, especially in his emotional moment with Spock. Not to be overlooked, Chief Engineer Montgomery Scott (Simon Pegg) completely captured my attention with his slightly nervous, hesitant demeanor. Pegg deserves recognition for his supporting role and his interactions with Pine. As well, Noel Clarke, who plays a father desperate to save his ailing daughter, commands the screen in the short time he is in the movie. Star Trek Into Darkness, though not life-changing or revolutionary, upholds the legacy of its predecessors. There could have been more plot development and meaningful dialogue, but it fully met my expectations of a science fiction film. But on that note, the movie was easily accessible to an audience-like myself-who had no previous knowledge of Star Trek's world of space exploration.
(05/20/13 4:00am)
First off, congrats to all the seniors who graduated on Sunday! I hope every single one of you follows your dreams, and who knows, someone may even end up featured on this column! This is my first Pop Culture Column (and probably last), so we'll see how it goes. Perhaps the biggest news of the past two weeks is Angelina Jolie's preventative double mastectomy-a procedure some women choose to endure in order to reduce their risk of developing breast cancer. Jolie tested positive for the BRCA1 gene mutation that gives women a 54 percent chance of developing breast cancer, according to the Mayo Clinic. Electing to get a mastectomy decreases that risk by more than 90 percent and for women like Jolie-who watched her mother suffer and die from ovarian cancer-that's not a risk that they are willing to take. The procedure, an aggressive approach to fighting cancer, is often a difficult choice for women to make. Jolie's action speaks loudly to other women that getting a mastectomy does not take away your femininity or beauty, so I applaud her for being open about the procedure and her subsequent breast reconstruction surgery. In other motherly drama, Denise Richards is taking care of her infamous ex Charlie Sheen's two young boys, whose mother Brooke Mueller is struggling to overcome her long-time drug addiction. You might remember Richards' and Sheen's tumultuous divorce several years ago and Sheen's own outrageous behavior in the public eye, including drug-fueled rants and partying. Though I'm disappointed that Sheen cannot fully step up and claim responsibility for his sons-four-year-old twins Bob and Max-Richards deserves a round of applause for putting any previous drama aside and stepping in for the good of her children's half-siblings. Richards and Sheen have two daughters together, Lola and Sam, and Richards recently adopted an adorable little girl named Eloise on her own. Apparently, Mueller has grown increasingly unhappy with Richards playing mommy, but she will spend the next several months hopefully getting herself together at the Betty Ford Clinic. As for the younger generation, Justin Bieber and Selena Gomez are rumored to once again be spicing things up. The once star-crossed lovers have been spotted together, raising rumors that the two have reunited. Ah, the ever-changing tides of young love-who knows how long this round will last. Possible summer fling, anyone? Getting away from all this drama, a custom electric guitar played by John Lennon and George Harrison sold for $408,000 at a recent auction at the Hard Rock Caf?(c) in Manhattan. The auction was part of a "Music Icons" event arranged by a Beverly Hills auction company, Julien's Auctions, who said previously that the guitar would go for between $200,000 to $300,000. The guitar, a VOX prototype (whatever that means) was given to Lennon in 1966 and Harrison and Lennon both used the guitar for songs on their 1967 album Magical Mystery Tour. I'm a huge Beatles fan, so even if this isn't the hottest celeb gossip, I'm a little jealous of the new unidentified owner of this musical artifact! *
(05/20/13 4:00am)
Now that school is over and finals are a distant memory, we have time to relax, enjoy summer and catch a movie or two! These five movies look especially entertaining among the dozens of films that are slated for release. From adorable minions to a shady drug deal, there is something for everyone. So sit back, relax, grab an Icee and get ready for some laughs! 'The Hangover 3': May 24 At this point, The Hangover is a Hollywood icon-if you've seen the previous two films, this one is an obligatory finale to the drunken trilogy. My guess is that The Hangover 3 will continue in the same vein as the Las Vegas and Bangkok adventures, but director Todd Phillips has stated that the movie will be more of a finale. Not many details have been released, but rumors have circulated that the quartet will get into their usual antics in Tijuana, Mexico, possibly rescuing Alan from a mental hospital. The infamous Mr. Chow will also join the bunch. Though I don't have high expectations, The Hangover 3 makes the summer movie list-giving closure to a prominent film series. 'We're the Millers': Aug 9 Directed by Rawson Marshall Thurber (Dodgeball), We're The Millers is lesser-known than other must-see movies of the summer, but the original comedy looks equally deserving. Jason Sudeikis stars as a small-time pot dealer who hires a fake family to help him transport marijuana from Mexico to Colorado undercover. Jennifer Aniston, Emma Roberts and Will Poulter form the perfect fake family, as their sketchy road trip becomes a comedic bonding experience. In addition to the great cast, We're The Millers appears promising and I'm looking forward to catching more of Aniston on the big screen after a hilarious performance in Horrible Bosses (also alongside Sudeikis). 'Despicable Me': July 3 My slight obsession with the adorable, pint-sized yellow minions automatically puts Despicable Me 2 at the top of my "To-See list" and I cannot wait to catch the latest installment of the animated film series. Villain-turned-hero Gru (voiced by Steve Carell) returns to save the world with his three adopted daughters in tow. Miranda Cosgrove voices the youngest girl, Agnes, and she gives the minions a run for their money in the cuteness contest, while the two elder girls Margo and Edith each have their own quirky personalities. Animated movies are perfect for beating the summer heat, and if the overwhelming Facebook presence of Despicable Me is any indicator, the minions will take the summer by storm. 'This Is the End': June 12 Let's face it: anything with Seth Rogen, Jonah Hill, Jason Segel, Michael Cera, James Franco and Paul Rudd is bound to be hilariously epic. They are the Hollywood comedic dream team and their upcoming apocalyptic crisis movie This Is The End looks to be no exception. In the movie, the group of friends struggle to adapt after a global apocalypse leaves them struggling in Los Angeles. Adding to the excitement, sitcom super star Mindy Kaling will make an appearance, along with stand-up comedian Aziz Ansari, pop singer Rihanna and Emma Watson. Though the post-apocalyptic theme has already been heavily played out, the previous comedic genius of these actors surely indicates that This Is The End will be a great summer hit. 'After Earth': May 31 Remember that adorable little boy who joined Will Smith in The Pursuit of Happyness seven years ago? Jaden Smith once again joins his father, but this time in a very different movie. After the human race abandoned the planet and moved light years away, After Earth chronicles the perilous father-son journey across the dangerous terrain. In a struggle for survival, the pair rebuild a failing relationship-a classic action-meets-heartfelt theme. Ever since his first movie role, I've anticipated Jaden following in his father's footsteps and this movie is clearly a step in that direction. Will Smith, as seen in hits such as I Am Legend, perfectly puts out emotionally charged action movies and, therefore, After Earth should be a great start to the summer movie season.
(05/20/13 4:00am)
First off, congrats to all the seniors who graduated on Sunday! I hope every single one of you follows your dreams, and who knows, someone may even end up featured on this column! This is my first Pop Culture Column (and probably last), so we'll see how it goes. Perhaps the biggest news of the past two weeks is Angelina Jolie's preventative double mastectomy-a procedure some women choose to endure in order to reduce their risk of developing breast cancer. Jolie tested positive for the BRCA1 gene mutation that gives women a 54 percent chance of developing breast cancer, according to the Mayo Clinic. Electing to get a mastectomy decreases that risk by more than 90 percent and for women like Jolie-who watched her mother suffer and die from ovarian cancer-that's not a risk that they are willing to take. The procedure, an aggressive approach to fighting cancer, is often a difficult choice for women to make. Jolie's action speaks loudly to other women that getting a mastectomy does not take away your femininity or beauty, so I applaud her for being open about the procedure and her subsequent breast reconstruction surgery. In other motherly drama, Denise Richards is taking care of her infamous ex Charlie Sheen's two young boys, whose mother Brooke Mueller is struggling to overcome her long-time drug addiction. You might remember Richards' and Sheen's tumultuous divorce several years ago and Sheen's own outrageous behavior in the public eye, including drug-fueled rants and partying. Though I'm disappointed that Sheen cannot fully step up and claim responsibility for his sons-four-year-old twins Bob and Max-Richards deserves a round of applause for putting any previous drama aside and stepping in for the good of her children's half-siblings. Richards and Sheen have two daughters together, Lola and Sam, and Richards recently adopted an adorable little girl named Eloise on her own. Apparently, Mueller has grown increasingly unhappy with Richards playing mommy, but she will spend the next several months hopefully getting herself together at the Betty Ford Clinic. As for the younger generation, Justin Bieber and Selena Gomez are rumored to once again be spicing things up. The once star-crossed lovers have been spotted together, raising rumors that the two have reunited. Ah, the ever-changing tides of young love-who knows how long this round will last. Possible summer fling, anyone? Getting away from all this drama, a custom electric guitar played by John Lennon and George Harrison sold for $408,000 at a recent auction at the Hard Rock Caf?(c) in Manhattan. The auction was part of a "Music Icons" event arranged by a Beverly Hills auction company, Julien's Auctions, who said previously that the guitar would go for between $200,000 to $300,000. The guitar, a VOX prototype (whatever that means) was given to Lennon in 1966 and Harrison and Lennon both used the guitar for songs on their 1967 album Magical Mystery Tour. I'm a huge Beatles fan, so even if this isn't the hottest celeb gossip, I'm a little jealous of the new unidentified owner of this musical artifact! *
(04/30/13 4:00am)
Being a teenager is difficult-among the raging hormones, high school drama and growing up, it is a feat in itself to make it out emotionally (and physically) intact. But what happens when you struggle with your own self-identity and figuring out who you are in a sea of stereotypes and pressures to conform? In the short play Removing the Glove, teenager Will has much difficulty dealing with his own issues of self-expression and acceptance as he "removes the glove" about being left-handed-a clever allegory to "coming out of the closet" and being gay, respectively.
(04/30/13 4:00am)
On Friday night, Visions of an Ancient Dreamer, advertised as a part of the Festival of the Creative Arts, took the main stage in Spingold Theater Center. Consisting of two classic works by Euripides-Orestes and Iphigenia at Tauris- the Brandeis Theater Company's production was directed by Prof. Eric Hill (THA) and Aparna Sindhoor and translated by Prof. Leonard C. Muellner (CLAS) and his students. The two-part play was excellently performed, from the individual performances to choreographed movements to the production's thoughtfully staged set. For the first part of Orestes, I was slightly confused and disinterested, but after seeing the rest of the show, I attribute this to the complicated plot. The story started with Helen of Troy, who ran away from her home of Argos after Aphrodite offered her as a gift to another king. After defeating Troy in an attempt to regain Helen, the soldiers, including the infamous hero Odysseus, return home, but complications quickly arise for Agamemnon, a famous soldier. He is murdered by his wife Clytemnestra, and in an act of revenge, his son Orestes murders her. The play starts at this moment, in the aftermath of the murder. He is racked with guilt, and soon goes mad-ostracizing himself from everyone in Argos except for his sister Electra. Agamemnon and Clytemnestra never actually appear onstage, rather both are only present through the stories of other characters. Orestes (Sam Gillam, MFA) gave an emotionally-charged performance as the haunted, twisted murderer who does not regret his actions, yet realizes their magnitude. His performance was definitely a highlight of the show, especially in interactions with Electra (Sarah Elizabeth Bedard, MFA) and his best friend Pylades (Brandon Green, MFA). At times, I thought the play was very impersonal and lacked emotional connections between characters, but that ended up making these heightened moments particularly poignant. Oretes and Pylades' relationship can easily be described in modern terms as a "bromance"-they are infallibly loyal to one another despite the life-or-death situations they repeatedly find themselves in. Throughout Orestes' mental attacks , Pylades declares his allegiance to his friend despite whatever anyone else in the city thinks. Both actors were spectacular, and facilitated one of my favorite character dynamics in the entire show. Oddly enough, my favorite character of all had one of the most minor roles in the show-Alex Davis '15 as an unnamed old man who explains to Electra exactly what happened at Orestes' trial for killing his mother. I have seen Davis in several productions, most recently in Hold Thy Peace's Much Ado About Nothing, and I am always enchanted by his performances. His stage presence and character portrayals are always dynamic, enthusiastic and captivating. After only a few minutes on stage, I was left wishing he had a bigger role in the production. The second portion of the play, Iphigenia at Tauris, picks up a little while after the first part ends. In the end of the preceding portion, Orestes and his sister had avoided execution and the god Apollo (Nathanel Peleg '13) sorts out all the problems that arose throughout the play. Predating the time periods of both plays, it is told that Agamemnon had sacrificed his daughter Iphigenia (Sara Schoch, MFA) to Artemis in order to win the war against Troy. However, unbeknownst to her entire family, Iphigenia is saved and taken to the island of Tauris where she has since performed sacrifices for the gods. Orestes and Pylades end up washed up on the shore of Tauris, where they meet Iphigenia-neither of them knowing that they are siblings. After much back-and-forth banter, they realize their relationship and conduct a plan to escape from the island. Orestes' ability to develop an emotional connection with his other sister, Iphigenia, is a highlight of the show. Overall, I liked the second part of the play most because it was faster-paced and fostered a much greater emotional depth. Visions' set was very simplistic-opening with red-colored draping, which was removed to show bare platforms for the second act. This contrasted with the complexity of the plot and offered a stable backdrop to the performance. The play did not feature any classical dance choreography, but the precise movements of the characters added to the mystical, Greek epic vibe of the play. Most noticeably, five girls acted as pseudo-narrators who stood usually behind the main action of a scene while delivering supportive lines that whelped add substance to the plots. At times, they ranged from Electra's minions to screaming for Orestes' innocence. Their movements were synchronized and added to the impact of their lines. I thoroughly enjoyed the play, both for its theatrical and historical values. The visually stunning set and costumes added another dimension to the already superior acting. Visions was a great addition to the Festival of the Arts lineup and is a clear demonstration of what makes the arts so outstanding at Brandeis.
(04/30/13 4:00am)
This week, JustArts had a conversation with Brittany Ritell '15, who is on the executive board of Adagio Dance Ensemble and is active in the performing community at Brandeis. JustArts: How did you first get started dancing? Brittany Ritell: I started dancing when I was pretty young, around age five, so I probably didn't have much of a say. There was actually a point in the middle of elementary school where I really wanted to quit dancing, but my mom convinced me to stick with it for one more year but suggested I switch studios. It made a huge difference and at my new studio is where I really began to love dance. By the time I got to high school I was trying to convince my parents to sign me up for as many classes as possible-they capped it at six. My dance teacher at that studio is like another mom to me. JA: What is your role in Adagio Dance Ensemble? BR: This year I served as the communications coordinator for Adagio and I also had the opportunity to be a choreographer and a choreography mentor, all of which were great experiences. I'm also running for dance marathon coordinator for next year which will be a great experience and opportunity if I win! JA: Has dance been a lifelong activity for you? BR: Yes, I cannot remember a point in my life where I was not involved in dance. We have around seven different dance studios in my hometown so it is a really popular activity for most girls in Ridgefield, CT. JA: How has your dance interest and practice changed since you have come to Brandeis? BR: Brandeis has really expanded my dancing experience and styles. Freshman year I was part of B'yachad, the semi-professional Israeli dance troupe on campus, which was a style I had never tried before. I then began to learn swing through Swing Dance Club and then this year I performed in a tap dance for the first time ever! I also find that ballet club is really great for improving my technique. Zabelle, the ballet instructor, teaches Russian style which is a lot more structured that what I grew up doing and it has really helped me improve. JA: Did you choreograph any pieces in Adagio's spring show? BR: So I didn't choreograph for Adagio in the spring because I was choreographing two Liquid Latex pieces and you can only come up with so many dance moves at one time! I did have the chance to choreograph for Adagio in the fall, which was my first choreography experience. I'm really excited to do it again next fall! JA: What is the process of preparing for a performance like for you? How long does it take to perfect a piece for the stage? BR: I practice a lot. I usually go to rehearsals early and practice the dance to see if I can remember it on my own. In rehearsal you can see everyone else in the mirror, so its really easy to grow dependent on that in rehearsal, but on stage it looks so bad if you're looking at everyone else. The week before the show, I was spending a lot of time on tap because I have never taken a class before in my life and had to work extra hard to keep up. Most dances have rehearsal for one to two hours a week, but I like to practice outside of rehearsal! JA: Tell me about your experience with Liquid Latex this year choreographing a very different style dance piece. BR: Liquid Latex was a fascinating group to be a part of and it was definitely a challenge. The biggest difference with Liquid Latex is that the dances are about double the length of an Adagio dance! It's also really funny to work with people that don't dance because sometimes I really misjudge how the average person's body moves. Latex is so story based-you get to work with characters and a story line and it really helps when trying to come up with choreography! JA: What's your favorite color tutu? BR: Lime Green. Or something with a lot of rhinestones. JA: What has been your favorite dance memory this year? BR: So there's this move called a tilt that I've been working on gaining the strength and flexibility to do for a few months, and honestly the first time I was able to get that move was really exciting for me. Every year I choose a new move that I want to learn, and a tilt was the move this year, so it was really exciting for me when I was able to do it! JA: What is the hardest part about choreographing a dance from start to finish? BR: Keeping up your inspiration and creativity. I always find that the last 30 second to a minute are the hardest to choreograph because you just really want to have it done but you don't want to keep reusing moves. JA: Do you have a favorite dance/music genre to dance to? BR: I will always have a fondness for ballet because it is the foundation for all other types of dance. If your ballet technique is good, your dancing in other styles will look better too. It's also probably the hardest and I like the challenge I'm not feeling creative! * - Rachel Hughes and Jessie Miller
(04/22/13 4:00am)
In anticipation of her upcoming project for the Festival of the Arts, JustArts talked with Livia Bell '13 about her project, entitled "Structural Healing." Bell describes her project as a commentary on the dilapidated architecture on campus and the idea of a Band-Aid as a quick fix. Bell, who took several years off before coming to Brandeis, is an Education Studies major and Sculpture minor. JustArts: What are your plans for after graduation? Livia Bell: As of right now, I'm going to be spending the summer in either Philadelphia or Seattle. In late July, early August, I'm heading to Samoa for six months to work in an art center. Basically, I'll be teaching art classes to children and working with two artists, Wendy Percival and her husband Steve Percival. He is a documentary filmmaker and she mainly works in ceramic, but also bone carving and woodcarving. JA: Do you work in other art mediums besides sculpture? LB: I used to paint, but I don't consider myself a painter ... I would love to paint more, but I haven't really been brave enough to go into that. We use a lot of different mediums within sculpture, which is great. Lately, I've been working with latex paint, but this semester I've also been getting into working with clay and forming the human body. JA: What is it about sculpture that initially drew you to it? LB: Specifically at Brandeis, I took a 3-D design class with Prof. Tory Fair (FA) and she made it so that it was accessible to everybody and made it clear that it was something that could be done by anybody. I didn't feel that way about painting or drawing and I felt like I could develop my sculpture skills in a much more free environment. JA: Can you explain to me your Festival of the Arts project, "Structural Healing?" LB: I'm trying to make students more aware of what's around them on campus and help foster this feeling of responsibility-the fact that we can help take care of our campus and make things happen. It's also commentary on Band-Aids as an inaccessible tool in a sense that they are not the color of everybody. I wrote in my first description of the project that I read this article called "Unpacking the Invisible Knapsack" and in it they talk about [the color of Band-Aids] and it's a really amazing article. I read it years ago, but it's still in my mind. My project is putting brick patterned Band-Aids on every building, including the new non-brick buildings, to highlight the disparity between the conditions. Similar to the way a Band-Aid's color does not reflect the skin it sits on, these Band-Aids use the universal color of brick to describe architecture in very much the same way as skin tone. JA: What else besides art helped give you the idea for your project, including the anthropology article about the knapsack you previously mentioned? LB: I was a preschool teacher before I came to Brandeis for about five years and I'm always trying to make art projects that are accessible to children and everybody. I would see these Band-Aids that had dropped on the ground and in the beginning, it wasn't yet about the ideas I've developed for the project. It was just about making art that was accessible to all-people who would recognize what that is and hopefully ignite some spark in them. That's kind of my idea with children-I'm always trying to encourage them to create and express themselves through whatever they choose. A lot of what I do in art is me being a teacher through my art. JA: What do you hope the Brandeis community will take away from your project? LB: I'm hoping that they see it as something that they can partly appreciate as something interesting and accessible. There's also the social justice factor aspect of it and wanting people to see a difference between the buildings that are repaired, newer, and the ones that are dilapidated. Ignite that sense of responsibility for our campus. JA: Have you been part of the festival in previous years? LB: No. Last year, I helped my friend Sarah Hershon '14, who was the "yarn bomber." I didn't have a big enough idea until this year. JA: Could you describe previous sculptures you've created or any projects similar to this? LB: I haven't worked with latex paint before and this is the first time I've attempted to create large Band-Aids. I did another large-scale sculpture three semesters ago, which was an eight by eight umbrella and represented a form of shelter because that was an assignment for a class. It was so much fun to make something so giant. Mostly what I do are things in smaller scale. I like working with my hands a lot and forming things. JA: What's your favorite class you have taken at Brandeis? LB: I would have to say "Implicating the Body in Sculpture" with Tory Fair. Basically, we get to form bodies with our hands or we get to cast pieces of our body or someone else's. It's an exploration class and we got to experience all these different materials and body parts. JA: How would you describe the purpose of the Festival of the Arts and its significance on campus? LB: I think it is Brandeis giving students an opportunity to do art and feel supported when they do it. In sculpture, it's really difficult to find funding and the money to pay for everything you need, as well as the advisers that the festival supplies who are rooting for you. That's what you're getting with the festival-these people who are saying yes, we do believe in this project that you want to do and we see the merit in it, so let's make it happen. JA: Do you have a particular memory or moment in your past that inspired you to do sculptures? LB: When I was younger, I would go to this camp at the Museum of Contemporary Art, in California, and we would be doing art including sculpture. I would be sitting at the table and I would want to spend hours more doing this project. My favorite project I made was a giant giraffe out of toilet paper tubes and my mom kept it for like 10 years. I can still see that image in my head, how proud of myself I was that I made that. It wasn't even whether it was a good giraffe, but that I made the giraffe and someone appreciated it. JA: If you could describe your art style in one or a few words what would it be? LB: Accessible and interactive are the two words I would go with because that's how I like to experience art. At the museum, if I could, I would go up and touch every painting but obviously I can't. With my art, I want everyone to think that they can touch the Band-Aids, and experience what they feel and look like in every aspect. JA: Is there any particular piece of artwork at the Rose Art Museum that you identify with? LB: Most recently, what I can think of is when they put the mirrors on the ground. It was just the fact that the mirrors were something people could come in and break. I love a lot of the artwork there but because of the sculpture aspect of me, [the floor] was like a huge sculpture to me. JA: Is there any particular artist who has impacted you as an individual and artist? LB: I've been working a lot with Prof. Deb Wheeler (FA). She's been really influential. We don't have similar artistic styles, but it's just the way she thinks about her art, the pace at which she does things and it's great to have another artist on campus to work with. JA: Are there any other experiences you have had that have impacted you as an artist? LB: It took me a long time to come to this point in my thinking about art and being able to even apply for a grant for the Festival of the Arts and thinking that I could do this large-scale project. Part of it is obviously that I took a break and then came back to college and had all these life experiences in between, which really changed me for the better. It's also that my brother is an amazing artist, so I've had that around me my whole life and being able to see what he can do has been a big positive influence on me. JA: What was the biggest challenge you faced while creating "Structural Healing?" LB: It has been a series of challenges. I started the project last semester before getting the Festival of the Arts grant. It took me all last semester to figure out the right paint to use for the Band-Aids. So I would say the entire project has been a challenge that I was not willing to give up on. JA: Is there any one sculpture you have done that was the most challenging to create? LB: I guess it would be this project because it's something that is so in the public eye and that's a big deal for me. Usually, projects are small and internal, but now I am throwing it out there and hoping that everyone appreciates it. But if they don't appreciate it, that's great too. Whatever they have to say about it because I just want them to have something to say. Making this project has taken a lot out of me-in a good way. JA: Do you have any piece of artwork that stands out in your mind as more meaningful, or a favorite? LB: Yeah, I'm working on something right now that I feel very connected to. It is part of a series I'm starting to do-the transformation from liquid to a solid. I'm trying to form liquids into clay or hard materials, and then that liquid is going into the form of a woman. I've made two so far. One of them is this woman who is a big woman and it looks like she has been poured into a mug. She's made out of bronze. There is another woman that is in the form of a stream of water. I'm going to make her out of wax. They are small pieces and every mark I've made with my hands and I feel very invested in the project. JA: Where do you see yourself in 10 years? LB: I see myself, hopefully, making art or opening an art-based daycare somewhere where that usually wouldn't be available to children and families because that's usually only in affluent areas.
(04/22/13 4:00am)
This week, JustArts sat down with Victoria Cheah, a Ph.D candidate studying Music Composition, to talk about her project for the upcoming Festival of the Arts. JustArts: Can you explain to me "Mirror, Mirror," your Festival of the Arts project? Victoria Cheah: This installation consists of two designated places for communication-each one contains a parabolic dish that reflects sound to the other. In front of each "whisper dish" is a specially made instrument, which a visitor can make sounds with and communicate non-verbally with someone at the other dish. JA: Where did you get the inspiration for the project? VC: I've always been interested in indirect communication and weird monuments of mammoth scale-I was up late one night wasting time online and found a site about these gigantic concrete sound mirrors in Britain, which they built during the war in order to hear any enemy approaching. Something about these leftover devices struck me and I started thinking about how to use that kind of technology in a smaller-scale piece. As a musician who has terrible stage anxiety, the issue of performance, in public or in private, is also very interesting to me-I wanted to explore modes of performance that called to attention the line between private communications and public proclamation, both intentional and not. JA: What do you hope the Brandeis community will take away from the artwork? VC: I hope that those who choose to spend time with the work will have some kind of moment with it, whether a positive one connecting with a stranger or a friend or a negative one. JA: Have you been part of the Festival of the Arts in previous years? VC: Yes-last year I built a large white wooden corridor that involved sound outside the Rose Art Museum, taking a cue from the Ellsworth Kelly piece "Blue White." It was about a physical relationship with sound and form. I wanted to change an arbitrarily defined space into something different, a guided experience. JA: How would you describe the purpose of the Brandeis' Festival of the Arts and its significance on campus? VC: The Leonard Bernstein Festival of the Creative Arts is an amazing thing. The Festival is when art of all kinds really takes over the campus and becomes part of campus life for a few days. It's so important to support emerging art-when I say art, I refer to all artistic disciplines-music, dance, visual arts, etc.-and to encourage people to interact with art, especially if they don't make it. JA: As an artist, what kinds of works would you say represent your artistic style, either something you created or like? VC: I'm not sure if I have a style yet, but I am drawn to works by artists like Ann Hamilton, Doris Salcedo, Yayoi Kusama, Richard Serra, Caravaggio, Olafur Eliasson and composers G?(c)rard Grisey and Salvatore Sciarrino. JA: How have your studies at Brandeis influenced your project? VC: I have been so lucky to have had the chance to take sculpture classes with Prof. Tory Fair (FA) and Prof. Deb Todd Wheeler (FA), and to learn from Prof. Jon Koppel (FA). When I was a kid I actually thought I would go into visual arts, not music, so it has been really gratifying to close the loop, so to speak. My studies in Music at Brandeis have been key to my development as an artist, especially since music is my primary medium. In my studies so far, I realized I want to develop different methods of communication and connection, which this project directly addresses. JA: Do you have a favorite class or professor at Brandeis? VC: All the professors I've worked with at Brandeis in the Music and Art departments have been fantastic. I've particularly enjoyed working as a TA for Prof. David Rakowski (MUS)-teaching is an integral part of my development as an artist and it's been great learning from Davy. JA: What in your life has influenced you most as an artist? VC: Everything! But especially a handful of special aesthetic moments with other work, and my relationships with specific people. JA: How did you get started making art? VC: I think I've always made things-I desperately wanted to be a fashion designer when I was in high school. I studied piano since I was little, and really decided to get into music through my high school choir. I think I've never been satisfied with one discipline or tradition and have been working on my skills in several disciplines in order to find some way between them. Interdisciplinary anything begins with a deep exploration of a discipline! I've decided to make music my home base, but I'm interested in learning much more. -Jessie Miller
(04/22/13 4:00am)
First book in the thrilling trilogy hits it off in movie form In the summer of 2010, I became obsessed with Stieg Larsson's Millennium book trilogy, the first of which is The Girl with the Dragon Tattoo. I quickly devoured the books and, shortly afterward, heard the producers were starting production on an American movie version of the first book. David Fincher (The Social Network) donned his director's cap for this movie, which came out in 2011. I was simultaneously looking forward to and dreading this adaptation. One of my favorite parts about the book was that Larsson described the scenes he wrote in such great detail that I was able to easily imagine exactly what was going on, but with my brain filling in the tiny, unmentioned details-something I love about books. So, I worried about how the detail-rich text would translate into a movie-a problem all book-to-movie adaptations face. Fincher's interpretation of the book was spot-on: He captured the anxiety-ridden and eerie setting created by Larsson's words and perfectly altered them to suit his medium. Because the novel was lengthy, there were some plot points and details left out of the movie, but I did not find myself wishing that a specific part had been represented that wasn't. Also, I found that I cared more about Fincher's adept representation of the feel of the novel than every tiny detail being exactly the same as the book. This was one of the best book-to-movie adaptations I have seen. -Marielle Temkin Classic romance novel evolves well into movie A Walk to Remember, a 1999 romance novel by Nicholas Sparks, tells the story of an unexpected love that blossoms between two high school seniors from complete opposite ends of the social spectrum. Landon Carter (Shane West), who is class president and considerably popular, is required to ask a girl to the school dance due to his position. He asks Jamie Sullivan (Mandy Moore) and after she changes Landon's life and priorities, Landon learns that she is terminally ill with leukemia. The 2002 film, directed by Adam Shankman, was based on Sparks' best-selling novel. Due to the fact that the film takes place in the 1990s and the novel takes place in the 1950s, Landon's character becomes more delinquent and troubled in the film, but Jamie is more similar to her original character. Moore plays the role perfectly with a shy yet confident air; she is quiet and sweet, while also being poised and determined. "Only Hope," a song by Switchfoot, was performed by Moore, whose vocal performance is incredibly touching lyrically-listening to her dulcet sound adds to the experience. West's performance is just as convincing. West is able to transform himself from a teenage boy trapped by social expectations of high school to a young gentleman who would do anything for the love of his life. The extent to which Jamie changes West's life in the film is more exaggerated due to his previous actions and family situation, making it a more touching experience. I suggest either reading the novel or watching the film to see how the story pans out. Your perspective on what is most important in life will change. Take it from me. I am not a fan of romantic novels, specifically those by Sparks such as The Notebook. For me, however, the film was certainly more effective in getting the point across, specifically due to the use of a score and the musical choices throughout the film. -Marissa Ditkowsky Hunger Games venture fails to adapt into an action-packed film The movie The Hunger Games, based on the first book of a popular trilogy by Suzanne Collins, does an excellent job representing the grim, dystopian world described by the novel. The makeup and special effects are fantastic and the fight scenes got my heart racing in a way that I wasn't necessarily expecting from a movie rated PG-13. However, the movie is brought down a rung by poor acting and a lack of character development. While Jennifer Lawrence has been rightly awarded plaudits for her roles in other movies like Silver Linings Playbook and Winter's Bone, her portrayal of Katniss-the protagonist-falls flat on the big screen. Lawrence gets the fighting and action right, and she looks great while doing it, but when she tries to push through the emotion that is a big part of the character in the novel, she seems monotone and unengaging. Lawrence's co-stars, Liam Hemsworth and Josh Hutcherson, seem similarly emotionally detached; Katniss and Peeta's (Hutcherson) relationship just doesn't pop with the same level of melodrama that the book showcases. Gale (Hemsworth) seems slightly more authentic, but it still seems like Hemsworth is there more for his good looks than his acting ability (after all, we're talking about an actor who's previous biggest role was in Knowing-a Nicolas Cage movie.) Overall, I found that the bad acting made it hard for me to enjoy the movie, despite the fact that the filmmakers successfully created a beautiful and haunting world that mirrored the novel well. -Sam Mintz Film adaption still entertains I read the book version of It's Kind Of A Funny Story in my rebellious, lost soul days of high school, and I immediately connected with the main character, Craig. Written by Ned Vizzini and based off of his own psychiatric hospitalization, the book chronicles Craig's rehabilitation after being hospitalized for depression, among other things. While in the hospital, he meets an array of other patients-all of whom have their own psychological issues. Vizzini develops the characters with expertise and precision and I was completely consumed by the novel. Not only did I love the storyline, but the novel also reveals themes about mental illness, growing up and problems we face that I have kept with me since then. When I saw that the movie version was coming out, starring Emma Roberts, Keir Gilchrist and Zach Galifianakis, I could not wait to see it. I watched the movie with my little sister and though the performances of all the actors were great, it was much less hard-hitting than I had hoped. But I think it comes down to the fact that the book had such a profound effect on me and had already left a powerful mental image that a movie version couldn't live up to. With that said, I still thoroughly enjoyed the movie version and appreciate its existence. -Jessie Miller * Chbosky's coming of age themed novel makes a powerful translation to film On the surface, The Perks of Being a Wallflower, a novel written by Stephen Chbosky and adapted for the big screen this past November, represents the typical coming-of-age narrative. Charlie, the protagonist, struggles to adapt in the "survival of the fittest" environment of high school, and along the way, overcomes adversity with a fiercely loyal friend group. Yet, as one embarks on this cinematic journey, it is anything but a cookie-cutter film. Even though I had read the novel three years prior, Chbosky reeled me in. Logan Lerman, acting as Charlie, stirringly displayed the rapid and troubling emotional growth of his character. I quickly became immersed, applauding Charlie's accomplishments while tearing up at his struggles. Yet, I also developed that intimate emotional connection with Sam and Patrick, Charlie's two "guardian angels," played by Emma Watson and Ezra Miller respectively. It is tough for any director to connect with a teen audience and depict the intricacies of high school life. I felt as if Chbosky, though, did just that. The signature track of the film was "Heroes" by David Bowie, and throughout the film, we see how the most familiar host of characters-the popular beauty, the Harvard-bound intellectual and the outspoken yet troubled gay friend-can be heroes in their own right. Yes, The Breakfast Club and Ferris Bueller's Day Off stand as the icons of a genre; however, for me, Perks and its powerful representation of the difficulties of teen life should stand right alongside both. -Adam Rabinowitz
(04/22/13 4:00am)
This week, JustArts sat down with Victoria Cheah, a Ph.D candidate studying Music Composition, to talk about her project for the upcoming Festival of the Arts. JustArts: Can you explain to me "Mirror, Mirror," your Festival of the Arts project? Victoria Cheah: This installation consists of two designated places for communication-each one contains a parabolic dish that reflects sound to the other. In front of each "whisper dish" is a specially made instrument, which a visitor can make sounds with and communicate non-verbally with someone at the other dish. JA: Where did you get the inspiration for the project? VC: I've always been interested in indirect communication and weird monuments of mammoth scale-I was up late one night wasting time online and found a site about these gigantic concrete sound mirrors in Britain, which they built during the war in order to hear any enemy approaching. Something about these leftover devices struck me and I started thinking about how to use that kind of technology in a smaller-scale piece. As a musician who has terrible stage anxiety, the issue of performance, in public or in private, is also very interesting to me-I wanted to explore modes of performance that called to attention the line between private communications and public proclamation, both intentional and not. JA: What do you hope the Brandeis community will take away from the artwork? VC: I hope that those who choose to spend time with the work will have some kind of moment with it, whether a positive one connecting with a stranger or a friend or a negative one. JA: Have you been part of the Festival of the Arts in previous years? VC: Yes-last year I built a large white wooden corridor that involved sound outside the Rose Art Museum, taking a cue from the Ellsworth Kelly piece "Blue White." It was about a physical relationship with sound and form. I wanted to change an arbitrarily defined space into something different, a guided experience. JA: How would you describe the purpose of the Brandeis' Festival of the Arts and its significance on campus? VC: The Leonard Bernstein Festival of the Creative Arts is an amazing thing. The Festival is when art of all kinds really takes over the campus and becomes part of campus life for a few days. It's so important to support emerging art-when I say art, I refer to all artistic disciplines-music, dance, visual arts, etc.-and to encourage people to interact with art, especially if they don't make it. JA: As an artist, what kinds of works would you say represent your artistic style, either something you created or like? VC: I'm not sure if I have a style yet, but I am drawn to works by artists like Ann Hamilton, Doris Salcedo, Yayoi Kusama, Richard Serra, Caravaggio, Olafur Eliasson and composers G?(c)rard Grisey and Salvatore Sciarrino. JA: How have your studies at Brandeis influenced your project? VC: I have been so lucky to have had the chance to take sculpture classes with Prof. Tory Fair (FA) and Prof. Deb Todd Wheeler (FA), and to learn from Prof. Jon Koppel (FA). When I was a kid I actually thought I would go into visual arts, not music, so it has been really gratifying to close the loop, so to speak. My studies in Music at Brandeis have been key to my development as an artist, especially since music is my primary medium. In my studies so far, I realized I want to develop different methods of communication and connection, which this project directly addresses. JA: Do you have a favorite class or professor at Brandeis? VC: All the professors I've worked with at Brandeis in the Music and Art departments have been fantastic. I've particularly enjoyed working as a TA for Prof. David Rakowski (MUS)-teaching is an integral part of my development as an artist and it's been great learning from Davy. JA: What in your life has influenced you most as an artist? VC: Everything! But especially a handful of special aesthetic moments with other work, and my relationships with specific people. JA: How did you get started making art? VC: I think I've always made things-I desperately wanted to be a fashion designer when I was in high school. I studied piano since I was little, and really decided to get into music through my high school choir. I think I've never been satisfied with one discipline or tradition and have been working on my skills in several disciplines in order to find some way between them. Interdisciplinary anything begins with a deep exploration of a discipline! I've decided to make music my home base, but I'm interested in learning much more. -Jessie Miller
(04/16/13 4:00am)
Last year at SpringFest, we stood in a drunken haze looking up at fun. taking over the stage on Chapel's Field. But during Taylor Lombard's '13 Senior Thesis performance in Merrick Theater, Some Nights: A Modern Dance Piece, choreographed to eight songs from fun.'s album, I was just as greatly transfixed by the performance. Lombard's choreography was sharp, appropriate and creative and she and the five other dancers were equally enchanting. I've always enjoyed fun.'s music-the band offers a unique blend of up-beat pop mixed with a sense of emotional yearning. Its songs, especially "Some Nights," are sort of rock ballads that touch on problems many young adults experience. For this reason, Some Nights was a perfect album to choreograph a dance to; the visual and auditory entertainment complemented each other perfectly. The songs followed their order on the original album, starting with "Some Nights (Intro)" featuring Lombard and Jess Urbach '15. The duo exhibited an intense chemistry and their concurrent movements, along with matching black shorts and leotards, set the context for the seven equally amazing performances that followed. The dance smoothly transitioned into "Some Nights" as the rest of the dancers emerged on stage-Morgan Conley '13, Bront? Velez '16, Amanda Reuillard '13 and Samantha Cortez '13. Continuing with the theme, the six girls danced dramatically, with strength and precision; I also picked up on a slight bit of simple Irish step dancing between the more elaborate dance movies. Visually, I really liked how Lombard chose to divide the girls into pairs as seen in three sets of matching leotard colors and the dance duets. In each duet, the dancers clearly exhibited a strong connection and chemistry on the stage that complemented the powerful music. The third piece featured Velez and Cortez dancing to "We Are Young," perfectly embodying the lyrics of the song. In the next song, "Carry On," all the dancers were on stage, but it specifically featured Velez, Cortez, Reuillard and Conley. This was one of my favorite pieces, partially because I wasn't as familiar with the song, but I loved its theme: "If you're lost and alone/Or you're sinking like a stone/Carry on/May your past be the sound/Of your feet upon the ground/Carry on." The two dancers who weren't featured, Lombard and Urbach, instead performed a duet to the next song, "All Alone." This song is very playful and sounds cheery, yet it muses about being solitary; Lombard and Urbach, dressed in tutus, portrayed these mixed feelings well and even appeared very doll-like. Reuillard and Conley also performed a duet to "All Alright," which was relatively slower and more melancholic than the other songs-the song was about heartbreak and unreciprocated love. The storyline of "All Alright" was the easiest to follow of the dances because Reuillard and Conley's actions were clearly that of a misunderstood breakup. As Lombard writes in her director's note, the dances are "depictions of relationships filled with delusion, abuse, and unrequited love." The last two pieces, "One Foot" and "Stars" featured all of the six girls and was an amazing end to the show. "One Foot" reminded me of "Some Nights" because it deals with similar themes of family and figuring out what to do with your life. "Stars" was a little bit slower, and more electronic sounding. Of the songs I knew before the show, I had thought that fun. was a great band, but after Lombard's thesis project exposed me to the entire album, I will definitely keep listening. And I won't forget her beautiful and elegant choreographed interpretation of the music. *
(04/15/13 4:00am)
At a most basic level, I define myself as white, Jewish, female; these three words and the stereotypes they invoke have a large impact on how other people see me. At Brandeis especially, there are many variations on these three words, each carrying a different connotation within our community. In her Senior Thesis Festival creation, Alia Goldfarb '13 explores themes of diversity at Brandeis, the social injustices that follow and whether there really is an open dialogue about these issues here. Staged in the intimate setting of Merrick Theater in the Spingold Theater Center, Diversity was incredibly well done and thought provoking, followed by a talkback with the cast. Though the performance was Goldfarb's senior thesis, the performance was largely a compilation of the thoughts and writing of both Goldfarb and the eight performers. They explained that the show started as Goldfarb's idea and grew out of the conversations the group had about diversity and social justice on campus. Because of this organic start, the performance did a great job at depicting the issues most central to the entire Brandeis community. The first two scenes dealt with the stereotypes about Jews and Jewish life that are propagated around campus. Rozi Levi '13 dominated the stage during the next scene, about being a girl with multiple identities of defining herself. In her monologue, Levi talked about what it meant to be a Turkish Jew at Brandeis and finding where she belonged. I really enjoyed her scene, because it is relevant to many different types of people who all try to define themselves within categories or labels. College is an incredibly impressionable time when you learn who you are and where you belong, so Levi's summation of her struggles with labels and diversity is widely accessible. The next scene featured all eight cast members standing across the stage, naming a specific academic scholarship, like Posse or National Merit. The point was to demonstrate that your race, religion or any other label does not define you or place you in a certain social or economic category. Charlie Madison '15 performed next, as a student auditioning for the play Grease. Madison was entertaining and captivating while addressing the issue of stereotyped casting; for him, it meant not being able to play the "manly man," like Danny Zuko, because of what our largely gender-binary conforming society defines as masculine or feminine. Iyvon Edebiri '13 and Rasheik Trammell '13 were up next and performed a comedic, casual conversation between two friends that had crossed into Asian stereotypes, like thick accents or perfect grades, but an Asian student (Wei Ying Lim '16) sat unseen near them and overheard it all. I thought this was a creative way of showing that the stereotypes casually brought up in innocent conversations can really hurt people, even if they are not spoken maliciously. Next, Trammell and Madison satirized the infamous "Brandeis Goggles" complex, and although I did not see this idea as fitting in with the diversity theme, it was still an interesting depiction of relationships on campus. After this, Bront? Velez '16 performed a passionate and thought-provoking spoken word piece that dealt with racial stereotypes. Velez's piece was a response to comments about the play The Colored Museum that stated it was inaccessible to white audience members; she progressed into talking about how people compare the Holocaust to slavery in the South, yet fail to acknowledge slavery as equally traumatic. She went on saying that generations after still have not risen from the chains of slavery, referencing Maya Angelou and the caged bird-her point being that you cannot forget how to fly despite what happened in the past. The next sketch centered around Edebiri eating an Oreo cookie, this simple food becoming a battle between black and white. Two groups stood, one on either side of her, saying she should like either the cookie or cream-and that she could not possibly like both. I think this skit addressed the tension between racial stereotypes well, especially for individuals who are of mixed race. The last scene was possibly the most provocative in that there was no dialogue and it was very open to interpretation by each individual. All the cast members took off a layer of clothes, revealing black-colored attire, and proceeded, one by one, to dress Edebiri in their own colorful garments that were scattered around the floor. As Edebiri sat motionless, it was interesting to think about how this relates to the labels and stereotypes we let people assign to us and how our surroundings can influence us. Trammell played the violin beautifully throughout this entire skit. The last part of the performance didn't quite make sense to me until the delivery of its ending line: "What a beautiful community." One after another, the performers came to center stage and each started cyclically performing a rhythmic action, like clapping a beat or repeating a single word. At first, it seemed completely random and I didn't understand the correlations between each actor; but that turned out to be exactly the point. The distinctiveness of each action was a reminder that a community is not a homogenous clump-it is a mixture of various, different people who bring together a diverse array of lives. Diversity illuminated social injustices that Brandeisians face by drawing on the cast's personal experiences. Personally, I think that there is often is a lack of dialogue about the topic, and that my status as a non-minority disqualifies me from having a voice. But Diversity raised important points that encourage students to think about our vision of social justice.
(04/09/13 4:00am)
We've all been there-someone answers the phone, we hesitate for a second and then realize we dialed the wrong number. We have a few awkward exchanges but just hang up and dial more carefully the next time. But what if that wrong number could lead to something more? In the movie Miss Dial, written and directed by David H. Steinberg, consumer affairs representative Erica (Robinne Lee) turns a wrong number into an entire day of phone conversations with complete strangers. The movie features her conversations with over 30 people, one of whom she eventually develops a romantic relationship with. The sheer irony of the movie is the fact that it is Erica's job to talk on the phone; she spends her days working from home answering calls from consumers about various products (that number a box always has for "Questions, Comments, Concerns"). The items ranged from canned soup to car wax, and each call was comical, like the woman who once used a paper shredder to shred potatoes. In comparison, the conversations that Erica had with the strangers she called were compassionate and friendly-she asked them about their lives, problems and dreams. The diversity of callers was really interesting and offered a look into the different lives of individuals, showing that everyone truly matters. The last call Erica makes, after promising herself that she will get back to work, is with Kyle (Sam Jaeger). They have instant chemistry and their relationship slowly develops over hours talking on the phone. As Erica, Lee is very relatable and realistic; it was easy to become invested in her story and I thought she did a good job (though it wasn't a particularly challenging role). Jaeger, whom I love in his regular role on the T.V. show Parenthood, was charming as her love interest, though it was hard for any of the actors to truly amaze me simply through phone calls. Erica and her best friend Sam (Sara Rue) had several conversations as well, mostly talking about boy drama, of course. Rue is one of my favorite underrated actresses, so it was great to see her get some screen time. But the truth of the matter is that the movie simply lacks any real substance or plot development. Miss Dial is an interesting concept and it's nice to think that people in real life could be that open. Truthfully, I cannot imagine that calling up a random person would end in a happily-ever-after situation. For much of the movie, I was laughing at the ridiculousness of the plot, but there was a lot of comic relief through the interesting characters Erica encountered-including actress Gabrielle Union as an incredibly long-winded caller complaining about dog snacks. Most noticeably, there is barely any physical movement in the movie because Erica stays in her living room the entire time, so the movie flashes between her house and whoever is on the other line of the phone. I kept waiting for something to happen, but nothing did until the very end when Erica and Kyle are united. Beyond the actual plot events, Miss Dial represents a greater theme-that you shouldn't let anything, including a job or bad relationship, hold you back from living your life. Erica is clearly wasting away at her job as a consumer affairs representative, so to me it seems like her calling all those random people is her way of letting go of her job-for once, she is the one calling for answers instead of people wanting answers from her. In the end, I was proud of the decisions she made and it reminded me that it is never too late to make a change. *
(04/08/13 4:00am)
This week, JustArts spoke with Rebecca Miller '13, who is a Theater Arts major, and talked about her production 'Amaranthine,' as part of the Theater Arts Senior Festival next week. JustArts: As part of the Theater Arts Senior Festival, you are putting on an original production entitled Amaranthine. Can you tell me more about this play? Rebecca Miller: Well first of all, Amaranthine is defined as: 1. Of, relating to, or resembling the amaranth. 2. Eternally beautiful and unfading; everlasting. 3. Deep purple-red. Amaranthine is a one-act play about love, loss, death and the control one may or may not have over his or her own destiny. It begs the question, "Is guiltless the same as innocent?" Amaranthine focuses on the lives and afterlives of Anne Boleyn, her brother George Boleyn and her first love, Henry Percy, the sixth Earl of Northumberland. JA: What inspired you to write Amaranthine? RM: I have long been enamored of Anne Boleyn and the mystery that surrounds her life. In an endeavor to combine my passions for both theater and history for my senior thesis, I first looked to dramatic literature. I was curious to research how Anne has been portrayed from Shakespeare's Henry VIII to Howard Brenton's Anne Boleyn which premiered in 2008... I came to the conclusion that I had something different to say about Anne and therefore, because I could not find the voice that I felt captured her, I decided to use my own. JA: How have your Theater studies at Brandeis led to your work in the senior festival? RM: Honestly, I've been thinking about my Senior Thesis since freshman year. An opportunity to present your specific vision as an artist is absolutely thrilling. As my knowledge of theater theory and practice grew, my aesthetic tastes have changed and I have made new discoveries. As a History minor, I have taken courses mostly focused on Britain in the later Middle Ages. This play feels like the final culmination of my passions and studies. As the actress playing Anne, as well as the playwright, I attempted to create a very dangerous, smart and compelling female lead, something that is often lacking in theater today. JA: Could you describe what the Theater Arts Senior Festival is and what it entails? RM: The Theater Arts Senior Festival is a week of performances showcasing undergraduate Senior Theater Arts majors' work. From April 9 through 14 there will be two to three performances every evening in the Merrick Theater in the Spingold Theater Center. Seven shows (and one presentation) are sharing the same space and are working collaboratively to create a cohesive and high quality group of work. JA: What was the process that went in to writing Amaranthine and preparing it for the stage? RM: First, a ton of research. Then, I sifted through the primary sources I had found and decided to incorporate Anne Boleyn's last words as well as a poem she may have written while a prisoner in the Tower of London. Then the writing began. It went through many drafts, 24 to be exact. ...In the fall, I spent my time on the research and writing. In late November, I had an informal reading in my kitchen. Then more rewrites. Over the winter break there were even more re-writes. We workshopped in January and early February. More rewrites. We began our rehearsals in earnest in mid-February and my cast has had to contend with an ever-changing script. They are fantastic. Not only is the writing so important to the process, but working with actors on their feet to determine if certain moments work is vital. JA: Who else did you work with to make the production possible? RM: My thesis advisor, Prof. Janet Morrison (THA) and pseudo-advisor Prof. Alicia Hyland (THA) as well as Prof. Adrianne Krstansky (THA) and Prof. Jennifer Cleary (THA) who are advising and producing the festival. Thank you to our professional lighting designer, Emily McCourt, my director, Grace Fosler '14, stage manager, Betty Ko '13, as well as my fellow actors, Levi Squier '14, Steven Kline '14 and Charlie Madison '15. And of course, thank you to the other Senior Thesis ladies who are working so hard to make it all happen! JA: What is your most memorable theater arts memory from your time at Brandeis? RM: Working with Scott Edmiston on the Brandeis Theater Company's production of Sunday in the Park with George. It was magic. JA: Have you taken classes at Brandeis that involved writing plays, or how did you get started writing them? RM: No! I mean, I really wish I had, but no, I haven't taken a playwriting class here at Brandeis. Playwriting used to be something I thought was beyond my capabilities. But once I made the decision to write my own interpretation of Anne Boleyn, I discovered how much I enjoy the process. JA: Do you hope to pursue work in theater after graduation? RM: Yes, I do. Although I am originally from New York, I plan to remain in the Boston area and pursue a career in the theater. -Jessie Miller
(03/19/13 4:00am)
My knowledge of stringed instruments is strictly limited to the few guitar lessons I took in fifth grade and listening to the screeches as my sister attempted to learn how to play violin. Why am I at Fiddle'Deis, a weekend dedicated exclusively to the great variety of fiddle music? I had no clue what I was getting myself into, but despite the lengthy four-hour runtime, the Saturday night performance in the Slosberg Recital Hall was an eye-opening experience to the enchanting music of fiddles. Each of the four performances that took the stage had its own distinctive style, and I was pleasantly surprised by the diversity a seemingly monotonous instrument could create. I had really only heard the classical drone of violins and the Southern drawl of country fiddle music. The first performance featured visiting performer Meena Kothandaramen on the violin who was accompanied by her brother on a simple, two-sided drum. Kothandaramen explained that much of the Southeast Asian music she played honored the Lord Ganesha and another specific song was a sort of preemptive apology to the Mother Goddess in case the musician made any mistakes. Kothandaramen was more than just a performer-she interacted with the audience and educated them about her musical style, which was especially important because many members were violin players (toting their instruments around). Though completely foreign to me, she taught about the rhythmic cycles that form the base of any song and were embellished with fancier overlays. Overall, her music had a mystical and deeply moving quality that was relaxing and melodic. After a brief intermission, Lousiana-based duo David Greely and Chris Stafford took the stage to perform energetic, authentic Southern fiddle songs and even featured Stafford playing the accordion in one piece. Recently, I've been listening to country music so this set filled my country fix, though it was more reminiscent of the Charlie Daniels Band's "The Devil Went Down To Georgia" than Toby Keith's or Brad Paisley's latest hit. Compared to Kothandaramen's performance, Greely and Stafford were equally engaging, though much more lively, with Greely telling several anecdotes about his experiences in fiddle music. I really enjoyed the song they played which, as Greely explained, was about two lovers who can't make things work, despite how much they love each other. Like many of the songs Greely sang along to, it was entirely in French, but this language barrier did not detract from my amusement. The emotionally charged tune conveyed a sense of romanticism laced with tragedy. It was followed by a song titled in English "You'll Never See Me Again" about a man who goes to prison that was part of what Greely described as "family music." It was surprisingly happy and upbeat for a song about being incarcerated. Stafford, who is in his mid 20s, was incredibly talented at both the accordion and fiddle, and the duo played a cover song of an old Creole singer off of Stafford's album. Up next was the Ben Powell Jazz Quartet, led by violinist Ben Powell who came to Berklee College of Music from his native England after becoming enchanted with jazz music. He was accompanied by Tim Ray on piano, Prof. Bob Nieske (MUS) on bass and Bob Tamagni on drums, all of whom excelled at their respective instrument. The tone of this piece transported me to a swanky jazz club with the soulful crooning of a live band. Powell was incredibly animated when interacting with the other musicians, especially during Ray's piano solos, in which Ray's passion for music exploded out of the keys. The songs were generally violin and piano based, but the last song they performed had a highly deserved drum solo. In a particularly touching moment, the quartet played a song called "Judith" that Powell wrote for his godmother. In my opinion, the last musician was the most unique. Casey Driessen took fiddle playing to an entirely new level by using several music pedals to overlay different tunes while he played them live, essentially composing a song on the spot. It was incredibly innovative and I enjoyed watching how Driessen went through this process. I especially appreciated how he referred to the pedals as "his band," which was accurate because it allowed him to "play" multiple parts of a song at the same time. As he began this process for one particular song, I started to recognize the beat. Was that really "Billie Jean" by Michael Jackson or was my obsession clouding my judgment? I was right-Driessen explained that he had first composed this song the summer that Jackson passed away and it was one of the many covers that he had in his repertoire. Besides covers, Driessen performed amazing improvisational songs that were more traditionally upbeat and energetic. It's hard to describe his unique sound, but it is like Greely and Stafford's music with a modern, edgy technique spin-taking the fiddle to a whole new level. One of his most innovative ideas was a song that he built around a recording of his unborn child's heartbeat. Despite the overwhelming musical diversity that consumed the recital hall, I did leave with one overall theme-the intensity of interactions between the performers in each piece, including Driessen with his mechanical counterparts. There was a passion that flowed between each of them, whether it was Kothandaramen and her brother's rhythmic drumming; the complementary notes of Greely and Stafford's fiddles; or the bonds that tied together Powell's quartet. *
