Every year, Brandeis actors, singers, dancers, directors, stage managers, costumers, set designers, music directors and all other tech-crew come to together to make something incredible—a full-fledged musical put together in just 24 hours.
‘Trainwreck’ Summer 2015 was an exciting couple of months in the film industry.
Unreal, Lifetime’s new scripted look at the inner workings of a reality television show, strongly presents the case that reality shows are, in fact, very much not reality. The first ten-episode season of Unreal aired this summer, and the show has already been picked up for a second season. Unreal takes place almost exclusively on the set of Everlasting, a fictional, Bachelor-esque reality show. Female contestants compete through various romantic challenges, dates and parties for the affections of a British millionaire bachelor Adam Cromwell (Freddie Stroma). Rachel Goldberg (Shiri Appleby) is a producer on the show who is considered to be a “closer”—someone who sets the stage for the necessary drama to happen. Essentially, Rachel’s job is to slyly make people do and say things that will move the show in an exciting direction, often without them realizing that she’s guiding them along. Much of the drama in the show within the show—Everlasting—comes from this “producing” technique—creating drama that isn’t really there, a technique that Unreal strongly suggests that actual reality shows heavily utilize. The show emphasizes that editing is a major feature of reality production, and production is centered on making sure every detail is captured on camera so that everything can be ripped apart and meticulously pieced back together in exciting ways. A fair amount of screen time is spent in the control room of Everlasting where producers vigorously plot and plan how to create drama and where the contestants are thought of as not as people but as means to an end. Unreal succeeds in proving just how unreal reality shows can be.
This week justArts spoke with Robert P.D. Duff, who has been appointed as the Choral Conductor at Brandeis. Duff will oversee the vocal program, teach conducting, and lead two choral ensembles as part of the Department of Music. He also will continue to serve as the Artistic and Musical Director at the Handel Society at Dartmouth College. justArts: What sparked your initial interest in choral music and in being a conductor? Robert P.D.
In the world of theater, Shakespeare and musicals are not usually associated with each other. However, Something Rotten!, a new musical comedy that opened this spring in the St.
This week justArts spoke with Sarah Brodsky ’15. Brodsky was the president of the Hillel Theater Company during the 2014 through 2015 year and a double major in Theater and English. justArts: You were president of Brandeis Hillel Theater Group this year.
This week justArts spoke with Jez Huang ‘15, the artist behind You Don’t Have to Pick Up. The art installation in Usdan was part of the Leonard Bernstein Festival of the Creative Arts. justArts: Can you give an overview of your project? Jez Huang: It’s a telephone and it doesn’t ring, but when people pick it up they hear monologues.
The curtain opened on a showgirl dressed in an elaborate, sparkling, white mini-dress. As she passionately sang about the ups and downs of show business, her false breasts slowly started to comically slide down her dress.
This week justArts spoke with Amanda Ehrmann ‘18, the director of Free Play Theatre Cooperative’s play columbinus. justArts: Why did you choose to direct ‘columbinus’? Amanda Ehrrman: The writer is from Chicago, and I am from Chicago, and it’s been my favorite play ever since I saw it senior year of high school, and I actually took a gap year so I’m a little older.
Currently on view in the Women’s Studies Research Center Kniznick Gallery, Father Tongue portrays a unique connection between visual art and the Hebrew language.