by Randy Ewe
- you’ve ever temporarily identified as the opposite gender to use a restroom.
- you can smoke weed with your professors.
- you can sell weed to other people’s professors. Continue reading
Started by a fourth-year who still remembers crumbled feta cheese at the salad bar and Crab Leg Tuesdays, this is a column devoted to the days that the Exposition is “hot dog bar,” even though hot dogs are already available at the Wildfire Grill. Days that you’ve come to Stevenson too late, and the local tomato soup has already run out. Days that co-opers have stolen the bread and most of the salad bar’s produce. Days that Denise isn’t working. In the truest benevolent Oberlin spirit, share your creations with fellow Obies, and let us together make the most of a world in which the Sunday morning omelets line is always too long!
Creation Name: Spicy Stevie Chicken Sandwich
Time-Intensity: Moderate (Very time-intensive if you want a toasted bun. Recommended.)
Post-Meal Discomfort: Minimal to Moderate
by Kristopher Fraser
Oberlin’s performing arts community continued to shine with the Oberlin Musical Theatre Association’s production of Songs for a New World, with music and lyrics by Jason Robert Brown. The cast included Helena Thompson ‘11, Chad Putka ’12, Jessica Futran ’13, and Hayes Biche ’14. Continue reading
by Zack Knoll
ZK: How did you get involved in the Hip Hop Collective?
GM: I was contacted by Andrés Feliciano. He explained the vision of the project to me and he asked if I was interested. I was, so that’s how I was exposed. The rest is history.
By Shane Hisner
“The hip-hop scene here is fucking taking off.” –Rene Kamm ‘12, a.k.a. Anti-Thesis
The ‘Sco was packed last Thursday for the Wilder Hip-Hop Collective’s first show of the semester and the second of the year. Andrés Feliciano ’12 (a.k.a. Rican Havoc) made it all happen. The night consisted of something like 20 rappers collaborating with some of Oberlin’s finest beatmakers. Continue reading
by Peter O’Malley
by Aliza Rosenfeld
This Is Our Youth, directed by Theater major and Honors Candidate Philip Waller ’11, opened Wednesday, March 2 with the warning: “This Is Our Youth contains profanity, drug use, and pornographic imagery.” This statement coupled with edgy publicity posters displaying toy action figures, cards, a lighter, and weed…what a great way to get Oberlin students intrigued.
by Tony Wack
The fact of the matter is that Judy Garland, played by Rachel Smith-Weinstein ’13, spends the entirety of the play complaining about her childhood, her home-life, her mother, MGM, her career and her rise to stardom. She essentially criticizes every single thing that brought her to where she is now. There is a time and a place for that, which has hourly rates, but it’s not on the stage.
What I find most peculiar about the show is that I am not entirely certain what it was going for or what it wanted to do. Based on the sad tale of woe that Garland weaves, you would think that she is either trying to invoke sympathy and sadness within the audience, with the highest honor being able to reduce them to tears.
However, in between complaints, aggressive rants, maniacal laughter and bouts of melancholy, one cannot hope but feel depressed and uncomfortable. By the end of the show, there was a sense of relief among the audience members as if they felt they had finally been let off the hook after being yelled at for something they had nothing to do with in the first place.
The main problem with Garland as a whole is that it is essentially a monologue and the way that she so easily breaks the fourth wall to speak to the audience gives the impression that she is having a nervous break-down, but if that was the intended affect then it was not made clear. The play is Judy Garland giving a speech with her being interrupted every now and then. When the humbly assistant Ed, played by James Kriz ’12, it is usually to check up on Judy or see to her needs and I feel not concern for how she will react to will react to him but rather relief that all her bitter anguish will finally be directed towards somebody else.
The concept of flashbacks is prominent with Kriz playing all of the male roles and Lyz Glickman ’13 playing all of the female — her most prominent being that of Garland’s witch-like mother. I have no problems with flashbacks, however, when they are brought into a soloist context they create awkwardness in place of depth. In truth they do help explain Garland’s attitude, but are forgotten within the next few minutes when the complaining resumes.
Despite these criticisms, Garland actually did possess some shining qualities which are mainly seen within the acting. Smith-Weinstein comes off as determined, confident and strong with a lovely voice and speech. Kriz’s innocent and almost childish portrayal of Ed makes him likable and relatable as if a member of the audience has decided to interact with Judy on a regular basis. Glickman provides excellent support and maintains a stern attitude that lingers and is made stronger with each flashback. The set is simple but believable with decent costumes that add the extra touch to each character and skillful production team.
Basically, my major issue is with the play itself since I do not see why anyone would find it entertaining (unless you would like to see the Roast of Marlene Dietrich). I believe that director Kristopher Fraser has much potential; he just needs to be more selective about his productions.