By Harlee Ludwig
It’s three minutes past eight on Sunday night at the Cat in the Cream. “Are you using this chair?” people asked one another as they try to fit ten people at a table for four. Soon after, Brooklyn native Lucy Wainwright Roche ’03 took the stage, silencing the room with the surprising power of her voice. Smiling as she got on stage, she displayed an obvious sweetness about her; she’s impossible not to like. Continue reading
By Aria Dean
While the autumn winds raged outside, a small group of students and faculty members gathered in La Casa Hispanica last Saturday for the opening of the Latino/a Student Artwork Showcase as a part of Latino/a Heritage Month. The show featured photography, sculptures, drawings, and paintings from a handful of students in order to bring attention to the creative works and contributions of the Latino/a community. Continue reading
By Aria Dean
Although a rather unassuming presence himself, John Maus is known for his on-stage intensity. As expected, he left his inhibitions at the door at his recent ‘Sco performance. Continue reading
By Helena Thompson (Editor-in-Chief)
We are Oberlin: artistic. Creative. Hosts to some of the most talented and revered musicians, actors, playwrights, and dancers ever to walk the earth…and home to quite a few talented students as well. This post serves to highlight the amazing performers that F+L has had the privilege to cover over the past couple of years. Enjoy! Continue reading
By Danny Fryland
Obies join Kimya Dawson on stage for an impromptu dance party. Photo by Claire Watson.
On September 22, Kimya Dawson soothed the Cat in the Cream with gentle guitar chords and heartfelt lyrics, performing songs from her upcoming album, Thunder Thighs, alongside older numbers like “Tire Swing.” Continue reading
By Alice Beecher
I want to live in the world that Anis Mojgani sees, with all its joy and sorrow and magic and cake. I want to be able to hear his poems—which are all somewhere between hymns and vaudeville acts—every night before I go to sleep. I want him to be my guru and my best friend.
Playing to a cramped but cozy crowd at the Cat in the Cream this Thursday, Mojgani – world-renowned slam poet from Austin, Texas, originally hailing from New Orleans – elicited his fair share of cathartic sighs from audience members. With agile hand gestures that were almost as beautiful as the poetry itself, Mojgani represents the power a performance poet can have. Knowing just when to shift from absurdist jokes about penises to weighty contemplations about humanity, Mojgani’s performance was thrilling for its dynamism and emotional fluidity. He tells us he is trying to find God everywhere. He also says to fuck stars in the meantime.
by Kristopher Fraser
Poster by Sasha Schechter '12.
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
Gynarva Mo
nroe was one of the performers in the Hip Hop Collective’s first show this past Thursday at the ‘Sco.
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 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 Property Known as Garland directed by Kristopher Fraser ’13 tells the story of former child-star and singer Judy Garland. Well, “tells the story” might be pushing it just a bit.
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.
