By Tess Harris
by Aliza Rosenfeld
by Sybil Levine
Attention all party people of Oberlin: Break out your rave shorts and LED gloves, glitter and day-glow body paint, and prepare to have the night of your life! 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.
by Aliza Rosenfeld
The entirety of this one-act drama takes place on a simple bench in Central Park, New York City. Director Phil Wong ’13 played Peter, a well-off family-man reading at his usual park bench. On this particular day he is interrupted by a scrounge-y man, Jerry, played by Nate Krasner ’13, who strikes up conversation in a futile attempt to connect with humanity.
by David Edward Clark
Shayne Wells ’11 first met his councilmember Adrian Fenty ’92 when he was 16. Since then, he has volunteered for, interned with, and has acted as special assistant to the mayor of Washington, DC.
By Shane Hisner
To me, it seems odd that I would even have to make a case for this. Tickets to most good orchestras cost more than any of us would be willing to pay, yet, about once a month in Finney Chapel, a fleet of musicians that could be appropriately called the future of American classical music plays for free. This post comes a little late for those hoping to catch them this semester; they played just last week. Listed below are a few reasons you should go see them every time they play:
- 1. They play with some of the world’s best musicians. Just last spring, associate professor Yolanda Kondonassis, renowned as one of the world’s premiere harpists, played with the Orchestra. This semester they’ve played with world-class virtuosos Jeremy Denk and Lee-Chin Siow on the piano and violin.
- The bass section. Led by first chair Adam Bernstein, Oberlin’s bass section has been spot on every time I’ve see them. Upholding the stereotype that bassists are often the most raucous and colorful members of an orchestra, these guys play with a lot of emotion.
- Because our sports teams are no good. Let’s face it: In the way of athletics, Oberlin doesn’t have much to take pride in. Sure, you should hike to North Fields and see Oberlin’s most successful team, the cross country team, when they have their one home meet in the fall, but beyond XC there isn’t much winning going on. Outside Indiana University and maybe a couple other Big Ten schools, we have the best musicians in the Midwest. Let’s mark that up as a win.
- They play fun songs. Their last line-up included Vaughan Williams’s “The Lark Ascending,” Gerschwin’s “Cuban Overture,” and pieces of Leonard Bernstein’s score for West Side Story.