Writing

The Scene: Balance A with E

Thu, 5 May 2011 23:11:04 -0500

With exams quickly approaching, it can only mean one thing: the bright and sunny days of summer are about to come. The arrival of this hot and relaxing season is commonly marked by the nation-wide release of action-packed films in movie theaters. So what can you expect to see playing at your local cinema? Here’s a short sampling.

This May will mark the release of a diverse selection of almost edible goodies: a chick-flick called “Bridesmaids,” the fourth installment of the “Pirates of the Caribbean” franchise and “The Hangover Part II.” And watch out for J.J. Abrams’ mysterious sci-fi film “Super 8″ this June. The Steve Spielberg-produced project is almost guaranteed to be a box-office success. Let’s not forget that “Harry Potter: The Deathly Hallows, Part II,” which will hit theaters in July. No explanation is needed for how awesome it will be.

My hope, though, is that a majority of these films will contain at least some creative value. A film that has artistic value is essentially a piece of work that has a sense of integrity that prevents it from heavily relying on cheap entertainment gimmicks. Movies like “The Hangover Part II” will most definitely be comprised of slap-stick humor, but “Harry Potter” might possess artistic value because of its story line and highly anticipated graphical, magical scenes.

So the directors, actors, designers and production crew have to achieve a balance between artistic value and entertainment. Movie studios rely heavily on the mass distribution of films to generate monstrous profits. So, sometimes the creative energy of a project can be stifled and swept away by the influence of those same people to create a purely entertainment-driven blockbuster. There’s nothing wrong with watching the next action film or romantic comedy, but it’s time for Hollywood to allow originality to take hold and not consistently on the same old formula for success.

Though, there is a way to make a film artistically sound and thoroughly entertaining. It all starts with the script. If dialogue is original and not cheesy, it produces genuine performances by the actors. Though a solid story is necessary for making an enjoyable film, it also requires an efficient and hard-working production team. What we take for granted sometimes is the enormous amount of man-power and patience it takes to film scenes and string it all together in post-production. The end result usually creates the illusion that the movie was a snap to make.

The artistic quality of a film during post-production is at a higher risk of being watered down when the movie bosses start to get previews of an upcoming film. Yes, it is important for them to watch the film and approve it for release under their distribution system. But it would be nice if those same people recognized that the perpetual commercialization of movies weakens the overall performance of any project.

Remember though, you don’t have to live your summer exclusively by eating popcorn. If you’re tired of the same old generic films coming out, thoughtfully critique them on the Internet. Not every film will be bad this summer. But if you call into question how small the budgets of non-action films are, you’ll notice which movies were made with a fine balance of entertainment and artistic integrity.

What’s the Rumor? Effie’s Players delivers a slap-stick performance with Rumors

Thu, 28 Apr 2011 23:15:00 -0500

Have you ever attended an awkward dinner party you were invited to that turned into a night of high laughs and mystery? Put your “Clue” cards away; Neil Simon’s romp-fest comedy Rumors puts the game to shame. Effie’s Players, a student theatre organization at the College, delivered a comedic weekend for the campus in Shoolroy Theatre.

Directed by Yassi Davoodi ’11, the performance showcased not only a talented cast but an electric energy of entertainment and intrigue.

Set in the society of the New York elite, several wealthy couples gather at a dinner party to celebrate the 10th anniversary of Charlie Brock, the deputy major of the city, and his wife, Mariah. But they soon discover that the servants are missing, the hostess cannot be found and Charlie has shot himself through the earlobe. The guests then make every comedic attempt to cover up what has happened from the media and the police. Though we never see Charlie, his presence is felt as Ken Gorman (Kevin Glass ’14) constantly checks up on him.

It was refreshing to watch a play traditionally built for proscenium theatres like Freedlander in a space such as Shoolroy. The chaos of the story escalated as the characters try to make “smart” decisions with all the mental acuity of headless chickens. There was no need for any set changes as the living room, the bar, the lone table for the telephone and the stairs into the upper portion of the house were all carefully stamped in the space. The lighting did not consist of any elaborate changes to indicate a change in the plot or action; instead, enough was provided to create the illusion of a posh soirée.

However, the show suffered from some occasional sight-line issues where standing characters blocked performers on stage who might have been sitting down. There was one particular moment when you could not see the face of one character that entered for at least 15 minutes.

Though it would have been nice if the focus of the action had been explored just a little more at different corners, it was smart to retain some of the main plot driving points within the living room. Davoodi, though, did a phenomenal job of allowing the characters to move effortlessly in the theatre to fully display everyone’s comedic involvement in the sticky situation.

Without reservations, the funniest moments were composed by Glass when he portrayed the freaked-out Ken. His character grew more delightfully silly when he temporarily lost his earring after trying to handle Charlie’s gun. Glass was able to successfully translate his character’s actions into even more comedic moments by constantly mistranslating what others were trying to communicate to him. For example, when the door bell rang, his character exclaimed, “Is that a cat?”

The audience also responded well to the performance with roaring laughter. Katie Markovich’s ’12 portrayal of Chris was wisely based off the eccentric personality of the stuffy rich woman who seemed clueless but downright witty for the things she said. Similarly, Alex Dereix ’14 delivered a charming and funny performance as Claire and had an impressive chemistry with her on stage husband, Lenny (Alex Parrott ’13), who was equally able to generate multiple laughs out of the spectators.

I couldn’t contain my laughter when the couple Cookie (Janna Haywood ’14) and Ernie (Malcolm Campbell-Taylor ’13) interacted with each other. Cookie resembled the homey demeanor of southern chef pioneer Paula Deen as she scrambled to sit and stand up with an injured back as her over-the-top husband tried relentlessly to assist her. It was a kick to watch Kyle Thomas ’11 as the upcoming candidate, Glenn Cooper, for state senate fight with his ditzy, sexually enticing and promiscuous wife Cassie (Isabelle Briggs ’12). You could clearly see which actor was destined to play each of these demanding roles.

Rumors presented a winning combination to the general fan fare of the audience: a simple set, an eye-popping and intriguing script and knee-slapping performances. When you mix these elements of a production together into the same room, you get a show that provides a rewarding experience for all in the theatre.

The Scene: Art & Activism Come Together

Fri, 11 Feb 2011 00:30:45 -0600

The definition of an activist is not easy to write, but the image of one is easier to visualize. We commonly see these people plastered over the television advocating and scream- ing for human rights, equal representation, recognition of a cause or preservation of the environment. But how often are we exposed to activists who are also artists, trying to broadcast a message to the public?
For theater, activism has taken direct and indirect approaches to reach an audience. Theater is not just for entertainment, it has the capability to make us think. On the surface, the musical “Wicked” is an extravagant musical, but there is an underlying message about how we interpret history.
Some forms of activism can creep into productions, whether is it high- lighting a larger problem in society or bringing to focus and attention to a disenfranchised group of people. Not all productions are calling for radical change, but asking or allow- ing the audience to think about what is on happening on stage can lead to some form of it.
“A Doll’s House,” by Henrik Ibsen, is considered today to be a feminist play, but truthfully, that is not the case at all. Yes, Nora did leave her husband, Torvald, to escape his oppressive nature and unfair treatment — she was standing up for herself. In reality, Ibsen was attempting to highlight the bigger problem: what happens when patriarchy and capitalism rule the world.
If this play was written from a feminist perspective, Nora would have heavily criticized her husband’s actions as a patriarchal figure, at- tacking him head on rather than resisting and stepping away from his tight grip of control. Plus, this play was written and produced in the late 1800s, well before the world fully experienced the waves of feminist thought and activism. By giving the audience the opportunity to think about the events that unfolded in the story, Ibsen established a platform for theater to act as a reflective point for people to observe and analyze what happens in their culture.
Many thespians may overlook this point, but musical theater has an activist bone too. The famous rock-opera musical “RENT” by Jonathan Larson constantly shouts a particular line throughout the story: “Act up, fight AIDS!” Why this message? Larson was in New York City during the ’80s and ’90s and was witnessing first-hand how the disease was wreaking havoc on all walks of life. So, he wrote the libretto, music and lyrics and formed a piece of art creatively punching through how everyone, whether they were gay, straight, white, African American, His- panic, rich or poor was being affected by the AIDS crisis. Unfortunately for Larson, he died the night before the show’s debut. This 1996 Tony award-winning production captured the minds and hearts of many people, helping carry along a momentum to call for change at all levels.
What we see on stage can amaze and inspire us. However, we should never forget that a performance on stage has true potential to make us think about we see and question our surroundings. Either way, the activist in the artist is sometimes hidden purposefully in order to allow their cause or message to transcend theatrically through a production.

For Colored Girls evokes powerful stories

Thu, 11 Nov 2010 23:00:22 -0600

The most popular kind of films that Americans love to experience in theaters usually include comedic romp-fests such as The Hangover or action-adventure films that continue to further push the boundaries of visual effects and camera tricks, like Avatar.

Many forget, though, that filmmaking is an art form and a platform that can expose the drama and social issues we as humans beings still experience to this day.
Last Friday, Tyler Perry’s For Colored Girls debuted nation-wide in theaters. Perry, who is widely known for his slapstick funny movies such as Diary of a Mad Black Woman, and Madea’s Family Reunion, took on a big challenge to direct, write and produce this film.

Centered around nine African-American women in a urban city, Perry weaves together several women’s stories to poetically reveal the social injustices and issues women of color face every day in society.

The film is based on the play For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf by Ntozake Shange.

Lead by a cast of phenomenal African-American actresses, Perry made some very wise decisions in casting. His ensemble included Janet Jackson (Jo), Loretta Devine (Juanita), Anika Noni Rose (Yasmine), Thandie Newton, (Tangie), Kimberly Elise (Crystal), Tessa Thompson (Nyla), Kerry Washington (Kelly) and Whoopi Goldberg (Alice). Actress Phylicia Rashad plays Gilda, a landlord who observes all of the other women who come in and out of the apartment complex, while providing an all-seeing commentary.

Jackson’s character, Jo, is an executive editor at a women’s magazine who believes her husband is having an affair. Crystal works for Jo and is physically and emotionally abused by her alcoholic, war-torn veteran husband.

When Kelly, a social worker, comes to Crystal’s door to check up on her children, you sense the powerlessness and fear of each woman as Crystal’s husband verbally pushes away the social worker from his home.

As Nyla collects money from her hyper-religious mother Alice to pay for her dance college application, her estranged drug addict sister Tangie discovers that she’s pregnant and plans to get an abortion.

Through their trials and dramatic events, all of the women become connected to one another by the end of the story.

Each actress’s performance was outstanding as all of them are beautifully highlighted by their character’s emotional and traumatic journey as women of color. Some of the best performances came from Jackson, Noni Rose, Rashad and Elise.

Critics are amazingly divided on the merits of this thought-provoking and compelling film. While the New York Times gave the project an editor’s pick, Roger Ebert for the Chicago Sun Times panned it and gave it only two and a half stars.

His reason for a poor rating was due to his belief that the soliloquies (or as I would refer to as poetic monologues) were distracting and felt out of place. He claims in his review that “the audience is tugged back and forth between the stylized speech and the straight dramatic material.”

Ebert fails to understand the purpose of these poetic moments. The “stylized speech” was designed to grab audiences’ attention to these women’s stories and think about the position they are in.

Plus, what each woman says comes from the original play. So, while it is intended for theater-goers, other audiences are experiencing the smooth power of dramatic poetry. If Ebert watched as many plays (especially alternative) as he does films, he would greatly appreciate the true meaning and motive of the text.

I would highly encourage anyone to see this film because it is a rare piece of media that gives light to all of the social problems women must still confront in today’s world. Yet, I would like to caution potential spectators that the film is rated R due to violence and heavy subjects presented in the story.

What I saw in this film was the many hidden layers of identity of women of color and how their voices have been oppressed and overlooked for far too long.

IngenuityFest provides opportunities for artists

Fri, 1 Oct 2010 00:05:24 -0500

It’s always a challenge for artists to find the best venue to showcase their latest work, whether it is a musical performance, a play, a dance piece, paintings or photographs. This past weekend, IngenuityFest: The Cleveland Festival of Art and Technology, became the hosting venue for a number of artists, especially those from Northeast Ohio.

Started in 2004 by artistic director James Levin, Wooster’s Visiting Assistant Professor/Director of Arts Management and Entrepreneurship, IngenuityFest was located under the Veterans Memorial (Detroit Superior) Bridge this year in downtown Cleveland.
In the middle of the bridge I was shocked to find a waterfall flowing from the top level into the Cuyahoga River below. According to the festival Web site, “The Lifeline Waterfall,” the top traffic level of the bridge and plunged 130 feet into the river. “Lifeline” was a collaborative effort by artists Kidist Getachew, Michael Lehto and John Thomas, and included lighting design by Chuck Karnak.

According to the artist’s mission statement, “[The waterfall's] aim is two-part: “to celebrate Cleveland’s abundant water resource by creating an awe inspiring visual; and, through the installation, raise awareness of water scarcity.” The team of artists collected donations during the festival which will be given to a community in Ethiopia that needs access to fresh water.

At night, lights were cast onto the flowing water from the piece. It was fascinating to observe how the ripples from the water could create some variations of vibrancy and contrast from the colors that shined upon it.

Lindsay Phillips ’11 presented a new piece of work at the festival on the main pathway between the two ends of the bridge allowing the audience to stop by any time to see her performance. Phillips worked with two close friends to produce an intricate duet. Kathleen Dalton from Ohio Wesleyan University, and Louisa Armstrong from Case Western Reserve University are nationally ranked gymnasts, which gave Phillips an opportunity to push the limitations of the body for dance.

“I don’t like things that are purely spectacle,” stated Phillips. She wanted people to enjoy the movement and composition of two bodies in space.

While her inspiration for her piece was derived from the architecture of Cleveland, her main focus was concentrated on the structure of the bridge. The performers moved quietly and delicately placed themselves into very complex and profound positions. Between each transition, I liked how I had the opportunity to place what part of the bridge the choreographer was trying to mimic. It was fascinating to see how effortlessly the dancers shaped themselves around their bodies and the floor to create such harmonious images of stability.

The band Freddie Cool also performed at the IngenuityFest, playing some of their latest hit songs including a cover of “Cold Case of Love” by Rihanna and “Crazy in Love” by Beyonce. Brandelle Knights ’12 flew in from her semester program in New York City and delivered an electrifying performance. Nana Boamah-Acheampong ’11 sang several duets with Knights, and sent the crowd wild with his impromptu and smooth dance moves.

Recent college graduate Allison Wadleigh ’10 revived her senior I.S. performance entitled Facebook Me. With a new cast and slightly different performance platform, Wadleigh’s production continues to delight and inform the audience about the realities of feeling lost and consumed online in a social networking site.

I thoroughly enjoyed my experience at IngenuityFest and I hope it continues to grow and attract more artists from Ohio and the rest of the world.

For more information about the festival, visit ingenuitycleveland.com