V o l u m e I I I , N u m b e r X X I V C e l e b r a t i n g T h e P r e c i o u s H u m a n T a p e s t r y A p r i l 3 , 2 0 0 9 Before the voyage to America, a journey inwards BY MAXWELL PRICE flashbacks and through the inter- Editor actions of his public and private selves. There’s a moment towards One of the most clever, artful the end of “Philadelphia, Here I uses of staging came in the first Come!” in which Adam Patterson moments of the play when we ’11, playing the human embodi- were introduced to Gar’s private ment of protagonist Gar’s subcon- self. Patterson appeared with a scious (referred to as his private lampshade over his head in Gar’s self), advised his public counter- bedroom, and as the shade was part, played by Patrick Donworth suddenly raised up into the fly- ‘12 to roll his mental video cam- space, it was as if Gar’s mind had era. It’s a nifty metaphor, for we’ve finally come uncorked. all experienced that sensation of Sadly, at certain points I trying to preserve a memory that couldn’t help but wish that shade we will replay in our minds over had never been lifted. Patterson’s and over again. Likewise, we can performance emphasized the view Irish dramatist Brian Friel’s taunting, nagging aspects of the play as a rare opportunity to protagonist’s subconscious with watch a screening of that internal great physical gusto. If the pub- home movie through which we lic Gar was constrained and experience not only remembered stiff, the private Gar was wildly actions and words from one char- demonstrative in his movements, acter’s point of view, but also his alternately flailing his arms and PHOTO courtesy of Jordan Warsoff personal thoughts and feelings. FINAL GOODBYES: Public Gar (Patrick Donworth ‘12, right) struggles to communicate with his father (Ernest Leon Paulin ‘09, whimpering in the fetal position Yet just as an old copy of a VHS center) one the eve of his departure, while the embodiment of his private self (Adam Patterson ‘11, left) runs wild. on the ground. Yet by playing this tape inevitably comes with its dis- and earnestness that it wasn’t too sets forth for the promised land meaningful. Gar lives with his oppositeness up to the extreme, tortions and imperfections, BET’s difficult to see through the rough of…Philadelphia. The sym- estranged father, played by Ernest Patterson neglected to convey the production of the play, direct- patches. bolic significance of the “New Leon Paulin ’09 and housekeeper nuances of Gar’s dilemmas. For ed by Cassie Seinuk ‘09 showed The play details the final eve- World” and its bold, surging Madge, played by Vicki Schairer example, in recalling an emotion- some blemishes. Nevertheless, the ning and morning before Gar, vitality in contrast to the “Old ‘09. In the last remaining hours ally powerful memory involving power of the material itself was a conflicted yet hopeful young World” of drudgery and tradition before his departure we learn of Gar’s relationship with his father, conveyed with enough sincerity man from a small Irish village makes Gar’s move all the more Gar’s struggles through a series of See JOURNEY INWARDS, p.. 11 “You’re Just a Bloody Woman!” Female subservience examined in an evening of Pinter

BY ARIELLE KAPLAN don’t do it at all, but I found little her lover, “Max,” and she plays Staff fault with the overall vocal work the whore. From the moment Pinter, by definition, is a man’s done by the cast. Particularly Olivia re-entered the space, it was playwright. His works offer many impressive was Mell’s ability to obvious that this was her favorite creative, well-rounded opportu- sustain her dialect throughout the scene. There were several things nities for male actors to work in entirety of the evening. Her first about part two which made it his world—to develop worthwhile incarnation as Emma is one of the standout of the evening: the characters, so to speak. However, quiet fear; the guilty wife who first ten minutes of this scene as Olivia Mell ’09 stated in the can’t bear to keep her silence was a silent etude of seduction program, “the female is dimin- any longer. Mervis dominated between Sarah and “Max,” involv- ished, not evolved, and she fights the text of the scene and set her ing a heightening of the sexual a constant battle against submis- up for great physical reactions tension with drumbeats and fur- sion within her domestic uni- which expressed Emma’s guilty tive glances exchanged by both verse.” Her senior project, Woman conscience better than any more parties. The lack of dialogue only in the Background: Scenes by lines would have. The dynamic added to the feeling of voyeurism Harold Pinter, is misleading in between Mervis and Mell was an for the audience, punctuated by its title. Each of the three women extremely comfortable start to the the well placed gasps and breath- Mell portrayed managed to push evening between two seasoned ing of both actors. herself out from the background actors. Eventually, we were shown a and the overwhelming masculin- Between the first two scenes, montage of roleplay, which cul- ity which dominated the scenes. Olivia performed an onstage cos- minated in Mell crawling under- This, in itself, is a testament not tume change/dance which she neath a table with Kohanski, lead- only to Olivia’s skill as an actor, collaboratively choreographed ing to a cry of, “Oh, Max!” and but also to the depth that there with the director, Justin Becker the two then appearing on oppo- is to be found in these oft over- ’09. Stepping out of her first site sides from beneath the table- looked roles. outfit, a floaty floral dress, she cloth. It is interesting textually to Starting off the one hour show revealed a black top and skirt, note that Sarah never referred to was a scene from "The Betrayal," shifting out of Emma’s world into her husband as Richard; he was which was produced here in the that of Sarah. As she swung the Max to her during their entire fall of 2006. Mell plays Emma, material around the stage, finally afternoon tryst. It is during the a married woman having an throwing it at Mervis’ feet, the multiple seductions we truly got affair with her husband Robert’s quiet, meek first character was to see Kohanski’s strengths as an PHOTO courtesy of Amira Mintz-Morgenthau/The (Joshua Mervis ’08) best friend, flung off as well, leaving the audi- actor. He sustained three voices in PINTER’S WOMEN: Emma (Olivia Mell ‘09, right) faces her husband (Josh Mervis ‘08 Jerry. As a side note, Pinter is only ence ready to meet the next one. British dialect, each one matching after having an affair with his best friend in a scene from Pinter’s “The Betrayal.” properly done using British dia- The second scene was from a fantasy character. He also had tures, gestures, and motives for satisfaction with their games and lects, and for the most part, this Pinter’s play, “The Lover,” in which the strongest and most consis- the shifting roleplays. However, demanded to stop them for good. was a success with the four actors. Sarah and her husband Richard tent accent out of the three male the amusing sexual escapades The chemistry between Mell I am generally of the opinion that (Samson Kohanski ’08) share a actors in the show. Every different took a sharp, painful turn when and Kohanski was wonderful and if you can’t do a dialect correctly, vibrant fantasy life where he plays voice accompanied original pos- Richard finally expressed his dis- See REDISCOVERING WOMEN, p. 10 April 3, 2009 Diverse City 9 VOICES A dream for peace within Pakistan BY MYRA CHAUDHARY to set aside the differences at all levels of Staff society and government and move on as one, before it is too late. Most importantly The first time I met Benazir Bhutto is a this is not a time for blame or fights. In the wonderful memory that I can never forget. words of Gandhi, “an eye for an eye only She was the first ever woman prime minis- makes the whole world blind.” ter of a Muslim country. And what a lovely Now more than ever, Pakistan needs to New England autumn day it was. I fondly work with the world, and the world needs remember how she looked at the blue sky to work with Pakistan. India and Pakistan and the red-orange leaves and said "this need to work together. There is too much is my version of heaven on earth." While in common and too much is at stake here. that day will always be incredibly special Their destinies are tied together. They can- to me, what she symbolized is even more not afford not to be friends. Understand important: hope, courage, and determina- that there are extremists on all sides who tion. Benazir was a great source of inspira- do not want them to be friends. They tion. Like so many others I was devastated do not belong to any religion. And they to see her go. What a terrible loss! I still should not be allowed to destroy the peace cannot bear to think of that tragic day in and prosperity of the region. People have December when she was assassinated. struggled and suffered far too long. Benazir is gone but her message to never “Our object should be peace within, and lose hope will live on. She never gave up peace without. We want to live peacefully her struggle for democracy in Pakistan. and maintain cordial, friendly relations Her book, “Daughter of Destiny,” is a pow- with our immediate neighbors and with erful reminder of the significance of the the world at large.” These wise words were PHOTO courtesy of internet source need for democracy. This principle truly spoken long ago by Muhammad Ali Jinnah, is the most beautiful and wonderful thing founder of Pakistan, and they should not lion people, a vast majority of whom are and don’t sit on the sidelines! Come out of about America. The best example of this be forgotten, especially now. The most moderate, peace -loving people, lets such your sleep. Do something but don’t throw is when Benazir says, “America, it was in important goal is peace within, without a small minority destroy their country! stones and do not yell at each other. Write America that I had experienced democracy which nothing will ever be possible. For Pakistan has always been one of the most and speak peacefully. for the first time, and where I had spent as long as the people remain divided, they progressive Muslim countries in the world. Someone once told me that hope is more four of the happiest years of my life.” only will be hurting themselves and going It is essential to keep it that way. No com- powerful than love. Without hope, every- In her book, Benazir often pointed in circles. One cannot expect total agree- promises should be made with the people thing would be hopeless. The opposite of out examples when people from different ment in everything, which makes it essen- who are determined to destroy this coun- hope is despair and impossibility. It would parties came together to fight for democ- tial that we learn to disagree peacefully. try. People who are destroying schools are be foolish to lose hope and live in a world racy. Given the current state of affairs in Violence and anger never have and never destroying the hope and possibilities for of impossibility. We should create a world Pakistan, now more than ever this is a time will solve any problems. the future, and that should not be permit- where children can continue to have hope for unity, not division. It is a time to move Martin Luther King, Jr. once said, “The ted. and dream for a better future. Together we forwards, not backwards. All party differ- ultimate tragedy is not the oppression and What is the silent majority doing? Where can change the world. Let’s start now. ences and political affiliations need to be cruelty by the bad people but the silence have they gone? This silence must end now. Write on a forum of hope: aforumofhope. forgotten. Things are very difficult and over that by the good people.” How true. Oh, peace loving people, wake up, wake up, blogspot.com times are not good. It is very important And how tragic that a nation of 160 mil- please wake up. Don’t be silent any longer My reflections on animation BY SAMANTHA SHOKIN a very concrete formulaic method to reel that encompasses all of my girlhood hopes, sic fairy tale plot line, making sure to conjure Columnist in box office bucks while sacrificing quality dreams, and musical preferences. I’m talking up a gorgeous female protagonist or sup- cinema. about the head honcho in G-rated entertain- porting damsel in distress. This was all very I grew up with cartoons. As a kid, I was so The formula is simple: some cute ani- ment, at least throughout my childhood. I’m appealing to me at the tender age of seven, fond of moving pictures on my TV screen mal characters with eccentric personalities, talking about Walt Disney Pictures, of course. for much the same reason that Barbies and that I would snub any entertainment with voiced by A- or B-list celebs, enduring some Ah, yes, those illustrious Disney movies. American Girls dolls were. real people in it. My current ethical founda- sort of zany plot twist while leaving enough Sure, they were all predictable (no Disney Disney understands this appeal, which is tion is based on whatever morals TV net- room for mild drama, movie could ever pos- why they created a whole “Disney Princess works could pack into individual half-hour comedy, conflict, and sibly have an unhap- Collection” based on these diverse beauties. episodes throughout my childhood, save a romance; all coming py ending, even if it Dolls, clothes, and stickers have been created few commercials in between. I am a devout full-circle to a satis- involved tweaking the in their names, and marketed to innocent fan of old-school nineties Nickelodeon, and fying happy ending original fairy tales a little girls like I once was. But when I say am firmly set in my belief that ‘toons from with bouncy music bit). But in all their diverse, I do a double take, and notice that back in the day—shows like “Hey Arnold,” over rolling cred- predictability they still those politically incorrect fools up at Disney “Doug,” “Rugrats,” and the like—are of a its, in the span of a managed to produce had forgotten to represent a major ethnicity much higher caliber than the drivel they delightfully succinct amazing soundtracks among its Princesses. That is to say, there is stream for kids nowadays. 90-minute time slot. that appealed to all no black Disney Princess! But television cartoons aside, there is much Joy. Applause. Smiling age groups. Disney But have no fear, Disney Princess enthu- more to be said about today’s animation kids. Yawwwn. music had created a siasts. We won’t be let down. As a matter produced for the big screen. Over the past The reason that genre in and of itself, of fact, Disney is working on this problem decade or so since Pixar released “Toy Story” “Toy Story” was so so much so that a right now. The newest (traditionally ani- (1995), the first animated film using only successful was because couple of Broadway mated!) Disney feature will have an African- computer-generated technology, there have it displayed ground- musicals have been American female protagonist. "The Princess been many attempts to reach the initial suc- breaking animation spawned as a result. and the Frog," set to be released in December cess of this feature. Accordingly, Pixar and technology alongside But besides the 2009, is a fairy tale about on a young girl DreamWorks (the leading companies in an enticing plotline catchy tunes every named Princess Tiana who lives in New computer animation) have produced several that was simple and Disney movie exhib- Orleans' French Quarter during the Jazz computer-only animated flicks appealing to original for the genre. ited throughout the Age. So we can rest easy at night knowing G-rated audiences. Simple, cute, and not nineties (what I con- that now every ethnic group has been repre- After seeing enough of these adorable fea- done before (Not in sider to be the Golden sented…or has it? They don’t have a Hispanic tures, however, I started to notice a pattern this medium, anyway. PHOTO courtesy of internet source Age of Disney movies) princess, do they? Better get working on that, that was rather unsettling for a cartoon- We all know bedtime stories involving talk- they all had one other important factor: stun- Disney. enthusiast like myself, giving me a sickening ing toys, albeit none that are quite as peppy ning animation. Perhaps computer-tweaked, So wherein lies the future of my beloved feeling of déjà-toon. Basically, after sitting as Tom Hanks). Talking animal movies are but initially all of my favorite girlhood films cartoons? The world of American anima- through about the twelfth talking animal anything but original at this point. “Shrek,” were hand-drawn. Something about good tion, like every other form of entertainment, movie, those snarky one-liners they all seem another tremendously popular cartoon flick, old-fashioned animation makes it so much is constantly being innovated and changed. to have stop being funny and start being had the talking animal factor but was also more pleasing to the eye, and more natural Nevertheless, I will be on the lookout for painfully predictable. The humor is geared very unique (I for one had never seen a looking. Or maybe that’s just me. promising animated features, though I won’t towards the parents of young audience mem- friendly ogre before then. And one voiced by There is something else about Disney mov- have the patience to sit through another bers but is constricted to G-rated boundaries. Mike Meyers? Instant success!). ies, though, that also seems a bit formulaic. talking animal movie for a long time. And Thus, none of the jokes are ever actually But there’s another factor why my beloved Mainly, those pretty princesses. You know, if American cartoon movies continue to be funny for either demographic. It also seems cartoon cinema has gone awry. I can sum this most of those Disney flicks had them. They’d disappointing, there’s always anime, right? to me that screenwriters of this genre follow up with a single word—nay, a single name— all create an elaborate musical around a clas- Yup, now that’s entertainment. 10 Diverse City April 3, 2009 CHORUS It’s like punk rock, only it’s a pig Redisovering BY JONATHAN SUSSMAN women in Pinter Staff

Jean-Jacques Rousseau once noted that PINTER (from p. 8) even if the ancient Athenians were wrong the second half of the scene quickly dete- to put Socrates to death, at least it meant riorated into what was like watching a that they took his ideas seriously. This is heart-wrenching breakup. Samson’s quiet the eternal dilemma I carry with me when- desperation as the tired husband who just ever I’m in the presence of the members wants to be with his wife in reality, and of Students for a Democratic Society. It’s Olivia’s frantic pleading as her dreams are not just that they are shades more radical destroyed in one conversation was so raw than their counterparts in Democracy for and emotional, it became uncomfortable America, more outspoken, not clean-shav- to watch—as if we weren’t supposed to be en. More to the point, SDS members take there. When he slammed the door behind ideas seriously – very seriously. How can him as she ran to it, calling out his name, I a thoroughly bourgeois individual such as felt pangs of sympathy, sadness, and a cer- myself walk into their midst and remain tain camaraderie with the broken woman unscathed? we saw before us. It was precisely this thought that raced In the second transition, a different sort through my Dayquil-addled mind as I of woman was onstage. It was as if the stepped into the back room of the radio Pinter-esque female had broken out of the station Wednesday night. Their hit talk text and was expressing the anger and pas- show, “Tune In, Turn On, Drop Out”, had sion that can be felt within the scenes but just wrapped up to be replaced by a sports PHOTO courtesy of internet source could never be fully expressed. This time, chat program, but the atmosphere was still on the cheap. Ms. Mills, clad in a flowing Mariel Gruszko, a slightly calmer SDS the objects thrown at the man’s feet were charged and energetic, coming off of a green tunic she previously sported at a member, explained that the campaign evening gloves and pearls, presumably heated discussion of the revived squatting Black Panther memorial event, yelled slo- for Pigasus was run with two goals in signifying the drama and fantasy which movement on the Eastern seaboard. gans down the Rabb steps. mind: to point out the absurdity of Student were now gone. Mell ended this interlude Carrie Mills, who goes by the radio “You Can’t Possibly Go Wrong With Union elections, which only waste resourc- by destroying roses on the table, throwing handle of “Carrie Nation”, strikes a pow- A Pig!” she thundered. “Vote Pigasus for es and induce hyperventilation in over- petals over her shoulders. erful figure. Her flowing blond locks and President!” Her impressive vocals and the serious candidates, and to highlight the The third scene, this one from “The delicate features come from a heritage that odd acoustics of the Rabb steps helped lack of choice available to students. Maia Homecoming,” began with Lenny (Robert marks her as a Daughter of the American propagate the message; witnesses claimed Stamieszkin, another SDS member with St. Laurence ’11), a small-time pimp, pac- Revolution; tonight, however, and pretty they could hear her from halfway across an unpronounceable last name, chimed ing around the stage in a fit of sleep- much every night, she elides the trappings campus. in that she got behind Pigasus because he lessness. In another silent beginning, he of a conservative Connecticut upbringing Other SDS members and hangers-on represented her values. When I put it to picked up a clock and cradled it in his arms to radicalize the Brandeis campus. At the chimed in, resembling in tone and style them that Pigasus was ineligible for the while meandering downstage. Through moment, she cradles in her arms black and a Mississippi camp revival for latter-day position – not being enrolled as a Brandeis his movements and expression, he cre- pink spray paint and a large plastic drop hippies. “All Politicians are Pigs Anyway student, not to mention that his campaign ated a dangerous character from his first cloth, an indication that – as the youth – Might As Well Vote for a Real One!” banner was not made of approved Student appearance. He gave a cruel smile, seem- like to say – something big was about to yelled Guy Rossman, a towering speci- Union materials – Ms. Gruszko shrugged ingly to the audience, when Mell entered go down. men of Minnesota manhood. “Pigasus Will this off. Ms. Stamieszkin darkly declared from behind the seats. In this incarnation, I pointed at the implements of instruc- Make Brandeis Kosher!” shouted Amanda that “it’s not possible that he won’t win”, she played Ruth, Lenny’s sister-in-law, tion and jabbered through a mental fog Hoffman, a thin slip of a girl decked in an and returned to yelling at passerby. who had just returned to England with of phenylephrine and dextromethorphan: eternally cool Johnny Cash t-shirt. Their The Pigasus campaign clearly repre- her husband after living in America for six “What are those for?” exhortations clearly had an effect on some; sents a new direction for Brandeis politics. years. As this character, she had the fewest Ms. Mills glowered at me. “Pigasus is when the crowd walking to their 12:10 Mr. Rossman indicates that a large vote lines but created the most in control and running for Student Union President, and classes was polled, an exuberant Vu Truong for Pigasus could signal a move towards dominant woman out of the three. I’m his general manager. There’ll be a press screamed back “PIGASUS!” leaderless democracy on campus. When St. Laurence’s usage of vocal pitch and conference on Rabb steps tomorrow at Others, however, were not so enthusi- pressed for future details, he could only tell dialect were surprising but bold, which high noon – ask questions then.” astic. One junior, who wished to remain students to “Stay tuned”. was refreshing to see. However, as a fellow Clearly, I would just have to wait and see. anonymous, feared that it was precisely At 12:20, with the lunchtime stomach audience member mentioned later, the The next day, with significantly less these sorts of tactics that made people rumbles setting in, most of the campaign- somewhat transient dialect didn’t work mucus and a song in my heart, I proceeded apathetic, something which could lead to ers began gathering their things. Ms. Mills out as well as Mervis and Kohanski’s did, down the Rabb steps after a rousing lec- the election of the next Ronald Reagan. turned one last time to face the campus, though this can be attributed to having ture on the anarcho-syndicalist movement. However, she added that the revival of the warmed by the overhead sun but still the least amount of dialect training. That What greeted me was a sight to behold: a Yippie’s 1968 Presidential candidate was struggling to leave the last vestiges of win- aside, his downright creepy portrayal of huge banner, reading “Vote Pig!” featuring “cute”, prompting her to giggle slightly and ter behind. “It’s Time For A Dictator on Lenny was dead on and enough to make a strikingly realistic flying pig. The press remove the pencil ensnared in the tightly- the Brandeis Campus!” she announced, you wish he wasn’t focusing that smile on conference was more of a political rally wound bun of her strawberry hair. and turned away, fist clenched in solidarity. the seemingly naïve Ruth. The best part of their interactions, aside from the twist ending, was their timing on the lines and Intercultural Center Calendar the way her silences and reactions played CULTURE X 2009: RISE UP MHC's Second Annual Triskelion presents: off of his macabre storytelling. Saturday, April 4th: Mixed Monologues FIERCE! - The Drag Show It was at the climax of this scene when Mell created her strongest character of Doors at 6pm, show at 7pm Monday, April 6: 10:00pm Tuesday, April 7: 8:00pm the evening. Turning the tables on Lenny, Levin Ballroom Chum's Coffeehouse Shapiro Theater Ruth gained the upper hand in what he believed to be a seduction of her and fur- A Message from the Coordinators: Schedule of performances: The green grass is showing (most days), ther throws him by seeming to verbally 10 p.m.: Monologues and poetry the snow is gone (almost), and spring seduce him and leave. All remaining tickets have been given out 11 p.m.: Mochila break is within reach... this means it is once By the close of the scene, he is scratch- for Culture X. There is no official waiting 11:30 p.m.: Code Rad again time for Brandeis University's Spring ing his head and stammering, “What was list. However, on the day of the show, we Drag Show. Come see kings, queens, and that supposed to be? Some kind of pro- will have a separate line for those who do The Mixed Heritage Club is pleased to all sorts of Brandeis Royalty perform with posal?” at her retreating figure. This final not have tickets. announce its second annual performance some added surprises! characterization of a woman showed us of the Mixed Monologues! what a female could be, even within the Depending on the number of people who This year's show will feature performances constraints of a Pinter play. Olivia’s trans- show up and the capacity limit, we will take Join us for a night of poetry, prose, and by new and past performers and groups formation in this scene took both us and people from the waiting line on a first come, music as students of mixed and non-mixed such as Company B, Starving Artists, Lenny by surprise and ended the show on first serve basis. backgrounds alike come together to share Michael Castellanos, Crowd Control, a high note for the woman who was previ- their points of view and experiences of B.O.M.S. Slam Poetry Team, as well as ously merely a talking prop. We apologize for any inconvenience and mixed race. special GUEST performer, slam poet Sean Not too bad for the expression of appreciate your cooperation! And be sure to stay after the poetry and Patrick Conlon who will be performing women in a very masculine world of the monologues for our special guests, Mochila some of his original performance pieces. play. Overall, Woman in the Background: Culture X 2009 Coordinators and Code Rad! His performance is sponsored by Triskelion Scenes by Harold Pinter, was a success and and the Brandeis Open Mic Series. an enjoyable theatrical work. April 3, 2009 Diverse City 11 END-NOTE Yeah, it’s a decent third album Self-discovery before which the stripped-down “Skeletons” is possibly the best. Karen O still can’t best “Maps” for sheer emotional the journey begins power, but there’s almost a standard- esque element to her delivery that makes it quite an affecting piece. Her JOURNEY INWARDS (from p. 8) reserved take on, “Love, don't go/ Patterson practically spat his lines in disgust (his default Love, don't cry/Skeleton me” pro- interpretation) rather than revealing any warmth or gresses gorgeously, imbuing the sim- human compassion beneath. plest lyrics with far more meaning Nevertheless, in having to play off that raging zaniness, than they’d ever have on the page. Donworth found a satisfying, understated interpretation “Dull Life” is modern rock by num- of public Gar. Torn between his own desires and the need bers, with the instrumentation sound- to save face, he often resembled a J. Alfred Prufrock in the ing just like any other post-2000 rock making. Although Patterson’s performance made so much band. Furthermore, the track follows a of Gar’s internal anguish explicit, Donworth always chal- “Fever to Tell” blueprint: lyrics, yelping lenged himself and the audience by discovering different chorus, followed by instrumental break- ways to relate to his “other half.” The director’s use of down and then the return of Karen O’s blocking and space brilliantly explored this phenomenon. voice to finish it off. The two-tiered set depicting a spare, typical middle class There’s some actual dancing to be home with beautiful wooden walls and a stylized painted

PHOTO courtesy internet source done, too, especially to songs like dreamscape above Gar’s bed aided in this depiction. BY DANIELLE GEWURZ restrained here, and there’s not the “Dragon Queen.” The underlying beats The supporting cast members that took Donworth’s Editor same reckless abandon that say, do make the album quite catchy; it’s an refined approach to the characters had most success. “Date With The Night” showed. enjoyable listen for that reason alone. Paulin, as Gar’s father, prevailed in the impossible task One of the most recognizable Nonetheless, she does an impressive The album artwork is instantly iconic; of making a tight-lipped, conservative, out of touch old female lead singers in the past few job of shaping her tone to the band’s Karen O’s manicured hand crushing man seem relatable to a college crowd. Likewise, Schairer’s years, at least in alt-rock circles, has new sonic palette. an egg with the yolk flying out. It’s an Madge possessed just enough of that feisty, matronly been Karen O of the Yeah Yeah Yeahs, That new palette? It’s a lot more expression of controlled blasts, much quality to make her relationship with Gar seem genuinely whose ferocious bite and live show electronic; fans will be somewhat sur- like the album, and appropriately is a affecting. On the other hand, Herbie Rosen’s ’12 cross- to match have provided much of prised by the inclusion of synths. much more focused image than the one dressing performance as Aunt Lizzy seemed like a cheap the band’s propulsive force since the Though it’s different, the composi- used for “Fever to Tell.” trick for a laugh that grew tiresome after a while. Like release of “Fever to Tell,” their debut tions retain similar features. It’s cer- It’s clear that there’s far more art- Patterson, Rosen’s inability to channel his wild energy album. tainly not the Yeah Yeah Yeahs going istry and consideration given to these successfully made the character more irritating than That same presence was somewhat dance pop, with a few exceptions. songs, which sound far more con- comic. lacking in their sophomore slump There is, however, the sort of electro strained and composed, than the Overall, Philadelphia, Here I Come! is a show about album “Show Your Bones” but has sensibility that backs “Soft Shock” more dashed-off feel of the Yeah Yeah being young and confused, striving for something greater thankfully returned in their latest, which uses synths to a soothing effect. Yeahs’ earlier work. There’s a definite in the future while attempting to escape the past. It’s not “It’s Blitz!” It’s simply unfortunate that It’s a bit jarring at first, but there’s a difference in this album The same surprising, therefore, that most of the actors seemed to the band gets somewhat caught up in gorgeous tension between the smooth ideas present in the past two LPs are relate to the material on a personal level. Ultimately, that the need to progress, and though it’s backing and Karen’s voice, which, much more refined here. However, spirit made the performance exciting and moving despite an enjoyable album, it’s less forward even when tamed into delicate “oohs,” there aren’t a lot of new ideas. This is a a few groan-worthy performances. Even as Gar’s mental momentum than lateral. stands apart. refinement and an evolution, but not tape cracked and hissed, I couldn’t take my eyes off the Karen O is somewhat more There are a few quiet moments, of a radical shift. screen. ADVERTISEMENT -Showtimes- Give a Embassy Cinema 16 Pine Street Waltham, MA Hoot! Telephone: (781) 891-0911

April 3 – April 9 only

Mon - Title Rating Friday Sat - Sun Thurs (1:10) (1:10) (2:10) (4:00) 4:00 (4:50) THE CLASS PG-13 6:50 6:50 7:40 9:30 9:30 (1:30) (1:30) (2:30) (4:30) 4:30 (5:00) ADVENTURELAND PG-13 7:20 7:20 8:10 9:40 9:40 (4:10) 4:10 (5:10) THE READER R 7:00 7:00 7:50 9:35 9:35 (1:40) (1:40) (2:40) SUNSHINE (4:40) 4:40 (5:10) R CLEANING 7:30 7:30 8:20 9:45 9:45 Shoot some Hoops... (1:00) (1:00) (2:00) (3:50) 3:50 (4:50) GOMORRAH R 6:40 6:40 7:35 9:25 9:25 (1:20) (1:20) (2:20) Join the Hoot! (4:20) 4:20 (5:00) KNOWING PG-13 7:10 7:10 8:00 9:40 9:40 thehoot.net WATCHMEN R (1:00) (1:00) (2:00) COMING SOON SUGAR on 4/10 [email protected] STATE of PLAY on 4/17