Category: Arts & Entertainment

By Shane Soderland

Michael Moore’s latest documentary “Fahrenheit 11/9” offers a scattershot portrait of American people and politics. The film illustrates American politics as a black hole of status quo and showcases the spirit of the nation’s citizens.

“Fahrenheit 11/9” presents itself like an expose on the Trump administration from the start, but leaves room to discuss how we got here, much to its own detriment.

The film details social and political issues, such as health care reform, school shootings and the broken political system, yet they feel unnecessarily tacked on to the advertised Trump narrative.

Moore’s biting social commentary and sharp wit can be seen throughout the film. His trademark blue collar sarcasm is utilized to full effect in his latest directorial effort. Moore spares nobody, holding all ends of the spectrum accountable for Trump’s presidency: political figures, voters, even Gwen Stefani is implicated for directly influencing Trump’s campaign.

Unafraid to blame himself and others for being friendly with now unsavory individuals, Moore’s display of nonpartisanship is commendable. Unfortunately, Moore takes numerous cheap digs at right-wing politics towards the second act, which goes against his take-no-prisoners mentality from the onset.

The film is ambitious — it attempts to link various political matters to Trump, which is reasonable considering how chaos tends to enshroud the Trump administration, but it sloppily and frantically draws its connections to POTUS.

Moore trails off topic several times, including an unnecessary segment implicating Trump of having an incestuous relationship with his daughter. His usually crisp editing doesn’t work towards transitioning from one idea to the next; instead, it’s used for cheap visual and auditory gags, such as a segment showing Trump’s words overlaid at a Hitler rally.

The film hits its stride when Moore settles down in Flint, Michigan to focus on the community’s water crisis. Moore targets Republican Gov. Rick Snyder for his hand in the matter — going as far to make a citizen’s arrest.

It’s arguable that Moore wanted to make a film about Snyder, given his passion for the sequences involving him, and this focus makes Trump feel like an afterthought.

Moore periodically makes assumptions regarding intent without sources to support hisassertions, which speaks against his impartiality and professionalism.

For instance, Moore affirms that Snyder’s hand in Flint’s water crisis was raciallymotivated, but he offers no evidence to that claim or several others.

I could forgive many issues with this film, but its fatal flaw is a lackluster ending that fails to go out with a bang.

It feels like Moore capitalizes on a moment in history rather than creating one of his own in the film’s climax. Moore’s ending drags two minutes too long and robs the audience of a fitting conclusion, which directly relates to his theme of activism.

Excluding me, five individuals departed the theatre promptly following the movie’s ending. A spectator voiced his opinion exiting the theatre. “Scattered!” the viewer said. “I looked up and was like ‘What?’”

These ideas could have worked, but Moore’s research and reliance on hearsay works against the film. I can’t recommend this film to general audience goers, but there is some value to its aspiration. Die-hard fans of Moore’s work will appreciate this entry nonetheless, despite it being flawed.

Contact Shane Soderland at communitarian@mail.dccc.edu

By Emily Steinhardt

Under the direction of Stephen Smith, nine actors successfully brought to life the story of Clybourne Park, the fall drama that ran from Nov. 9-11 and 16-18.

According to DCCC’s website, “Clybourne Park is a razor-sharp satire about the politics of race, written partly as a prequel/sequel to one of the greatest plays ever written in this country, A Raisin in the Sun by Lorraine Hansberry.” The play takes place in the same house as A Raisin in the Sun in the same suburb of Chicago.

The first act is set in 1959 as a white family is selling their house to an African-American family. Act two jumps to 2009 as the descendants of the Younger family from A Raisin in the Sun are selling the home to a young white couple as the neighborhood experiences gentrification.

The show comes full circle at the end as it flashes back to 1959 and the audience meets Kenneth (Ben Vuocolo), a character that is mentioned throughout the show but never seen. It was the final moment of the show, and it tugged my heart out as I finally understood many subtle things that were discussed in the play.

In both acts, themes of racism, mental illness, gender, disability, and class are examined at large. The actors portrayed these very relevant topics in a believable manner that mirrored how many people still talk about them today.

The show was chalk full of standout moments from each of the actors. Performers played two different characters from the separate acts that echoed each other. They were all very successful in highlighting those similarities, especially Daniel Thach, Matt Morris, Terence Stroman, and Casey Innes.

Set designer Mimi Smith truly transformed the space. Stage crew and actors helped “change” the set during intermission to show the passing of time in the house by taking off a changeable wallpaper among other things.

Costumes were designed by Samantha Angelina, who was also one of the actors in the show. She captured the feeling of both eras, making it easy for the audience to believe they were back in the 1950’s or 2009.

Stephen Smith directed yet another fantastic play that “examined ways we still need to reckon with our national history which sadly keeps dividing us” as he said in his director’s note.

Bravo to the cast and everyone involved in such an excellent production.

Contact Emily Steinhardt at communitarian@mail.dccc.edu

By Victoria Lavelle

It was lights up as NakedEye Ensemble took center stage to present “Loud and Soft, High and Low” at the Marple Campus Large Auditorium as part of DCCC’s New Music Concert Series Nov. 2.

The eight-member electro-acoustic ensemble pulled from the group’s combined classical, rock, and jazz talents, and performed musical works by modern and “cutting-edge” composers, utilizing acoustics, electric guitar, toy piano, and a variety of unique sound-making instruments that included kitchen gadgets.

Founded in 2009 by pianist Ju-Ping Song, NakedEye began as the resident contemporary ensemble of Pennsylvania’s Academy of Music. According to Song, approximately two years later the group had developed into an independent organization in Lancaster, Pa., composed of professional musicians from classical, rock and jazz backgrounds.

“NakedEye’s body of repertoire reflects the group’s mission to innovate and explore musical expression outside of convention,” Song said. “From notated works to guided improvisations for flexible instrumentation, the group has established a New Music presence in its home city of Lancaster, from which it collaborates with composers and performers to import and export musical works in a rich, ongoing artistic exchange. NakedEye believes in the power of New Music to surprise, uplift, and change.”

In addition to Song, “Loud and Soft, High and Low” featured the sounds of cello performed by Peter Kibbe, electric guitar by Chad Kinsey, flute by Susanna Loewy, clarinet by Christy Banks, saxophone by Ryan Kauffman, electric bass by Mike Bitts, and percussions by Jeff Stern.

“NakedEye’s performance was full of life, with a new and modern sound,” said Downingtown adjunct professor of anatomy and physiology Navita Kaushal. “The way they put together the orchestra, along with the wind and brass instruments was absolutely great!”

From notated scores to guided improvisations, the group has established a New Music presence in South Central Pennsylvania. According to Song, the ensemble collaborates with composers and performers to import and export a diverse musical experience and ongoing exchange of talents.

As noted on the ensemble’s official website, their mission states, “The group is a working embodiment of its mission to perform and promote emerging contemporary music and talent, both locally and abroad.”

NakedEye Ensemble’s mission and direction is supported by the Thomas A. and Georgina T. Russo Family Foundation, PA Council of the Arts, New Music USA, The Amphion Foundation, and individual donors.

Song interacted with the audience throughout the show and narrated between musical selections, sharing background information and personal stories of the ensembles.

Composer Aaron Jay Myers of Boston described how challenging it became when he began composing the show’s music, calling the experience “complicated.” Myers shared that he had difficulties while composing the musical selection for NakedEye, due to an unexpected change in his eyesight.

Not long after beginning the musical composition, Myers said that he became increasingly worried that he might have amblyopia, or “lazy eye,” as it’s commonly referred to as. After seeking medical treatment, he was diagnosed with strabismus, a vision impairing condition in which the visual axes of the eyes are not parallel, so each eye’s vision appears aimed in different directions.

Myers said his rock and jazz roots are apparent in the music, he explained that his inspiration was something much different.

“I am honored to have composed these works for the fantastic musicians of NakedEye,” Myers said. “After being diagnosed with strabismus, it undoubtedly became the inspiration behind this orchestrated musical piece with the goal of turning something negative into something positive and productive. The melody starts out focused and clear, then some of the material turns blurry and hazy while gradually becoming unfocused. As it builds towards the peak and nears the conclusion, everything transitions back to being focused again.”

The ensemble earned “Time’s Illusion” Commissioning Project Award, and received the New Music USA Grant in June 2017, and the Amphion Foundation Grant in July 2017. The ensemble’s commissioned works have also received first prize at NYC’s UnCaged Toy Piano Composition Competition.

University of Wisconsin – Madison music composition professor Stephen Dembski composed “NakedEye Came” in 2014, but says he just recently revised the piece at his home in Manhattan.

“I just finished replacing the contrabass with the cello at Ju-Ping’s request, to properly fit the piece with the ensembles evolving instruments and players,” Dembski added. “I made the drive down to DCCC from New York City because this was the first performance of the new since the alterations and detailed specifications. This piece is struck by the heavy resonance of the name NakedEye, and I recalled its sonic sibling in the book of Job: ‘Naked I came from the earth, naked I shall return whence I came.’”

Altogether, the ensemble showcased six orchestrated pieces. Four additional performances by NakedEye included: “Fur Alina” composed by Arvo Pärt, “God Soul Mind Brain” by Randall Woolf, “Seven” by Don Byron, and “Workers’ Union” composed by Louis Andiessen.

After curtain call and the final bow, Song and the NakedEye members invited guests to stay and encouraged questions from the audience.

DCCC general studies major Charlie Smith asked the ensemble how they trained their minds to stay focused and keep precise timing without just glazing over each musical performance.

“It sounds easy, but it’s actually extremely hard,” Song replied. “If you lose your focus, you will indeed end up lost. One of the best ways to learn your timing, is to keep rehearsing it until you have it mastered.”

DCCC liberal arts major William McMahon directed his question specifically to the electric guitarist when he asked, “Who inspired you? Did you imagine yourself playing this sort of music, rather than the traditional ‘Rock-n-roll?’”

“I was inspired by Pete Townshend from The Who, and Mark Stewart from the group, Bang on a Can,” Kinsey replied. “I used to play the electric guitar in rock music, and I made it appear effortless because it’s actually rather easy and fulfilling. Becoming a member of NakedEye Ensemble has been a much different experience that I never anticipated. I never went to music school, so I’m up here on stage playing with doctors. I don’t know how to read music, but I grew skills and talent through my passion. I’m thankful and blessed to be a part of NakedEye Ensemble.”

Contact Victoria Lavelle at communitarian@mail.dccc.edu