Arts Fest 2017

ABBY PAULSON / CREATIVE DIRECTOR

2 THE HEIGHTS | May 1, 2017

Arts Fest

Multifaceted Performances Strengthen ‘Evita’

By Tomas Guarna Heights Staff

AMELIE TRIEU / HEIGHTS EDITOR

Medusa Recounts Personal Trials

By Julia Perry For The Heights In an invigorating celebration of women’s literature and art, members of Boston College’s The Laughing Medusa delivered elegant, inspired, and sometimes quirky poetry and prose in the sweltering heat of the Stokes Art Tent Saturday afternoon. Surrounded by vibrant student paintings, a black backdrop set the stage in front of an eager audience as the first woman of many approached the microphone.

Nicola McCafferty, MCAS ’17, editor of The Laughing Medusa and emcee of the event, introduced the show with the release of their Spring 2017 magazine, which featured both artwork and submissions by women.

The first reading was a nameless poem by Emma Campbell, MCAS ’20, which reflected on coping with change and overcoming anxiety at college. Haunting and rich in analogies and written in an introspective style, Campbell described entering into the daunting new world of college.

“The first day of college is like jumping out of a place in six-inch heels … and then your parachute won’t open,” she said. “Dante traveling the seven circles of Hell, but without Virgil to guide me.”

Colleen Reynolds, MCAS ’17, stepped onstage to delivered a poem dedicated to her mother, Mary, entitled “The Week My Fingernails Broke.” Her rhythmic voice reflected the contrast between the hope and strength she drew from her mother after voting for the first time, and the empty feeling after the election. The last line in particular left chills.

“I really don’t think there is a God but I know there is a blessed mother and her name is Mary,” she said.

Corinne Duffy, MCAS ’17 and a former editor of The Heights, left a lasting impression with her lighthearted yet honest style. Described by McCafferty as a “really rad reading,” she delivered a meaningful, hilarious, and relatable piece. “Encyclopedia Red: BECOMING A WOMAN” came from an essay she wrote for a class, but also included 28 separate stories of other women, representing the 28 days of the menstrual cycle. Reminiscent of Eve Ensler’s Vagina Monologues, Duffy elicited quite a few knowing laughs from the crowd.

Naphisa Senanarong, MCAS ’17, whose prose originated from her senior thesis, offered one of the most dynamic

pieces of the show. “On Surprising Losses” fell in the vein of creative nonfiction, as it offered both a commentary on the global environment, and its synchronicities with events in her personal life. Senanarong beautifully detailed senseless deterioration with the sinking of the Maldives and Miami, the blanching of the Great Barrier Reef due to ocean acidification, and her grandmother’s Alzheimer’s disease.

“A part of my mind still fights the idea that the city could be well beneath sea levels by the time I got my shit together,” she said.

The writing of Taylor Puccini, MCAS ’19, struck a painfully familiar chord with the women in the audience.

Her poem, “Power of Talk,” detailed the oppressive tendency of the patriarchy to elevate men while simultaneously silencing women, who are taught to apologize for expressing their opinions and ideas. The timely verity of her words drew several snaps from the crowd.

“While you riddled a new vernacular somewhere between those 26 letters: A, B, C, … I was taught the language of ‘Excuse me’ and ‘I’m sorry’, from matriarchs,” she said. “Passing along the Art of the Apology—it’s written by a man.”

Another highlight was the poem of Gabrielle Downey, MCAS ’19, “Autumn’s Samsara.” Full of enchanting language and rich visual imagery of nature, it brought forth the sensations of wind-swept days and the maturity of autumn, along with the hopeful notion of death and rebirth that comes with the changing seasons, as with personal growth.

The closing pieces were delivered

by McCafferty herself. Her poem, “You’d Be Prettier Without Your Glasses,” disavowed the materialism and superficial nature of Hollywood. She took the stage powerfully as she let her words convey heartfelt feelings. Runon sentences overwhelmed the audience, while instilling her sensation of being engulfed in a culture of pretense, counterintuitive to true individuality.

“She tastes pretension in the sour salt of mango margaritas and the derisive laughs of people she just met but is sure she doesn’t like,” she said.

The welcoming space and the open attitude of the performers was made evident by the relaxed nature of the women on stage, and the beautiful, intimate, and profound experiences and thoughts they shared in their own compelling words. n

Some things are timeless. “Don’t cry for me Argentina, the truth is I never left you” are lines that might seem distant for those in this generation, yet they never fail to transmit the nostalgia for which they were conceived. The Boston College Theatre Department production of Evita is no exception to the rule. Paul Daigneault, Boston Conservatory professor and BC ’87, directed the 1978 classic with music

by Andrew Lloyd Webber and lyrics

by Tim Rice, featuring strong dramatic performances and breathtaking tango dances, albeit with some problematic directorial choices.

The story is led by a caustic Che, (David Makransky, MCAS ’17), who tells the life of Eva Duarte (Jessie Shaw, MCAS ’19), a young woman born in a middle-class family in provincial Argentina. One night, she seduces a tango singer (Joe McCarthy, CSOM ’17) and convinces him to take her to Buenos Aires with him. There, she becomes a famous actress amid the political turmoil of the 1943 military coup. She falls in love with Juan Perón (Simon Rogers, CSOM ’17), a rising politician, and moves in with him, kicking out his mistress (Imogen Parry, the University of Glasgow). Eva, also known by the Spanish diminutive, Evita, acts as his right hand in his presidential election, in which he triumphs.

Eva positions herself as a tireless defender of the descamisados (“the shirtless ones”) and becomes loved by the working class nationwide. She

soon discovers that this won’t win her the appreciation of the aristocracy, or even of foreign diplomats. Eva, therefore, looks to accumulate more power, and aims to achieve her dream of leading a more just nation.

The power-hungry yet always glamorous Eva Perón is performed stunningly by Shaw. Her singing numbers are moving, and she conveys the oscillation between megalomania and vulnerability in her character. Shaw can make an audience tear up with the classic “Don’t Cry for Me Argentina,” and distance herself with heavily dramatic scenes. She plays an authentic Evita flashed by the lights of Buenos Aires and, most importantly, of the people’s love. Shaw’s ability for dance is also praiseworthy, performing complex steps with fast paces. Her dramatic versatility suits the character perfectly, making her performance one of the show’s best highlights.

Rogers does a gentle interpretation of Juan Perón. A skillful baritone, he hits the low notes of the musically complex character perfectly. Moreover, Rogers’ confidence on stage makes his appearance as the political leader feel natural.

Makransky takes the stage with his excellent portrayal as Che. He embodies the Greek chorus ingeniously, and he navigates the stage and engages with the ensemble with an admirable ease.

Makransky’s chemistry with Shaw is especially remarkable. Their interactions, all of them in Eva’s imagination, are delightfully performed, and their tango number is praiseworthy. More-

AMELIE TRIEU / HEIGHTS EDITOR

Shaw’s dramatic versatility in song and dance solidified her depiction of Evita.

over, Makransky sings with an incomparable elegance.

Parry and McCarthy deliver solid portrayals in their roles. Parry plays Perón’s mistress, and breaks the audience’s heart with a flawless performance of “Another Suitcase in Another Hall.” McCarthy portrays Agustín Magaldi, Eva’s first love interest and a tango singer. He dominates the dance with the charm of a true porteño, both with his singing and his dancing.

The content of the show does raise some noteworthy issues. Although an undeniably polarizing figure, Eva Perón is generally regarded as a key political referent for women in Latin America. The musical reduces her political ambitions to a frantic quest for popularity, and her charity work as a personal grudge against the rich. It simplifies politics to whims, forgetting her leadership in the fight for the rights of women and laborers. In keeping with the theme of Robsham productions this year, depicting women in different roles, one may question whether a better choice lied in a production like The Wiz or Into the Woods.

Although smoothly performed by Makransky, the character of Che is very problematic. The original script does not explicit Che as the Cuban Revolution’s leader, Che Guevara—“Che” is a word used worldwide to casually refer to Argentines. In fact, the 1996 film adaptation and the 2006 London productions did not directly interpret the character of Che as Guevara. Many interpretations of the show allow the viewer to decide whether Che is Guevara or a regular Argentine. But the director’s choice to remove this agency presents a caricatured idea of the country, putting together two characters that never had anything to do with each other.

Despite these questionable decisions, Daigneault shines as a director in other respects. The ensemble interacts seamlessly with the main cast, and at no times does it feel artificial. There’s a natural spark among the characters, which is by no means a given in musical theatre. The tango choreographies directed by David Connolly, which the cast perform flawlessly, seem at ease with the show’s flow. Moreover, the set is minimalistic yet extremely versatile.

Considerations about how and why it achieves this aside, Evita is a musical that shows the vulnerability of power.

The BC Theatre Department production is a praiseworthy exploration that, through breathtaking performances, manages to display the brightest and dimmest places of a fearless leader’s life. n

Arts Fest Highlights After Hours Theatre

A Cappella Showcase

After Hours Theatre was an event featuring three scenes written, directed, and performed by Boston College students. Bringing their unique vision to fruition, each student’s piece was as invigorating as the last, fit with its own set of quips, personality, and tact. The atmosphere was informal and spirited, and the show was dedicated to the student performers who carried an infectious energy throughout their BC careers.

The A Cappella Critics’ Choice brought together the best of the eclectic community. The command over vocal ranges, from soprano to bass, left the audience awestruck at the sheer command. With the Heightsmen, Sharps, Acoustics, and others all delivering the high-quality performances, audience members could not help but be moved by heartfelt renditions of various artists from Chance the Rapper to Sam Smith.

Salmanowitz and LaMattina Social Justice Film Screening The Social Justice Film Screening showed several films documenting problems from around the globe from Boston College’s best student filmmakers. Through a series of grants in the theatre department, students chose to document a social justice issue of their choice. From Puritan New England, to Nazi Germany, students explored a variety of historical issues and their implications to modern life in a thought-provoking way.

Arts Fest

THE HEIGHTS | May 1, 2017 3

Solo Show Critiques American Stereotypes

By Jacob Schick Assoc. Arts & Review Editor When people hear the words “one-woman show,” they may think of the episode of Friends where Joey gives everyone a ticket to one, but Chandler ends up as the only one who goes. One-woman shows are often the subject of a throwaway gag that no one wants to go to because it will be way too “artsy,” or as joke forms of entertainment, shows that are so bad, they’re funny. While this may be the trend, there is always room for exceptions. Caroline Portu, BC ’16, has proven that with her one-woman show, Rookie Night.

Before Rookie Night began, the audience milled around the space in the Stokes Art Tent, chatting with friends and admiring the various pieces of art hung up on the walls.

Portu mingled among the crowd to chat with old friends and thanking

those who she knew came to see her.

Rookie Night began with an explanation of the show and a disclaimer. The audience was told that, at least for the duration of the evening, they should pretend that, instead of sitting in the Stokes Tent at Boston College’s Arts Fest, they were watching from New York City.

Rookie Night would be a collection of stand-up acts by amateurs from all walks of life, giving it their best shot at the comedy club’s amateur show. Portu warned attendants that the following acts might talk about things that some might not agree with. She advised us to be receptive to different points of view, as well as to remember that the evening’s performance was all in good fun.

Portu bid the audience adieu, and disappeared off stage for a few minutes. The woman who returned to the stage bore almost no resemblance to Portu herself. She was

dressed in denim overalls, a wig, and sported a blacked-out tooth. She spoke in a peppy Southern drawl as she began to give her set to the audience. She made sure to begin her set the right way—according to her, and presumably God—with a prayer. She prayed for the people she had seen on the bus to New York who had been listening to “sinful rap music.”

She prayed that their souls were not “as black as the rap artist” who made the song. Portu’s character also thanked God for the “sunshine, puppies, and the death penalty.”

At this point, Rookie Night had barely gone on for 10 minutes and members of the audience were already roaring with laughter at the punchline of every joke. After her character had prayed, she sang a song called “The Second Coming’s Coming.” The song start-

AMELIE TRIEU / HEIGHTS EDITOR

Caroline Portu, BC ’16, embodied characters that comedically analyzed personalities from varied walks of life.

ed with “Some say I’m racist, but actually just right / Jesus will come and he will be white” and it only got funnier from there. Her character covered every salient topic that stereotypical conservative Christian Southerners are known for discussing: creationism, racism, xenophobia, bigotry, and a strong and literal understanding of the Bible.

After this song, Portu’s character reminded the audience to be good people in the eyes of the Lord and, if anyone was thinking of going home to have sex, that it should better be for procreation purposes only and in missionary position, because otherwise they would go straight to the fiery pits of Hell.

While Portu changed costumes, the audience members chatted with each other, quoting lines from the previous skit and laughing again and again. When Portu reemerged, however, voices quieted down almost instantly. This time, Portu was garbed in a black t-shirt which said “Feminism is my favorite F-word” and a black short-cut wig. She began to introduce herself, but when she looked into the crowd she exclaimed “Oh there are men here?! F—k!” to the guffaws of a few especially receptive audience members. She decided that the show must go on, and challenged all of the men to stay, if they dared. She introduced herself again, and explained that the meaning of her full name roughly equated to “unreasonably strong vagina.” She then began a rant in which she conjectured studies that showed “men are physically incapable of emotion” and other stereotypical “extremist men-hating feminist” arguments. After her spiel, she presented a poem that began with “Penises or knives, scrotums or swords, semen or anthrax” and ended with “For I am women, and if you aren’t one then I probably hate you.” This was only the beginning of the poetry the audience was treated to by Portu’s feminist character, who was apparently quite fond of haikus. Among these haikus were “Chivalry is dead / I don’t even care that much / F—k you Lancelot!” and “Stand up for women / Because if you choose not to / His boner will stand.” This poetic and penultimate performance was, of course, met by thunderous applause from the dozens of attendants.

For Portu’s last character bit, she returned to the stage as a bearded man named Fletcher, who couldn’t decide if he wanted his name to be something more “underground” like “River” instead. Fletcher/River carried a ukulele and explained that he had graduated from Oberlin College with a major in English Literature

and a minor in English Literature Illustrations. After trying for a full two weeks to find a job in line with his musical passion in the Mongolian Electro-Folk music made by blind androgynous farmer-monks scene, Fletcher/River gave up. He spent every last penny he had on Pabst Blue Ribbon beer. Throughout his stand-up, he strummed a few singers across the ukulele he carried, but later admitted that he had no idea how to play the instrument. At the end of the bit, Fletcher/River hocked a few pictures he had taken to the audience. Among them were a tree that he had seen the essence of his grandmother in, a squirrel, a button, and the front of an Enterprise store. Fletcher/River peddled his Instagram before leaving the stage and ending Portu’s in-character performance.

When Portu returned, she was herself again. She spoke eloquently about the nature of the show, and sang a song about the different viewpoints we hear in our daily life. Her ending speech and song captured the entire point of Rookie Night.

Often, we surround ourselves with people who believe the same things we do. We can use things like Facebook feeds to selectively see information and sources we feel are credible, but are more in line with our thoughts. By doing this, we enter a sort of echo chamber in which we view ourselves, and those with similar viewpoints, as the only people who know the truth and are doing the right thing.

We mischaracterize groups with whom we don’t identify. Portu’s characters capture this sort of “othering” that people have tendencies to do.

Her first character is a caricature of a conservative Christian. People with different viewpoints conjure this image of those on the other side of the issue as blatant racists, bigots, misogynists, xenophobes, and Bible-thumping hicks when really they are just people. Her second character is a “feminist,” but not in any actual sense of the word. Real feminists aren’t men-hating idealists with no sense of the real world, and that is the point Portu tries to make with her show. The country girl, the feminist, and the hipster are all the most extreme version of their group, and yet often people who are opponents of that group believe everyone is just like them.

In order to truly understand an issue, or even a group of people, we need to be willing to take a few steps back. There is no way to really bring about change, compromise, or agreement unless people are willing to try to understand each other. Portu made this heavy and important message humorous, but Rookie Night conveyed its meaning expertly. n

Now & Then Marries Old, New Theatre Talent

By Cecile Laginestra For The Heights During this year’s 19th annual Arts Fest Celebration, the Boston College Theatre Department concluded its season with Now & Then, a collection of short plays written by five alumni playwrights. Scott T. Cummings, a professor in the theatre department, directed the show, which showcased the incredible talents of BC’s own featured writers.

The Bonn Theater served as the ideal setting for the performances—intimate, yet professional. The close proximity of the actors to the audience created a powerful feeling of connection within the theater. This minimalist setting with its simple lights allowed the audience to connect with the characters.

Students in the theatre department had the opportunity to connect with alumni in a constructive and creative environment. Those involved in the production were treated to a handson learning opportunity as the actors treated and workshopped with professionals in the industry.

Each of the five scriptwriters created a single, 20-minute scene that could serve as a section of a larger play. The themes of scripts all discussed different topics and range from tear-jerking dramas, to satires, to mythological fantasies. Each of the writers gave the audience a quick snapshot into their aesthetic and artistic styles.

The Shot by Emily Dendinger (BC ’05) is a touching story depicting the unique relationship between two siblings, their struggle to cope with the death of their father, who the audience later discovers was killed on Sept. 11, 2001. Daniel Quinones and Haley Bannon, MCAS ’19 and ’20, respectively, played a brother and sister living in Northern New Jersey.

Through touching, witty, and sometimes sarcastic dialogue, Dendinger provides commentary on sports, life, and how to mourn.

An Appeal by Patricia Noonan, BC ’07, takes place in a courtroom, and is a fantastical interpretation depicting the trial of Adam and Eve regarding original sin. The plot line is funny, creative, and leaves the audience wondering who is in fact to blame. The religious

commentary and biblical basis of the script are not overwhelming in the slightest. The audience gets the opportunity to experience both sides—the final words of the scene leave the verdict to the imagination.

A Single Night of a Lifetime by Jeff Augustin, BC ’08, takes place on a New York City Street late at night.

Layla and Marty played by Samuela Nematchoua, MCAS ’18, and Meghan Hornblower, MCAS ’17. The dialogue is thought provoking, sensual, and relatable. Augustin has had great success within the industry, and many of his plays and scripts are widely acknowledged and performed. His latest project is writing for Claws on TNT and he is currently developing a new series for AMC. Scratch Until by Patrick Lazour, BC ’08, and Daniel Lazour, BC ’13, takes place in a bar in the Bowery in New York City. With many musical components, and an assist from musical director Andrew Gaffney, BC ’16, the scene perfectly combines dialogue with performance. The musicians, Daniel Saillant, MCAS ’20, and Stephen McAlee, CSOM ’18, added

feeling and an element of surprise to the dialogue. The scene has six characters, and they all work together in harmony to bring the scene to life.

The Lazours have been writing musical theatre together for the past seven years, and have written and produced five musicals together.

Tiny Chairs for Plastic Dolls by Emma Stanton, BC ’06, is set in the basement of a church in Pittsburgh, Penn. and has a fairly large cast, compared to many of the other scenes.

The scene is touching, while still being humorous and uplifting. Stanton is currently a lecturer in the theatre and performance studies department at the University of Chicago and is working on developing her newest play June in the Parade.

The BC Theatre Department provides the University community with the opportunity to support and engage with the arts community on campus.

The production was creative and innovative, and a great way to spend a Saturday afternoon while relishing in alumni talents that continue to be shared even after their time at BC has come to a close. n

AMELIE TRIEU / HEIGHTS EDITOR

4 THE HEIGHTS | May 1, 2017

Arts Fest

Irish Studies Livens Midday Programming

By Caroline McCormack Heights Staff As one of the first acts slated to perform at this year’s Arts Fest, the Boston College Irish Studies Music Program set the scene for a wonderfully enchanting weekend.

The show drew in a variety of audience members on Thursday, ranging from professors and family members to students and members of the Campus School. The treat of traditional Irish sounds had everyone beneath the O’Neill Arts Tent brimming with excitement.

The Irish Studies Music Program encompasses a variety of different Irish music and cultural outlets. In addition to the staple fiddle music and singing, there’s also an element of dance that is involved in the makeup of the program. What is beautiful about the program in general is that it pulls from all walks of BC’s life, as many of the students involved in the program are at different stages in their studies. From students to full- and part-time faculty, the image creat-

ed on stage added to the dynamic of the whole performance group.

The performance allowed the audience a glimpse behind the scenes as the performers delved into the nuance of their respective crafts. Irish dancers must learn how to dance in more than one type of show, hard and soft, adding an extra layer of difficulty to the skill.

These different types of shoes require different elements of dancing. Although they are rooted in the same technique, there is a much lighter approach that exists with the soft shoe. While dances like the reel and slip jig are performed with the soft shoe, dances like the hornpipe and the treble reel are performed with the hard shoe.

Dancing alongside Kieran Jordan, a part-time faculty member in the Irish Studies program, the women were graceful as the y glided along the stage. They were accompanied by Sean Smith of the Office of Marketing Communications on the guitar and Sheila

Falls Keohane, a part-time member of the Irish studies faculty, on the fiddle with her students.

The fiddle students brought another big element to the show.

Their fingers danced across the strings creating a warm, inviting, and playful sound. Weaving one melody after another, the transitions between pieces felt effortless.

Keohane said that this is the “best fiddle class that she has had” and it is great to meet with them every week.

Keohane moved from praising her students to the talent of Sean O’Rourke, LSOE ’17. Starting off the segment with his rendition of “The Lakes of Pontchatrain,” made famous by Paul Brady in the ’70s, the musician captivated the audience with his vocal tact and left everyone wanting more.

According to Keohane, O’Rourke began in her fiddle class, but when she found out O’Rourke could sing, she started preparing this tune with him for the performance.

Although the show had a nice turnout, attendance was scarce—

CELINE LIM / HEIGHTS STAFF

Sean Smith gives a hearty rendition of a traditional song with guitar in hand. even O’Rourke had to hop off stage and onto his next commitment immediately following his performance. This sort of on-the-run student lifestyle has a noticeable impact on some of the smaller shows in Arts Fest. The Irish Studies performance took place in the middle of the day, and the entire festival is the weekend before the exam crunch begins. It is such a

critical point in the year before exams that it can be especially hard to miss a class when the material covered on that day may show up on the final.

But for those who were in attendance, the intimate song and dance of the Irish Studied Music Program is likely to reappear in our minds during quiet parts of our days in the havoc to come. n

JAKE EVANS / HEIGHTS STAFF

Baroque Concert Cultivates Balance TAYLOR PERISON / HEIGHTS STAFF

Austen-Poe Smackdown Packs a Punch With Prose

By Caleb Griego Arts & Review Editor From ravens and mavens, to carriages and marriages, Edgar Allen Poe and Jane Austen represent polar opposites of the same literary genre.

The American vs. the Brit, facing off with two wildly different worldviews, possess two markedly different styles.

But only one can be arbitrarily crowned “the most interesting.”

In a debate that did not fear getting dirty, fit with blows below the belt, percolating with condescension and fun, the Jane Austen-Edgar Allan Poe Smackdown tried to settle this point once and for all. Out of the English department emerged our two champions, both professors. Elizabeth Wallace upheld the landed gentry for Austen, while Paul Lewis embraced the melancholy of Poe’s prose. Both were flanked by student defenders, dead set on proliferating superior ideas about their respective literary heros. A smackdown was promised and a smackdown was delivered indeed.

Lewis’ opening remarks set the fiery tone for the evening, as he invoked Shakespeare.

“I have come not to bury Jane Austen, but to praise Edgar Allan Poe,” he said.

His praises of Poe included the author’s penchant for misery and human suffering, citing that the troubled artist honestly captured the plight of so many in apt Gothic fashion. The suffering of life, from Poe’s perspective, was not solely a source of utter despair, but also mystery. Poe looked at the misery and found mystery in the daily machinations of dour thoughts and forlorn yearnings. Poe mastered that mystery and brought it to pen and paper where it has captivated readers for decades.

Citing The Black Cat, Collin Couch, MCAS ’18, outlined why he perceived Poe to be the most prolific. The piece sees a poor, alcoholic narrator wrought with fears over a simple black cat.

When the narrator, in an attempt to alleviate his agony, attempts to kill the cat, but ends up slaughtering his wife, the lesson seems clear enough. Surface level analysis would pin the act to his alcoholism or poverty. This is not the case. Therein, Couch explained, lied to beauty of Poe as he tackles moral perversion.

“Poe used this piece to explore the nature of evil. Is it something within ourselves?,” he said. “It is an analysis on knowing ourselves.”

Another defender of Poe, Molly Collins, MCAS ’18, took a different approach as she championed Poe as a man ahead of his time. Citing The Imp of the Perverse, Collins outlined the nuance of Poe’s progression of narrator trust. Initially, the narrator is believable and solid when discussing others who act against their self-interest. They act under the control of the titular imp.

Later on, his reliability comes under question as he divulges his own crimes, including murder. Collins contends that such notions of disadvantageous behaviors fall in line with concepts in neuroscience, in which one can find many such cases related to injury and disease.

Poe documented real issues while establishing intrigue in the narrative form. He spoke of afflictions that he, as well as others, might have had in an attempt to explain why we act the way we do.

As the Poe constituents laughed at Austen’s seemingly pedantic love stories, Wallace came to her defense.

Wallace framed Austen as a powerful visionary novelist operating under the constraints of her time. These mere “love stories” actually house poignant political commentary that spoke to social mobility, gender, and class. While Poe languished in his own self pity, Austen offered up commentary on a life worth living.

Kate Cahill, MCAS ’17, took the mic in Austen’s honor. Citing Persuasion, Cahill spoke of how Austen was

not solely concerned with the dispositions of women during the 19th century, but also those of men. Referencing her posthumously released Persuasion, Cahill showed how the Austen’s characters detailed internalized dialogues that were deeply concerned with the propensities of men. Reductively, some may look at Austen’s works and see a simple tale of suitors and archaic propriety from the female perspective, but, as Cahill explains, Austen truly details the relation between the two forces as they each seek prosperity.

Daniel Lee, CSOM ’18, came prepared for his bout for his beloved icon.

Using Northanger Abbey, Lee showed how pragmatic Austen truly was in her analysis of Catherine Morland and Henry Tilney’s relationship.

“Tilney is an arrogant, cavalier a-hole,” he said. “But he is still the best suitor out of all those in the novel.”

It is not simply a love story, but a tale of self-discovery and self-evaluation as one situates oneself logically among the braggarts of society.

The evening was one of merriment, jests, and stern pleasantries as each side criticized, conceded, and clashed.

Though the Austen-ites deemed Poe a wallower, indulging in the swamps of self-pity, and the Poe-ians dismissed Austen as an astute, but ultimately banal novelist, the end saw mutual respect wash over the crowd.

When Andrew Sofer, professor in the English department, took the podium, anticipations ran high. But he, as so many others in the audience, came to the conclusion that each were too mighty for one to top the other. As such, he awarded Team Poe the award for “Psychological Terror,” while Austen was graced with the award for “Political Critique.”

Smackdown left viewers satisfied as passions were not weak and weary, but hot and heavy as a love of literature could be seen welling up in the hearts of those who hold old words so dear and near to the heart. n

By Jamie DeAntonis For The Heights Amid a program filled with contemporary song and dance, small ensembles utilized a 45-minute window on Friday afternoon to send patrons of the O’Neill Arts Tent back some 300 years into the Baroque era. Embedded between the Renaissance and Classical eras, Western culture of the 17th and early 18th centuries cultivated legendary composers such as Johann Sebastian Bach and Antonio Vivaldi.

What’s more, this Baroque period saw the founding of tonality, the basis for most music we hear today. The BC Baroque, Flute, and Cello Ensembles delivered a refreshing mix of the past and the present.

First up was Boston College Baroque, which performed the first and third movements of Brandenburg Concerto No. 4, Bach’s timeless masterpiece. The ensemble of flutes, strings, and harpsichord achieved a balanced sound. The first movement featured a motive of three descending quarter notes followed by three ascending eighth notes, initially presented by the flutes. This motive was repeated many different times throughout the piece and in many different forms. In signature Baroque fashion, the movement featured many modulations, presenting the motifs in many different forms. The movement also featured lots of fast scales and arpeggios, played in time by the violinists.

The third movement featured a motive similar to that of the first one, with the same patterns of notes. This movement featured flutist Isabelle Pazar, MCAS ’18, and many different chamber sections which took advantage of the different permutations that can be achieved within the ensemble.

Like the first movement, the third delivered a spritely sentiment, featuring many fast 16th-note runs and fast arpeggios.

Next up was the Flute Ensemble, which flashed forward to modern day with “Blues Sophisticado.” The Bill Holcomb work featured lots of dominant sevenths and a 12-bar blues format. The ensemble played beautifully and successfully achieved proper balance, which is especially

difficult with such an unforgiving instrumentation.

Director Judy Grant, lecturer in the music department, spoke about the process the group went through to overcome the challenge of achieving this balance.

“Sometimes the key is how you assign the parts, and how many you allocate to each part. It’s important to treat the ensemble like an SATB choir,” Grant said. “Sometimes there are four parts, and other times there can be six or seven. It’s very much a vocal concept. If written well, the balance can be achieved.”

Nevertheless, Grant acknowledged that there are many advantages to its sonic qualities.

“There’s a lot of beauty in high voices,” she said. “There’s a nice belllike quality.”

The Flute Ensemble finished with “Masques” by Anne McGinty, which fit the name of “Masque,” a term that refers to a composition for an entertainment production from the early Baroque era. The piece creates a mystical feeling with descending half steps, performed with strong intonation.

The Cello Ensemble closed the program with two pieces from different periods: Edvard Grieg’s “Anitra’s Dance” and a cello arrangement of the ’70s hit “Disco Inferno.” The Grieg piece, a selection from Peer Gynt, featured Grant on the flute. The movement was driven by alternating sections of pizzicato and arco playing techniques. The pizzicato sections were particularly well played and in time. The short and percussive nature of the pizzicato technique layered beautifully underneath the airy, legato nature of the flute. The soloist played with beautiful phrasing, accentuating the nuance of the contours of the music.

The Baroque era remains, to this day, a jewel of music history. The tonal intricacies are a true wonder, one that should be cherished forever. Furthermore, works such as Peer Gynt are treasures of the Romantic era, an era of great feeling within music. The tonality and emotion of those eras paved the way for the music that is produced today, and the audience left satisfied at a reviving blend of these periods. n

Arts Fest

THE HEIGHTS | May 1, 2017 5

Breaking Open Underground

By Dan Fitzgerald Heights Staff On a campus where a handful of student groups are beloved and the rest often struggle to get noticed, an event at Boston College’s Arts Fest supporting lesser-known performers is healthy, if not necessary. In spite of a meager crowd size on the last Friday night before finals, the two performing groups—dance group Conspiracy Theory and rapper Phenom V and the XtremeSoundz band—still lit up the stage of the O’Neill Arts Tent on Friday, and had fun doing it, for the fifth annual BC Underground event.

Wearing black t-shirts with their name plastered on it, Conspiracy Theory, BC’s “premier b-boy and b-girl all-styles group,” kicked off the night with unabashed enthusiasm and some impressive moves. Each member of the group took turns solo breakdancing while the rest of the group acted as hype-men, egging each other on and thoroughly enjoying every second of it.

Fittingly, Conspiracy Theo-

ry’s mission statement calls for dancers to “learn, be open, and teach” and members did just that. Throughout its 30-minute performance, several members ran through the tent, recruiting audience members to join them on stage. Reluctant as many in the audience were, the group managed to talk a handful of people into joining them on stage and learning some of their moves.

Conspiracy Theory went hard, beamed with confidence, and all members were really feeling it, which made it impossible not to smile while witnessing it.

Next up was Phenom V (Emmanuel Laguerre, WCAS ’18), who has a newly released album out on SoundCloud. Entering the stage draped in a Bruins jersey with his name on the back, Phenom V began by stunning the audience with a few unaccompanied verses that covered everything from race to girlfriends, showing off his skills as a poet and wordsmith. Then he jumped into his set—six songs in total. The third song seemed especially important to Phenom V, as he prefaced it by

saying “this one’s about the crazy … stuff that’s been happening in my hometown.” For this song (and for another toward the end of the set), he brought out a few of his longtime friends to rap with him and energize the crowd. From his fourth song until the end, he was accompanied by his band, which consisted of a bassist, guitarist, and keyboard player. The fourth track was sort of a slow jam, or as he called it, “the kind of song you play for your girl before she goes out.” From there, he played “BC Chillin’,” the ultimate track about BC party life.

Phenom V ended his set with a track called “Love Yourself,” a song that was written “with the complete intentions of providing internal healing for myself and for others.” He lead into the song with a powerful message.

“If there’s anything I represent it’s self-love,” he said. “Because if you don’t love yourself, no one will.”

He’s pretty passionate about this cause—on his SoundCloud page, he calls for all listeners to record a “short clip of yourself

By Peter Gavaris telling me something about yourself that you truly love” and post it with the hashtag #LoveYourselfChallenge.

Though organizers likely would have wanted to see a higher turnout for the event—only two groups performed for the two allotted hours—these two performances felt like enough.

Conspiracy Theory brought incredible energy and genuine joy to the stage, and Phenom V and XtremeSoundz brought an intensity and talent that certainly deserved more viewers. Both performances served as a reminder of the immense talent that exists within the BC community, even if we fail to give many of those members the recognition they deserve.

Phenom V put it best in his free-verse at the beginning of the set: “The only way they’ll invest is if you’re worth it. But what’s worth it?” n

CELINE LIM / HEIGHTS STAFF

‘Celebration’ Spins Eerie Disney Tale

By Caroline McCormack Heights Staff The Committee for Creative Enactments’ (CCE) presentation of Celebration was a festive bash, lauding the hard work and heart its members put into every interaction.

The zany, shocking murder mystery had twists and turns that left the audience stunned. Written by Christian Moro and Ben Blumenstock, both MCAS ’19, and directed by Campbell Disbrow, MCAS ’18, the murder mystery and the daft tales

spun by CCE will be remembered by all who attended.

This wacky story took place in the town of Celebration, an area of Disney World that was described as a veritable utopia nestled in the oasis of central Florida. Eerily, characters described the uncanny demeanor of the town, where the weather is always sunny and everyone is always smiling.

Everything was happy and majestic until the start of this dastardly musical. Waiting to unfurl the mystery ahead, audiences met a slew of

CELINE LIM / HEIGHTS STAFF

CCE’s take on beloved characters was as funny as it was unusual and unsettling.

Insider Panel

Disney characters including Walt Disney (Christian Moro, MCAS ’19) Mickey and Minnie (Drew Gillis, MCAS ’19, and Lyana White, MCAS ’20), Donald and Daisy Duck (Henry Camacho, MCAS ’19, and Sam Kramer, MCAS ’20), Chip and Dale (Sabrina Serani, MCAS ’18, and Gerry Menna, MCAS ’20), Goofy (Emma MacKinnon, MCAS ’20), and various princesses like Rapunzel and Snow White (Colleen Doyle, MCAS ’19, and Roy Trimble, MCAS ’18).

After a dreamy opening, the show swerved in a new direction when the villainous Agent Pete arrived on a government mission to lay out a new set of rules for the town.

Similar to The Purge, Pete declared all crimes legal for the next 24 hours.

This opened the floodgates for some behavior that had never been seen before in Celebration. As the musical progresses, it is up to the characters to try and stop this new rule and all the destruction it causes.

The plot was advanced by endearing performances of classic Disney songs, replacing the original lyrics with ones that fit the events of the show. One of the songs, “Yes I Can,” was set to “Be a Man” from Mulan, which showed Mickey’s attempt to prove that in spite of his high-pitched voice and lack of physical strength, he still would be able to fight Agent Pete in the temporarily lawless town.

The costumes the actors wore enhanced the mood of the musical.

The care and attention the group paid to small details brought the characters to life. The audience latched onto elements like Mickey’s face paint, or Rapunzel’s intricate braid, which demonstrated the dedication of CCE to deliver a dynamic

performance. The princesses wore their trademark gowns, and some of the roles were gender-bent, which gave the performance an inverted and unexpected element of hilarity.

The show also incorporated novel takes on popular Disney characters. Mickey was such a hesitant, and at times hysterical character, with a squeaky voice and timid attitude, whereas Minnie took the lead on a lot of the issues facing the town. A similar couple, Donald and Daisy Duck seemingly inverted roles.

Although not as timid as Mickey, Donald was a bit hesitant and had a squeaky voice that led his words to be taken less seriously than say the head of the town, Walt. Daisy, however, was an evil opposite of Minnie.

Daisy was, comically, thrilled by the and wanted to take full advantage of the situation. This was the chance she’d been looking for to free herself from her husband Donald. These interpretations left the audience bewildered and intrigued.

Throughout the show, each actor stayed in character even as the audience cackled at their outrageous lines and bizarre situations.

When a part called for confidence, they were there to deliver. The actors also managed to put a personal flair on their particular characters.

Whether it was an extra hair flip from a princess or an interesting interaction in the background of the scene, everyone was in his or her element.

Filled with goofy one-liners and creative consequences for this not-so-ordinary situation, Celebration was a hilarious, interesting take on how Disney could go wrong.

Although the play itself is far from a celebration, it should be celebrated for its originality. n

Heights Staff Students, faculty, and visitors shuffled into the Stokes Art Tent on a warm afternoon to learn about the state of television, from an impassioned group of Boston College alumni who work in the industry. As the audience settled, film department professor Mary Conroy arrived to introduce the esteemed panelists, before each guest briefly spoke to their experience in the entertainment industry, while also reminiscing about their time on the heights.

Tracey Wigfield, BC ’05, discussed her career, starting as a page for David Letterman, and eventually becoming a lead writer and producer of 30 Rock and The Mindy Project, and creator of the new sitcom Great News. Philip Gilpin Jr. (’03) entered the industry with a background in mathematics and science, working as a financial analyst for HBO before becoming executive director of ITVFest (the Independent Television Festival)— a self-described Sundance of sorts for independent television creators. Richard Lawson (’05) initially pursued a career in the New York theatre scene, before becoming a film and TV critic for media outlets.

He has also penned a young adult novel called All We Can Do Is Wait, which will be released in February 2018. Jim Fagan (’07) co-founded the New York Picture Company, with whom he works to create original, branded content, while also working as the development writer at Sharp Entertainment. Once the audience became acquainted with the panelists, Conroy began to pose questions regarding the about the constantly changing world of television.

The converstion began with the benefits and letdowns of streaming services (Netflix, Hulu). More than ever, shows are available for easy binge viewing. The idea of waiting a week for a new episode is increasingly archaic, with many viewers opting to wait before all episodes of said show have aired before beginning to watch.

Jim argued that as of now, more TV is available for consumption - about 450 shows are currently airing regularly.

This increased demand for content, satiated by instant streaming, has made TV more specialized for niche audiences.

Lawson, on the opposing end, lamented the rise of streaming services, arguing that the overabundance of shows ensures that many shows, hitting their stride in seasons 2 or 3, get dumped and forgotten for the next big thing. Making a point, Richard rhetorically asked, “Who here still talks about House of Cards?”

Shifting gears, Conroy asked Gilpin what to expect from the future of television. From his experience directing and running ITVFest, Gilpin promptly asserted that independent television is currently where independent film was in the late-80s, right before the burst of the indie film scene coming out of the Sundance Film Festival in the 90s. The pilot that won ITVFest this past year was made by eight people in upstate New York, with an approximate budget of nine thousand dollars. Witnessing this, Gilpin assured the audience that these smaller, more creative productions will begin to challenge the big Hollywood producers for airtime.

Finally, the panel offered advice to those in the audience interested in pursuing a career in entertainment. Fagan advised focusing on specific pursuits, recalling a story when he had to decide between assistant directing a play at Lincoln Center or working the box office for the Upright Citizens Brigade Theatre. Given his career trajectory, Fagan remains glad that he chose the UCB Theatre.

Wigfield offered that people in the entertainment industry must find a balance between networking and creating content, since networking is necessary to get your foot in the door, whereas the proof of your creativity is necessary for when you get your foot in the door. Being prepared is paramount given the tumultuous, often unsteady nature of the industry. n

6 THE HEIGHTS | May 1, 2017

Arts Fest

BC’s Best After winning Battle of the Bands, Little Saturday will open Modstock.

By Dante Keeler Heights Staff This year’s Boston College’s Best Competition featured Rhiannon Simpson (the University of Melbourne) as the winner of the Singer-Songwriter Competition and Little Saturday as the winner of Battle of the Bands.

The first half was intimate, with a small number of people in the seats, and presented relaxed lighting while solo artists, and one duo, played sweet music with engaging lyrics. During the later half, bands brought their fanbase with them to dance in front of the stage to their powerful and great sound.

Six artists, three in each category, competed with their own compositions in front of an enthusiastic audience. In the singer-songwriter category, each artist’s performance was unique to their personality and sound, while the bands’ styles were as diverse as the instruments used in each band. The night

opened with a duo of artists, Nick Martin, LSOE ’17, and Andrew Cloutier, CSOM ’17, playing guitar and piano, respectively. The duo possessed uniquely clear and strong songwriting. Both of their sad tenor voices brought along enough charm and poignancy to give life to their songs. Martin and Cloutier admitted that their songs take anywhere from five minutes to five years to write, but all tugged on heartstrings.

Rachel Moon, MCAS ’19, the following artist, had an unusually twangy-tuned guitar, but the little slap rhythm, combined with her heartfelt and belted vocals put on an engaging performance. Moon’s songs also featured wonderful lyrics such as “I will key your car” to a guy who had angered her, or “You had the power to break my heart, boy did you ever use it.” In addition, they would be about courageous topics like “doing stuff that terrifies you and trying to enjoy it.” Moon is also the guitarist and vocalist of Unit One, a band that performed at the first round of Battle of the Bands.

Unit One will be performing at BC’s upcoming “Break the Bubble” event.

Th e B attl e o f the Bands portion of the event

suffered from some production issues, such as an overly receptive microphone stationed near the bass drum. This ensured that the drums would drown out the band vocalists, which detracted from the event’s sound quality. The Outliers were the bestdressed band of the evening, as the bassist wore a Scottish kilt and everyone else wore a button-down and a tie. They had a guitarist who sang, a bassist, a trumpeter, and a drummer. While the mixing didn’t help the clarity of the sound, The Outliers had the clearest vocalist, which added to their smooth, bluesy sound.

Afterward, the band O2 emerged on stage. O2 was the only group that did not have a dedicated singer. It completely went against expectations, but it was able to create music that had plenty of great licks, wild solos, and a nice jazzy feel with only guitars, basses, and drums. Its lead guitarist, Matthew Chilton, CSOM ’18, “battled” back and forth with bassist, Nicholas Rocchio-Giordano, MCAS ’18, performing intricate solos. Placing the band secondto-last was a good choice in the lineup as it gave a break for the audience on vocals.

Although at some points of the evening the voices on display were too excessive and jarring, not having a voice to latch onto for O2 left everyone wanting more.

The Arts Fest coordinators must have known to save the best for last, however, as both closing artists—Simpson and Little Saturday—won their respective

categories. Both had the best stage presence and dramatic structure in their music. Simpson’s writing in particular showed a willingness to tackle many issues most artists don’t speak about, like a song about “a gay woman who’s also an adult entertainer.” Her songwriting aptitude also came through with her guitar playing, as she incorporated pauses, wonderful harmonies, and resounding fervor into her performance. Simpson’s attitude won over the crowd and judges, and her award was well-deserved.

Little Saturday, comprised of Peter Toronto, MCAS ’20, on guitar and vocals; Andrew Hammond, MCAS ’18, on bass and vocals; Sunny Luo, MCAS ’17, on keyboard; Isaiah Rawlinson, MCAS ’18, on saxophone; Alex Eichler, MCAS ’20, on drums; and Zach Pugliares, MCAS ’19, on guitar. created the best stories onstage as a band, since its music had incredible variation and felt dramatic in its orchestration—there were slow and fast sections in several of its songs, and it stayed in sync throughout the evening. Nothing in its lineup felt out of place or unwarranted, even when the keyboardist unexpectedly brought out his keytar, and the drummer whipped out a trombone, because why not? Little Saturday’s electric performance will translate well to their upcoming performance at Modstock this coming Thursday where they will open up for Louis the Child. n

LIZZY BARRETT / HEIGHTS EDITOR