8
A&E
Wednesday, November 6, 2019
The Pulse, ATO Host Night of Arts
The Emory Wheel
Continued from Page 7 enthusiastic cheers of the entire night, reinvigorating the audience, which, by that point, seemed tired and chilly. Ironically, the two performances were near opposites of each other, with Haley Schreiber (20C) and Jamie Epstein’s (20C) explosive take on Victorious’ “Take a Hint” juxtaposing Jack Rowland (23C) and Eli Mars’ (23C) impassioned acoustic cover of Leon Bridges’ “River.” The event closed on a high note with a massive vocal performance from Neha Gundavarapu (22B), who also performed the finale for Symposium X. The power and vocal range of her voice made her a compelling closing act. Judging by the immense cheering that she received, the audience was just as impressed as I was. The show did have a few minor issues, especially with the microphones cutting out occasionally during performances. Additionally, the informal setting meant that audience members were constantly coming and going, and the crowd’s noise sometimes overpowered the performer, especially during some poetry readings and dance numbers. Despite these issues, Symposium’s 11th installment was another considerable success for The Pulse, effectively showcasing the remarkable talent of Emory’s student body. Editor’s Note: Omar ObregonCuebas (21C) was a member of the Wheel’s 2018-19 Editorial Board.
— Contact Aidan Vick at aidan.vick@emory.edu
Gaby Blade/Contributing
Clairo dons a crayon costume as she performs for an enthusiastic crowd at Variety Playhouse on Halloween night.
Bedroom-Pop Princess Croons About Queer Love
Continued from Page 7 backdrop, and lighting changes were kept to a minimum. Though her music is lo-fi, Clairo impressed the audience with her live vocal prowess. Early in the set, Clairo performed “Bubble Gum,” switching out the ukulele from the recorded version for subtle guitar chords. Here she stood softly by the microphone and glided through the verses, adding melodic runs that punctuated her vocal talent throughout the performance. Although still largely dominated by the bedroom-pop aesthetic, “Immunity” also contains songs with higher production value. “I Wouldn’t Ask You,” the album’s most powerful track, is broken up into two parts. The beginning starts slowly, with piano highlighting Clairo’s minimal lyrics. As the song progresses, the tempo speeds up, transitioning into a more upbeat R&B cadence. Ultimately, the singles off of “Immunity” combine glossy, DIY aesthetics with higher pro-
duction value, creating deeply moving moments like “I Wouldn’t Ask You.” Typical of the genre, Clairo’s lyrics reflect a contemplative relatability. Many of her songs revolve around the uncertainty that comes in the period between adolescence and adulthood. In songs like “Impossible,” Clairo explores the temptation of connecting with an ex-partner, admitting, “I just wanted to hear your voice so clear.” Recently coming out as “not straight,” several of the singles from “Immunity” explore queer relationships. Clairo cried, “Give it to me!” as she broke into her hit single “Bags.” The audience obliged, singing along enthusiastically, “I can’t read you, but if you want, the pleasure’s all mine.” Immediately after “Bags,” as the first few drum beats of “Sofia” began, the crowd erupted into the loudest cheers of the night. A sacchrine and romantic song, “Sofia” explores first crushes and the stigma of queer relationships, urging, “Sofia, know that you and I/
Shouldn’t feel like a crime.” “Bags” considers similar themes to “Sofia,” examining uncertainty in first-time queer relationships. Her music feels like thoughts from a diary, giving the audience an intimate relationship with the singer.As the show came to a close, Clairo brought a stool to the front of the stage, announcing that she had one last song, a new song she had written while on tour. The room fell quiet as she crooned with an undeniable tenderness. The song came to an end, and the audience’s cheers were deafening. Clairo lowered her guitar, holding her face in her hands as she broke into tears, seemingly overwhelmed by the audience. She held the mic close and whispered a soft “Thank you” before leaving the stage. After a moment, the singer waltzed back on stage for the encore, performing “RACECAR,” “4EVER,” “Pretty Girl” and “I Don’t Think I Can Do This Again.” During “Pretty Girl,” the music video was projected onto the back-
drop, featuring a young Clairo singing along to the song, sporting pigtails and a sweatshirt. In this moment, with her younger self projected behind her, Clairo was her most personable, laughing at her own cheesy dancing and awkwardness. Throughout the show, she possessed an unquestionable star quality, completely captivating the young crowd. And yet, she seemed approachable and knowable. Clairo built an intimate relationship with the audience, so much so that it felt like we were watching a close friend perform in front of us. As the final song “I Don’t Think I Can Do This Again” ended, Clairo took a moment to look across the audience. She stepped close to the mic. “I’ll never forget this show,” she whispered. “Thank you.” I am certain I will never forget this show either.
— Contact Gaby Blade at gaby.blade@emory.edu
Beloved Musical Defies Gravity in ATL Continued from Page 7
Courtesy of Netflix
Sporting a signature bowl cut, the young King of England, Hal (Timothée Chalamet) prepares for battle against the French army in David Michôd’s adaptation of “Henry V.”
Shakespearean Film Adaptation Is Stale
Continued from Page 7 he taunts Henry for having “giant balls with a tiny cock,” Pattinson, whether intentionally or unintentionally, grants “The King” comic levity that is far more compelling than any of its dramatic scenes. Lily-Rose Depp turns in a fantastic performance as Catherine of Valois, carrying the poise and power of a true royal while she delivers a revelation to Henry that forces him to reflect on his actions. Other than these performances, all that can be said in favor of the “The King” is that its battle sequences are
shot in an unconventional and effective way. Cinematographer Adam Arkapaw shoots these scenes in the midst of the fight rather than from a distance. The continuous assault of bodies he focuses on, dirty and crushed against one another, surrounded by danger on all sides, craft a sense of claustrophobia that emphasizes the oppressive nature of war. Additionally, Nicholas Britell’s score, when given the opportunity to shine, is a standout. Used in scenes such as Henry’s coronation, the lush orchestral music lends dramatic gravitas to every sequence it is a part of, underscoring the significance of
all that Henry and his kingdom are undergoing. The score almost, but not quite, convinces audiences that what is unfolding on screen is worth caring about. Still, these positives are not enough to compensate for the overall dull and drawn-out film. “The King” is a muddled mess that has nothing to contribute to Shakespeare and nothing within it to captivate audiences. The film is not a crowning achievement in any sense of the term; it’s just a royal disappointment.
— Contact Saru Garg at saru.garg@emory.edu
would otherwise be tired character foils of good and evil. Suskauer’s sass as she mocks the students making fun of her at Shiz University makes it impossible not to laugh. Bailey’s portrayal of Glinda’s incessant positivity is hilarious because it is unpredictable; just as I thought she was at her peppiest, she would break out into a sudden bouncy ballet routine celebrating some small social success. The people of Oz, the students of Shiz and the citizens of Emerald City, make the transition from audience to stage seem more like a window into another world. Each individual is independent in every scene, but during musical numbers everyone comes together as a single unit to wow the audience in unified choreography. In group musical numbers, the ensemble largely acts as a single unit, but each individual has moments to shine through soloistic features in both their singing and dancing. Alongside their superb acting, the addition of the ensemble makes each full-cast number fill the entirety of the Fox Theatre with resonant harmonies. “Wicked” is best known for its show-stopping hits such as “Defying Gravity,” “Popular” and “What Is This Feeling,” but these songs wouldn’t be possible without the pit
orchestra, whose rich music bolsters the on-stage performances. While the orchestra sets the audible tone of the show, the complexity of the multi-layered set continually surprises. The show begins with an elaborate map concealing the stage like a curtain, with an emerald green spotlight on Emerald City. From here, the stage transforms into several different locations, frequently covered in steampunk-style gears and cogs spanning the height of the entire stage. While each of the over a dozen sets are unique, they are frequently made up of recurring elements cast in a new light by accessories or strings of dazzling bulbs.“Wicked” is a magical experience that twists the traditional, somewhat superficial story of “The Wizard of Oz” into an adventure that follows a quirky and lovable cast into much more complex conflicts than the original film. It’s accessible to all audiences, though there are plenty of Easter eggs for vigilant fans of Oz. It would be foolhardy to miss this opportunity to see this tour of “Wicked” while it’s at the Fox, but if the current trend continues, this show will be back and just as wonderful in a few years.
— Contact Joel Lerner at joel.lermer@emory.edu