Meet the Keeper
A thletes of the y e a r
S
23
p o r t s
F
Jj—J
e a t u r e s
11
http://tri bune.mcgill .ca
M cG ILL
T R IB U N E
Published by the Students’ Society o f McGill University
Tuesday, 27 March 2001 Issue 25
Sex Toys tic kle s yo u r g -sp o t Judith Drory_________________ “What’s more important is not what sex should be like, but what is sexfor you?” -Front Page o f Program Guide If all classes at McGill consist ed of flashy lights, TV cameras, dance music and a man who is so off the wall that you expect him to explode, the university would, par don the pun, stimulate more inter est in classes. That was the scene I found upon entering Leacock 26 on Friday March 23rd. An energetic crowd awaited the entrance of Norman Nawrocki, acclaimed oneman sex comedy show maestro. And Nawrocki sure knows how to make an entrance. Who else would have the capacity to pull off a giant, neon-pink, talking Vagina? Virginia Vagina, as she prefers to be known, was hill of advice for both men and women, as to her proper care and treatment, while at the same time educating us on the dif ferent parts of the vagina. Nawrocki is a Montreal-based cabaret artist, violinist, actor, author and educator. He is part of a band, Rhythm Activism, which has produced such CDs as Jesus was Gay and Zapatistas rule! Sex Toys is his third cabaret show, after the immensely popular I Don’t Understand Women and My Dick dr other ManlyTales. Sex Toys was brought to McGill as part of Queer McGills pride week. It is a co-presentation of Queer McGill, Sexual Assault Centre of McGills Students’ Society, McGill Health Services and Students’ Society of McGill Please see SEX TOYS, page 17
E v e n th o u g h ft is t e c h n ic a ly S p rin g , th e w e a th e r p la y e d c ru e l t r ic k s on u s o n c e a g a in la s t w e e k , d u m p in g a lm o s t tw o fe e t o f sn o w o n M o n tre a l.
N lco Oved
Groove, rhythm and a "standing O" A coalescence of choreography and craft greets the eye at Mosaica T h is M o s a ic a
y e a r ’s
C o n te m p o ra ry b le n d e d
p r o d u c tio n
p re s e n te d b y
th e
D ance
E n s e m b le
a
d iv e r s e
m u s ic a l
te c h n ic a lly
p r e c is e
fo o tw o rk
in n o v a tiv e
o f
M c G ill
s c o re , and
c h o re o g ra p h y .
The
d y n a m i c o p e n i n g a n d c l o s i n g p ie c e s w e re
p e rfo rm e d
by
th e
com pany
m e m b e rs , a n d w h e n th e lig h ts w e n t d o w n l o r t h e f in a l t im e , th e a u d i e n c e g a v e M o s a ic a t h e u l t i m a t e s ig n o f a p p r o v a l: a s t a n d in g o v a t io n . S h a rp
c o n tra s ts
c h o re o g ra p h y p r o d u c tio n
o f
in
d e f in e d
to n e th is
M o s a ic a .
and y e a r ’s
In
th e
opening piece, the choreography involves a sustained lifting sequence, which secured the audi ence’s attention and held it for the full hour-and-a-half running time of the show. Despite the sheer number of dancers onstage, the choreography was tightly executed and the performers displayed assured, clean footwork. It was the unflappable synchronicity among the dancers that characterized the piece “Seduction” choreographed by Marina Hilaire and which gave Philippa Davis’ piece “Phil’s Angels” a definite edge. While the choreography
remained consistently polished throughout the program, it could have been further highlighted in some pieces had the dancers pro jected more attitude. This was par ticularly the case in the piece, “Something’s gotta give.” There was never a step out of place, but choreography this bold demands an attitude to match; at times that extra bit of chutzpah didn’t come through. Some of the more lyrical pieces had weak endings, and would have benefited from a more defined, col lected finish. Just because a piece emphasizes ‘fluidity’ it doesn’t mean
that it has to end in a lackluster way. Also, the music should have been louder, particularly for the piece “Poison.” Mosaica has the solid dancing talent and choreogra phy to go full throttle, and had the music been louder, it would have been even more striking. The kinetic energy in the opening sequence was followed by the piece “So as it goes...” which had a more balletic, lyrical focus. The artistic balance in Mosaica was achieved by juxtaposing the pieces with a hip-hop influence with pieces of a more experimental tone, Please see MOSAICA, page 19
CALL FORS t uAPPLICATIONS d e n t R e p r e s e n t a t i v e f o r l n i v e r s i ty C o m m i t t e e s The SSMU VP U n iversity A ffairs is lo o kin g fo r dedicated individu als w ith a strong interest in university issues to represent the u n d er g ra d u a te student b o d y on univeristy com m ittees fo r the 2 0 0 1 -2 0 0 2 academ ic y e a r. A pplication form s w ith a list of com m ittees and tim e com m itm ent a re a v a ila b le a t the SSMU Front Desk, Suite 1 2 0 0 of the W illia m and M a r y B row n Student Services Building. Applications are due try •>/>/#( on Friday Ipril Otli. 2 0 0 1 . For more info rontn rl (J a m l ’éron al .0)11-0707 or iiadsKssnui.mcpill.ca