arts/entertainment PAGE 6 | WWW.OBUSIGNAL.COM
‘Almost, Maine’ has realistic Valentine’s message BY SCARLETT CASTLEBERRY Staff Writer “Almost, Maine,” this year’s Muse Project, is theatre at its finest. Written by the much acclaimed actor and writer John Cariani and co-directed by senior musical theatre majors Dylan Blackwood and Raleigh Peterson, the play took a good look at what it is to love truly and to love almost: a distinction that grew more and more important with each minute, particularly for characters trying to find their way. In a world that usually demands fantasy or realism, “Almost, Maine” seems to nail the in-between and thereby becomes more real than anything explained solely by language or science. The play exists in a sort of twilight zone where love is often depicted as a tangible thing capable of being manipulated by the one who holds it. Blackwood and Peterson brought something real and relatable to the stage that would have been unnerving were it not also comforting. It’s not the type of sto-
ry typically portrayed at Ouachita, but it had an impact on those who saw it, as told by the raucous laughter and stifled sniffles of the audience. There is something to be said of a project that is directed by students. Blackwood and Peterson managed to pull off what is arguably the most important, but usually the most forgotten, aspect of theatre: connecting the message to the audience. The nine independent stories seamlessly weaved together to create one much larger picture without having to reconnect. Furthermore, the show did this without taking itself too seriously. It acknowledged the ridiculous nature of circumstance while refusing to downplay the importance. Just like life, the plots often went from silly to profound in a moment’s notice, making it both enjoyable and worthwhile. The technical aspect of the show proved to be just as important as the story to audience immersion. The set was minimalistic, but felt more real than most sets because of this. Having platforms at differ-
ent levels allowed the stage to be seen as anything from a potato field to a laundry room to a bar, and it narrowed the focus while allowing the actors to move freely and realistically. Based in a small town on what seemed to be a single night, the shifting lights were reminiscent of the wide open skies and the infinite possibilities of life and love. The characters and the audience both felt small in its presence, but unlimited in its openness. To fully discuss the cast would demand a separate article entirely, but this can be said: not a moment felt forced or out-of-touch. Everyone worked together and that energy bounced from the characters out to the audience. “Almost, Maine” covers every type of love at every level of success and failure. It is simultaneously the story of the individual and the universe. From being lost to letting yourself be found, “Almost, Maine” ultimately showed us that the difference between almost and always is the willingness to take a chance and make a choice.
Cross Brandon and LilyKay Feimster portray Phil and Marci in the “Where it Went” scene of “Almost, Maine.” This was just one of nine vignettes in Dylan Blackwood and Raleigh Peterson’s production of “Almost, Maine.” (photo by Justin Trostle)
Sequel to ‘Jumanji’ remake takes story to next level BY WYATT ASHLOCK Staff Writer
Welcome back to the jungle in “Jumanji: The Next Level.” The gang goes back into Jumanji to rescue one of their own, but the game is broken. Dr. Smolder Bravestone (Dwayne Johnson), Professor ‘Shelly’ Oberon (Jack Black), Mouse Finbar (Kevin Hart), Ruby Roundhouse (Karen Gillan), ‘Seaplane’ McDonough (Nick Jonas) and Ming Fleetfoot (Awkwafina) have to find their way out of this new level with threats at every corner. Jurgen the Brutal (Rory McCann) has plans to rule over Jumanji, and if he succeeds, it will be
game over for the gang. “Jumanji: The Next Level” is an astonishing film. The cinematography is excellent, and the nature shots help establish the environment in which it takes place. The writers took the film to the next level with the humor and plot line, including a few great plot twists that will keep the audience on the edge of their seats till the very end. The writers also had a great underlying message in this film. The script shows how anxiety and social media can cause people to become unhappy with the life they live and seek something greater. The CGI work is spectacular. The visual effects create a sense of real-
I rate this movie a five out of five tiger paws. -Wyatt Ashlock ity in the video game world. This movie was perfectly cast. The chemistry between the characters is sensational, especially in a film where the video game characters must portray the teenagers
playing the game. Black and Hart’s characters bring the comic relief throughout the film, making sure the lightheartedness does not get lost in the dramatics. Johnson does a phenomenal job at portraying Danny DeVito’s character, acting like an elderly man throughout the film. The fight scenes are very well choreographed. The score captivates the audience, keeping them immersed in the motion picture. Many have criticized the reasoning for making another movie for the “Jumanji” series, but despite the criticism this film dominated the box office to become one of the most popular movies this past Christmas season.
I absolutely loved this film. It took everything that worked with the first spin-off and made it so much better. I thought this was the best of the “Jumanji” series so far. Bringing DeVito into this film was a great idea to have a fresh, new character throw a wrench into the gears of escaping Jumanji. I highly recommend this film to anyone who enjoyed the previous “Jumanji” film or is looking for a good laugh. This is a must-see film. The theme song “Welcome to the Jungle” by Guns N’ Roses sets a perfect tone for the movie. There is also a mid-credit scene that is a great set up for another installment in this franchise.
