The Bottom Line | Jan. 16 - Jan. 22
page 5 | Arts & Entertainment
Life is a Cabaret, Ol’ Chum, So Go to UCSB’s ‘Cabaret’
by COURTNEY HAMPTON Staff Writer
All troubles were forgotten when audience members slipped behind the curtain of the Lotte Lehmann music hall to see the Shrunken Heads Production Company’s rendition of the 1978 musical “Cabaret.” To quote a famous line from the production that I felt was aptly suited for the performance, “There, life was beautiful. The girls were beautiful. Even the orchestra was beautiful.” The Shrunken Heads Production Company is a student-run organization that puts on musicals in the Old Little Theater in the College of Creative Studies building. However, for the 8 p.m. showings of “Cabaret” on Friday, Jan. 11, and Saturday, Jan. 12, as well as on the 18th and the 19th, The Shrunken Heads transformed the backstage of the Lotte Lehmann hall into a seedy cabaret to tell the tale of the rises and falls of love and politics in Berlin on the brink of Nazi control. Charming girls with toothy smiles in lingerie ushered audience members into the building, directing them past the lines of empty seats in the lecture hall and up the stairs to the stage. Once the attendees moved past the curtains, they were transported to the Kit Kat Klub cabaret in 1931 Berlin. Audience members seated themselves at candlelit tables while the live band in swanky suits sipped amber liquid from a mug and bantered in German accents. In the musical, Kit Kat Klub dancer Sally Bowles charms her way into the life and bedroom of struggling American novelist Cliff Bradshaw. As the Nazis gain power in the city, the possibility of an endless party in Berlin fades along with the romance between the flighty singer and pragmatic novelist. Perhaps the most integral part of “Cabaret” is the emcee, played by Patrick Bailey.
Donned in woman’s lingerie and rouged cheeks, Bailey charmed the audience with his sexual innuendos, contagious energy and fearlessness. However, the emcee grows sinister by the end of the first act as the Nazi’s influence rises and transforms into a darker, subliminally political force in the second act. Bailey, as the emcee, lurked in the corners during the company reprise “Tomorrow Belongs to Me,”
[ ] There, life was beautiful. The girls were beautiful. Even the orchestra was beautiful. - line from “Cabaret”
which is overlain with Nazi doctrine. The song ended but it was the emcee who skulked out of the shadows, giving an empty, humorless laugh as he slowly turned off the lights to end the first act. Janessa Lea Puckett as Sally Bowles fantastically portrayed the whirlwind of emotions in the Kit Kat Klub’s headliningsinger. She was a physical powerhouse with charm, poise and a keen understanding of humor, but also touchingly showcased Sally Bowles’ more tender and undone moments during her solo “Maybe This Time.” Kevin Mahn, playing American Cliff Bradshaw, also took advantage of the musical’s more humorous moments, but was also spoton in the drama. Mahn made Cliff Bradshaw an endearing every-man with defining moments, such as when he yelled, “Sally, wake up! The party in Berlin is over!” when Nazi control
became inevitable. However, Mahn’s finest moment was his breakdown as Sally reveals to him that she got an abortion. Not to be forgotten are Rachel Frazin as Fräulein Schneider, the older woman who runs the boarding house where Sally and Cliff live, and Rigo Sanchez as Herr Schultz, the Jewish man who runs a fruit shop and woos Fräulein Schneider. The single most endearing number in the musical was their rendition of “It Couldn’t Please Me More” when Herr Schultz gifts a pineapple to Fräulein Schneider. However, the strongest number was Frazin’s solo “What Would You Do?” as she sang tenderly and powerfully about her debate whether to break off her engagement with Herr Schultz because of his Jewish heritage that sparks negative attention from the Nazis. A separate, smaller stage was used to show the action in the boarding house and as the plot grows darker there, so does the ambiance in the larger stage for the scenes in the Kit Kat Klub. The humor and diversion of the cabaret fades as the first act comes to a close, allowing the darkness of the beginning of the Nazi regime to settle in for the second act. By the end, the audience leaves knowing that Herr Schultz’s convictions that the Nazi regime will come to pass cannot be so, neither can the romances in the surprisingly dark musical. There was a cabaret. And there was a Master of Ceremonies. And for a moment, the audience was transported to a city called Berlin in a country called Germany and it was the end of the world. But at least it was beautiful. Additional performances will take place in the Lotte Lehmann music hall at 8 p.m. on Friday, Jan. 18, and Saturday, Jan. 19. Student tickets are $7, adult tickets are $15. Arrive early and wait close to the door to claim the best seats in the Kit Kat Klub.
‘Future of the Past’ Film Series Brings Film Preservation to the Forefront by MARISSA PEREZ Staff Writer “What would life be without ‘Shawshank Redemption’ or ‘Casablanca,’ if these films simply disappeared one day?” questions Professor Ross Melnick of the Film & Media Studies department, the curator of the upcoming series “The Future of the Past: The Arts and Philosophy of Film Preservation.” Questions such as the one suggested by Melnick constitute the backbone of “Future of the Past,” which will be put on by the Carsey-Wolf Center at University of California Santa Barbara and runs from Jan. 15 through March 12. The film series, which will be held at Pollock Theater, will focus on the importance of film preservation and its unique cultural heritage. Preservation of films did not become important until very recently—before the advent of the home movie, films that were not deemed profitable enough for a re-release were destroyed so their footage could be used for other purposes, or simply to make more room in the studio vaults. To counteract this, archivists began to collect the films and salvage them to avoid their destruction. “Future of the Past” features speakers from both the Academy Film Archive (director Michael Pogorzelski) and UCLA’s Film and TV archive (director Jan-Christopher Horak), two of the nation’s largest collections. Only recently have studios begun to preserve films—Grover Crisp, the executive vice president for asset management and film restoration at Sony Pictures Entertainment, will be speaking at a screening of the studio’s new restoration of “Lawrence of Arabia” on Feb. 26. The seminal classic will be presented in the highest possible quality of digital restoration, a recent upgrade to a 4K digital print by Sony Pictures. 4K is the highest possible quality of digital restoration, a process in which the film is stored on a hard drive rather than on film stock. Editor Christel Schmidt will also be discussing her work “Mary Pickford: Queen of the Movies” during a screening of “Sparrows.” The
Photo Courtesy of | Caresy Wolf Center screening will also feature live piano accompaniment by Michael Mortilla and a discussion from UCSB professors Charles Wolfe and Melnick. The discussion is not simply the “why” of film preservation, but also the “how.” In the digital era, film—a traditionally physical medium— has undergone several changes in both preservation and distribution. “You can preserve a film, but how can you make it accessible to the public?” Melnick inquired; his words reflect the importance of not just keeping copies of these films on the shelf, but making sure they are seen. “Future of the Past” is not only an conversation on the importance of saving film and its cultural legacy, but also an exploration on the changing ways film is both preserved and presented. Every film being screened in the series has been restored—some, like “Lawrence of Arabia,” are being shown in
the latest digital formats, while others like “Wild River” are in the more traditional film print format. The series also emphasizes that the purpose of preserving movies is not so they can exist on a shelf, but so they can be seen and enjoyed. East Asian language and cultural studies PhD student Yongli Li, who helped organize the event, noted that all the films that will be screened are great to view on the big screen, but are rarely shown on one. With a broad range of titles, from science fiction dystopian epic “Metropolis” to the gangster film “Hoodlum” to the moving melodrama “Sparrows,” the series promises to appeal to even the most discerning viewer. With release years spanning from the 1920s to the 1960s, the films are sure to remind audiences of the delights of cinema and the importance of upholding its origins and legacy for future generations.
Dropkick Murphys’ Eighth Album Provides Bloody Good Listening by JORDAN WOLFF Staff Writer If your punk rocker friends seem a little happier this week, it’s not your imagination. It’s probably due to the fact that Dropkick Murphys—a.k.a. the Celtic gods of punk rock— have released their latest album titled “Signed and Sealed in Blood.” The album was released Jan. 8, 2013, and is the follow up album to their 2011 release, “Going Out in Style.” “Signed and Sealed in Blood” bursts with high-octane energy and insanely fast rhythms, showcasing the band’s range and musicianship. Basically, it’s a Monster energy drink for your ears. The album opens with a song aptly named “The Boys Are Back,” and it takes merely seconds for you to hear the seven-man band’s trademark sound of bagpipes, banjoes, guitars, pounding drums and gruff voices. “The Boys Are Back” supplies an ample amount of large choruses, which is distinctly tailored to the band and, in my opinion, is one of the band’s signature strengths. While many artists today sound noticeably different on recordings compared to their live performances, Dropkick Murphys
nearly always sound live on their albums. When you play their music it sounds like they’re jumping out at you, giving the music a sort of threedimensional aural element. Although I feel that any single off of “Signed and Sealed in Blood” couldn’t rival past hits such as “I’m Shipping Up to Boston” and “Johnny, I Hardly Knew Ya,” the album’s very polished and boasts well-balanced consistency. The single of the album seems to be “Rose Tattoo,” and rightfully so. This song encompasses most everything we love about Dropkick Murphys. It begins with a fantastic riff by either a banjo, guitar or mandolin; it’s hard to tell which instrument it is exactly, but that’s another thing you have to love about the band—there are so many instruments in play. The song highlights lead singer Alex Barr’s voice, which juxtaposes a deep rawness with a sort of fragility. Personal lyrics escalate into a powerful blend of voices that come together to form a memorable chorus. I’d say that their relentless, aggressive style is comparable to their punk rocking peers Flogging Molly and The Gaslight Anthem. Other noteworthy songs on the album
include; “The Battle Rages On,” “Don’t Tear Us Apart,” “Out Of Our Head” and “Jimmy Collins’ Wake.” The album also supplies one of the funniest and possibly coolest Christmas songs I’ve ever heard titled, “The Season’s Upon Us.” If you find the album too strong and too punk, take refuge in two relatively softer songs titled “End of The Night” and “Out On The Town.” The only reservation I have about “Signed and Sealed in Blood” is its lack in variation. I would have liked to see soft ballads; nothing too mushy, but enough of a drop in tempo to make you feel like the album is complete. Singer and bass player Ken Casey explains the band’s intentions of the new album in an interview with Billboard.com from Jan. 8, saying, “We’re not striving to be Green Day or something, but I do think, with the nature of what we do musically and what our lyrical message is all about, there’s definitely a wider portion of the population that can relate to us. It’d be nice to see people actually hear about us, and I think that will happen with this album.” Given the strikingly distinct features of the album that illuminates the band’s development, I’d say that Casey’s prediction is accurate.
‘Zero Dark Thirty’ Examines the Psychological and Ethical Cost of Bringing Down Bin Laden
Photo Courtesy of | Sony Productions by AUDREY RONNINGEN Promotions Director Over the course of her career, Kathryn Bigelow has made a name for herself by directing films that manage to be both action-packed and analytical. Her newest work, the skillfully executed “Zero Dark Thirty,” which went into wide release this Friday, tells the story of the C.I.A.’s search for Osama Bin Laden following the attacks on Sept. 11, 2001. What stands out about the film is its ability to make a larger statement on human motivation, and the resulting mental toll when that drive turns into obsession. The story begins with a dark screen and recordings of phone calls of those affected by 9/11, directly in the aftermath of the attack. This opening is effective, setting up an air of urgency that is maintained throughout the rest of the film. Bigelow then flashes forward to 2003 Pakistan, where C.I.A. operatives Maya and Dan, played by Jessica Chastain and Jason Clarke, are working to gain information about ties to the Al-Qaeda leader. The film doesn’t shy away from grisly portrayals of detainee interrogation, showing upsetting sequences of torture such as waterboarding. However, a key piece of information comes from this cruel practice: the name “Abu Ahmed,” the alias for a man who worked as a courier for Bin Laden. The film hinges on this piece of information, as Maya is adamant that finding this individual will lead to their real target. The tension builds as the main characters experience setbacks and false leads, until finally discovering “Abu Ahmed’s” true identity and tracking him to the compound where they eventually find and kill Osama Bin Laden. From an overview, it might seem like the main point of “Zero Dark Thirty” is to tell the story of Bin Laden’s capture and death. However, the broader theme takes place at a more personal level, focusing on constant dedication to a goal, and how this mentality can affect individual well-being and morality. This theme becomes evident through the character of Maya, who allows this mission to take over her life. Chastain does an excellent job at getting across the attitude of single-minded obsession. Although during a torture scene at the film’s exposition she is clearly uncomfortable, she also accepts it as a reality and continues. Later on, when she is “interrogating” prisoners herself, all traces of emotion have vanished, and it becomes clear that her goal of finding Bin Laden has clouded her moral stance on torture. The character’s fixation on Bin Laden and the links to him control her every action. She is abrupt and inexpressive around others, even when she’s not on the job. In one scene another female employee reminds her, “we’re socializing; be social,” in a tone that is outwardly joking but secretly honest. The few times that in the film where Chastain’s character is genuinely happy are linked to some new information related to the mission, implying that progress is what really matters to her. Despite this, Chastain expertly avoids playing to the “tough C.I.A. agent” stereotype, and when Maya allows it—i.e., when she’s alone and not working—we’re allowed glimpses of real emotion and fear. Although “Zero Dark Thirty” has received many positive critical reviews, it has also generated controversy, with accusations that it is “protorture” propaganda for the C.I.A. While the film does show graphic views of torture at the hands of U.S. agents, there is a distinct difference between depiction and endorsement. These characters are portrayed as brave and dedicated, but they can also be seen as decidedly flawed; it is precisely this arguably neurotic dedication that leads them to justify inhumane treatment of others. “Zero Dark Thirty” takes a realistic and sometimes brutal approach to the work that went into capturing Osama Bin Laden. It is multifaceted in its plot and characters, and is just as much a psychological character study as it is an action movie. Bin Laden’s death is acknowledged as both a victory and a moral sacrifice, posing the final question to the audience: was it all worth it?