Issue 17: Winter 2019

WINTER 2019

Going With The Flow

EDITOR-IN-CHIEF

Natalie Jarrett

STAFF WRITERS Angel More Madison Wenig FACULTY ADVISOR

Tripp Robbins

GUEST CONTRIBUTOR

Miles Hester

Contents 3

11

Note From The Editor

Dress To Protest

8

‘Color Blind’ Theatre: It’s Not Black and White

5

Artist Of The Issue

13 Smells Like 90s Alt-Rock

From The Editor

Dear Reader,

First and foremost, I would like to thank our previous editor-in-chief and design editor, Sylvia Chen. In her 4-year commitment to The Bard, Chen completely revolutionized The Bard’s layout and design focus.

We hope that her passion for design continues to thrive as she attends Parsons for Industrial design.

As of late, The Bard has sought to find a new definition for itself. Though originally The Bard’s main focus was highlighting artists (who are often overshadowed in the STEM-driven Silicon Valley), we’ve evolved into a publication that seeks to cover everything from esoteric student interests to unique perspectives on current issues. I believe our most identifiable trait is that we have no strict identity at all— we are purely a student run and student based magazine and will run according to the wishes of the particular students who are leading at a given time.

If there has been any consistency to The Bard magazine, it’s that we gladly exist within the periphery of the Menlo student consciousness.

That is not to say we reject mainstream topics nor that we don’t desire a varied readership; rather, we address what is only briefly considered or we consider what has already been addressed in a different way. For example, in this issue there are several articles whose main topics are fairly niche, but whose central themes address pervasive concerns.

Like Angel More’s piece where she documents fashion’s inextricable role in political/social movements or Madison Wenig’s piece which shows how nationwide demands for racial equity have seeped into the world of Broadway theatre. We hope that the Bard continues to encourage the Menlo community to (in the words of those vintage Apple advertisements) “think differently.”

Sincerely, Natalie Jarrett P.S. If you have any questions/comments or want to contribute to our next issue please contact me at natalie.jarrett@menloschool.org or direct message me on instagram @ themenlobard

A M

rtist of the Issue

iles Hester is a junior at Menlo School who has pursued his love of media art since freshman year. The majority of his work consists of abstract photomontages which he achieves using photoshop.

Within his AP Art class, Miles focuses on creating cover art for the music he releases on SoundCloud. Though he has no specific philosophy for his art, he likes to “go with the flow� and create pieces based on his current emotional state.

5th Grade Donut

Transition: Light to Dark

Swirl Zebra

COLOR BLIND THEATRE It’s not Black and White Madison Wenig

B

roadway is often referred to as ‘The Great White Way’ because of the overwhelming white lights that emanate from its billboards and theaters. In recent years, the term has been used more negatively, reflecting a new cynical awareness of racial exclusion in Broadway shows.

With the goal of making theatre more inclusive, some directors have started to create “color-blind” theatre experiences. The term “colorblind casting” has caught on in the theatre world and means that casting choices are made based on character without race and ethnicity being considered.

This type of casting is more significant

than, for example, casting an old person in a young person’s role, because switching a character’s race often has greater implications.

Ironically, the effects of “color-blind” theatre casting are not just black and white.

Color-blind casting is desirable for minority actors, as they are certainly under-represented in the theatre community. The goal would be for them to get more jobs and stage time. All races should have a chance to work on Broadway and a fair number of job offerings for minorities should not be unachievable.

One recent study concluded that eighty musical Carousel on Broadway. This percent of roles given to white actors classic Rodgers and Hammerstein could have been given to those of color. musical takes place in 1873 and is (Quartz. Mimi Onuoha). Some claim traditionally played by an all-white cast. that it is only natural for Broadway However, in its run on Broadway, the to evolve into a more inclusive art male lead, Billy Bigelow, is portrayed form, as our country has become more by an African-American man, Joshua inclusive in recent decades. When an Henry. He is the first African-American older musical is revived on Broadway, to play Billy Bigelow in Carousel, which many feel it is interesting for the show is a significant milestone for diversity to be tweaked in a way that reflects on Broadway. However, several critics contemporary have expressed America, so opinions that presentthat making day audiences theatre “colorcan relate. blind” can What does exacerbate this 50-yearracist views. old play say For example, about the in Carousel, time we’re Henry being living in cast as Billy now if we Bigelow, don’t put it a violent in a modern character who context?” said Joshua Henry Performs as Billy Bigelow in Carousel abuses his Diep Tran, wife, might (Photo by Julieta Cervantes for Playbill.com) the associate reinforce an editor of (unfounded) American Theatre magazine. (Jessica stereotype that African-American men Gelt, LA Times). are aggressive and abusive. One critic,

The recent controversy Hailey Bachrach writes on her blog, surrounding “color-blind casting” can “A director can decide that race doesn’t be seen by simply scrolling through matter, but they’re naive if they think the reviews of the 2018 revival of the the bodies of the actors onstage won’t

still carry meaning for the viewer.”

Color-blind casting has other lurking dangers. What if we turn the tables and place a white actor into a traditionally ethnic role? would this satisfy color-blind casting supporters?

Color-blind means color BLIND afterall. However unlike minorities, whites have dominated the theatre world. This was statistically shown in a 2014-2015 survey which found that 74% of Broadway actors in musicals were white (Quartz. Mimi Onuoha). Finding jobs is already hard enough for minorities, but whites taking jobs from them would further undermine the goal of diversity and equal opportunities on Broadway. For example, theatrical pieces such as The Color Purple or A Raisin in the Sun are stories that come from the heart of African-Americans’ experiences.

These stories shouldn’t be told by white actors.

Instead of a goal of a “color blind” Broadway, a better concept might be to focus on the goal of “color-conscious” casting. Color-blindness ignores race, while being color-conscious acknowledges one’s race when casting and fosters an admiration for cultural background. The musical Hamilton follows the ‘color-conscious’ concept with its diverse cast, and has become one of the most well-known and

successful musicals in America. The musical tours nationally and tickets sell for over $2,000. In Hamilton, the Founding Fathers are cast as ethnic minorities who tell a tale about America’s history through a modern lens.

All in all, theatre is a communal experience. We have all sat on a redvelvet seat on a Friday evening with anticipation as we smell flowery perfume and listen to the crackle of candy wrappers. We flip through the polished, smooth playbills as the lights start to dim, and the overture begins. The curtains are drawn open along with our willingness to learn from the emotions we see on stage. As a fundamental principle, we know that all races should have their place on the stage. We are just still navigating a way to bridge an older art form with modern American ideals.

“a better concept might be to focus on the goal of “colorconscious” casting.”

N

o matter who we are, fashion is a daily part of our lives.

Every morning we wake up and put on clothes to not only to cover our bodies, but also for self expression.

Whether you work a 9-5 desk job or design for a well-known fashion brand, clothing plays the same role— and we can use fashion, the clothes we wear everyday, as a way to protest, send a message, or spread awareness.

When we think about protests, we usually imagine marches and posters, hardly do we ever think about clothing as the main show. But in reality it is; clothing is one of the most important parts to a protest.

Coming into the 21st century, we as a society are more aware of social issues. Issues like sexual assault, racism, and homophobia have taken the forefront. Various social movements show how we as a community are taking steps towards healing trauma. Examples include the #metoo movement, Black Lives Matter movement, and the pride march. These examples are just a few out of the numerous steps activists,

leaders, and many more are taking.

Where does fashion fit in all of this? Fashion is a powerful tool that can help each movement and stance prosper and achieve its purpose. And already, fashion has played a role. For the #metoo movement, people have shown their support by wearing all black attire at celebrity award shows, and pride marches are filled with colorful clothing. If you think about it, at almost every protest, march, event, people have used fashion as a way to show which side they are rooting for.

But standing up for what you believe in does not have to stop at marches and parades. They can be integrated into daily life and places outside of the traditional protest.

Every campaign has slogans which can be made into accessories and clothing which you can proudly wear. Because each time you wear a pride flag, a fist, or something of your choosing you support an significance cause and bring more importance to it.

Smells Like 90s Alt-Rock Compiled by Natalie Jarrett While the Winter months are usually filled with cheery holiday music, I’ve decided to evoke a lesser regarded aspect of the season. Here I’ve compiled a list of some of my favorite angst filled 90s rock classics as a nod to seasonal depression.

Pennyroyal Tea Black Hole Sun No Memory Black Rooster Dumb Drive Hurt

Nirvana Soundgarden Stone Temple Pilots Pearl Jam Alice In Chains Nirvana Incubus Nine Inch Nails