‘Power Plays’ a colorful journey into comedy
Nora Heink
Asst. Arts & Entertainment Editor
Erika Bresee
Sophomore Alex Craven (left) and freshman Brian Hartzell (right) play somewhat nefarious characters who meet and enact a presumably shady business deal in Act II of “Power Plays.”
The Xavier Players’ performance of Elaine May’s and Alan Arkin’s “Power Plays” drew potent laughs last weekend as part of the Xavier Players’ Studio Series.
The production consisted of a set of three one-act plays, each focusing on themes of control and coercion, as anticipated by the show’s title.
At the beginning of the show, the play’s director, Cheryl Couch said that the goal of the production was not only to explore the motifs presented within the sketches but to teach her student performers the “craft of comedy.”
It’s safe to say that Couch, herself an established director and performer, accomplished both goals in this vibrant, fast-paced, improv-styled production.
The set, designed by technical director David Zlatic, mirrored the show’s zany flair with striking color contrasts. The close seating in Gallagher’s Studio Theater also provides a great atmosphere for the in-your-face comedy delivered by this production.
The props, also decorated with solid, bold colors, factored into the production’s fun-house feel as well.
The play’s first act was its strongest and the one that most clearly identified the themes May and Arkin set out to convey.
Junior Ann Fiegen demonstrated dramatic flexibility in her role as Miss Riverton, a timid secretary who reveals to her tyrannical boss, Mrs. Asquith, played by sophomore Lauren Yadlosky, her ambitions to kill someone famous—or maybe, as she considers later on in the scene, only someone rich and important.
The sketch unfolds in an entertaining game of cat and mouse as the two women, with the help of a few glasses of wine, compete for power roles.
Yadlosky was convincing as the executive, switching her demeanor from cruel to pathetic as the scene shifted.
Both actresses were well-cast for their ability to exploit their characters’ traits, both superficial and subtle. Couch also created an interesting visual effect for the scene by casting two actresses of about the same height.
The next sketch placed sophomore Alex Craven alongside freshman Brian Hartzell as two accomplices meeting for dubious, but unstated reasons.
Craven’s hilarious performance as the fedora-wearing De Recha involved convincing Hartzell’s character, the inexperienced Lefty, to open and inspect the contents of a series of pantomimed crates.
While the script has the scene dragging on for a bit too long, Hartzell and Craven made it entertaining with impeccable timing and exaggerated physical comedy.
The final act, set in a dentist’s office, required a level of oddity that each of its performers certainly matched.
Junior Stuart McNeill’s Dr. Kesselman was the consummate creeper-dentist trying to start a slippery affair with, Sue, the clueless ex-stripper turned hygenist played by Junior Katie Casdorph. Pandemonium ensues as Kesselman’s son, Harry, played by junior Peter York, interrupts the dentist’s plans to take Sue out to dinner by coming out of the closet. York’s soft spoken and sweater-vested Harry provided an interesting foil for freshman Zoe Teets’ wacky performance as the deranged patient Wanda.
I was impressed with all of the show’s performances, but the show’s structural progression was not as neat as I had anticipated. I expected more out of Arkin’s and May’s script, which was snappy in most parts but in others fell short of cleverness.
The power motif implicit in the production was also not as uniform as the play’s description leads one to believe, appearing during some of the sketches in characters’ discourse while disappearing altogether in other aspects of the show.
Perhaps the playwrights’ eagerness to showcase varying styles of comedy supplies both appeal and frustration in this play.
The show’s comic style seemed to degenerate as it moved along, favoring innuendo and f-bombs over the witty punches and smart dialogue promised by the first act.
Despite the script’s minor inconsistencies, the Players succeeded in presenting a hilarious, colorful production with performances that brought out the bizarre and outlandish aspects of comedy.
Variety of adaptations on Cincy stages
Lauren Kaminsky
Contributing Writer
One of the perquisites of Xavier’s urban location is its accessibility to local culture like the theater. With an abundance of talented local theater companies offering productions, there’s something for everyone. Here’s a breakdown of some exciting plays being staged just in time for the holiday season.
“I Love You, You’re Perfect, Now Change”
This musical comedy runs from Nov. 1-Dec. 31 and features just two male and
two female characters who take on over fifty roles while presenting a hilariously
honest look at every aspect of romance.
Separated into two acts, the characters experience first dates, married life and everything in between.
The show is playing at Playhouse in the Park, located just off of Mount Adams Circle in Eden Park. Tickets range in price from $51-$61.
“A Christmas Carol”
If you’re looking to get in the holiday spirit, then this is the play
for you. Running from Dec. 4-Dec. 30, “A Christmas Carol” is a proven
holiday favorite of Playhouse in the Park audiences.
This production uses music and elaborate costumes to bring this Charles Dickens classic to life. Tickets range in price from $31-$59.
For more information about either of these Playhouse in the Park productions or to reserve tickets call the Box Office at (513) 421-3888 or visit www.cincyplay.com.
“Alice In Wonderland”
The Ensemble Theatre of Cincinnati, located at 1127 Vine Street, is preparing
for the opening of “Alice in Wonderland” on Dec. 3. This production
(which runs until Jan. 4) offers a fresh spin on Lewis Carroll’s timeless
story by producing it as a musical.
Tickets range in price from $29-$35 with a $3 discount available for students. For further information, call the box office at (513) 421-3555 or visit www.cincyetc.com.
“Twelfth Night”
The Cincinnati Shakespeare Company is renowned for their modern productions
of Shakespearean classics.
Located at 719 Race St., in the heart of downtown, their latest production of “Twelfth Night” is set to open Dec. 5 and will run through Jan. 4.
irector Jeremy Dubin sets one of Shakespeare’s most famous comedies in the 1920s prohibition era.
This twist gives new relevance to the complex love affairs which ensue as Viola, a shipwrecked woman, is forced to disguise herself as a man.
Student tickets start at $20, and the theater offers a special “rush” ticket deal. Just show up within 20 minutes of the show, present your student ID and tell the box office associate you’d like a rush ticket. You’ll receive admission to the show for just $12. For more information call (513) 381-BARD or visit www.cincyshakes.com.
“The Wizard of Oz”
Yet another timeless story is recreated on the stage of the Aronoff Center for
the Arts as Broadway Across America presents “The Wizard of Oz.”
Using projection screens to bring the set to life, this traveling show stays true to the classic movie version.
The production is in Cincinnati from now until Nov. 23, so there’s still time to catch it before this visiting cast hits the road again.
Tickets range from $25-$65 and are on sale now. For more information about this and other shows coming to Cincinnati, visit www.BroadwayAcrossAmerica.com/Cincinnati.
With this strong lineup of theatrical productions showing just miles from Xavier’s campus, there’s no reason to let the cold weather get you down.
Grab a friend and head out to experience the theater for yourself. If you’re still unsure which play is right for you, visit www.cinstages.com. Here you’ll find everything you need to plan an exciting evening at the theater.
007 does it again with ‘Quantum’
Stephanie Metz
Arts & Entertainment Editor
filmbuffonline.com
Daniel Craig as Bond and Ola Kurylenko as Camille take on corporate corruption and terrorists in Bolivia as their silver-screen counterparts.
Depressed by the economy? Anxious about world affairs? Well, the newest James Bond film “Quantum of Solace,” which opened last Friday, Nov. 14, may not be a calming influence during these stressful times, but if you need to vent some repressed anger and relieve frustration, look no further.
“Quantum of Solace” picks up moments after the ending of “Casino Royale,” the first Bond flick starring Daniel Craig. Having captured the mysterious Mr. White, Bond and M discover that the reaches of the nefarious terrorist organization Quantum are wider than they originally supposed.
Bond is still reeling from the death of Vesper, who was blackmailed by White’s organization to steal Bond’s casino winnings in the last film.
M warns Bond that he cannot let revenge get in the way of his mission. Of course, Bond does not listen to M, as usual, and he ends up traveling the globe, stopping in England, Italy, Bolivia and elsewhere to try and understand Vesper’s death.
Once again, Craig is excellent as Bond, emphasizing the dark humor and psychological underpinnings of the character rather than the lightheartedness of other Bond incarnations. However, I feel his performance was not as nuanced as in “Casino Royale.” Don’t get me wrong, Craig plays Bond’s need for revenge and anger well, but that’s all he’s given to do this time around.
Judi Dench is impeccable as always. Although M may not be her meatiest role, she still manages to steal scenes and inject humor into the film like a true professional. Unlike Bond, M’s character was more delineated than in “Casino Royale.”
The movie shows M when she’s off her game and even a bit bewildered. It was interesting to see her in a different light, rather than always being in control while Bond is out risking his life.
I was also impressed by Olga Kurylenko and Gemma Arterton, the film’s ‘Bond girls’ who were not just attractive, but had some actual substance. In general, love interests took a bit of a back seat in “Quantum of Solace,” which seems only fitting since Bond is supposed to be avenging Vesper, the love of his life.
Although the special effects and stunts were superb, some of the action sequences went on a bit too long for my taste. I wanted a little more story to balance the fight scenes. That being said, the film opens with a spectacular car chase that rivals those featured in the “Bourne Identity” trilogy.
Much of the camerawork tries to immerse the audience in the character’s perspective, so things get a bit bumpy during Bond’s numerous stunts. I tend to enjoy this style, but it does become difficult to distinguish exactly who’s shooting whom during some moments, or where cars end up when they spin out of control. Shaken, rather than stirred, if you will.
Interestingly enough, while the film feels like a standard action film in many ways, the action packed sequences are interspersed with scenes of everyday life in exotic locales.
During a pivotal scene where Bond attempts to infiltrate the secretive organization Quantum, his dialogue is intercut with a production of the opera “Tosca,” inflating Bond’s own drama with high impact music and visuals as he slinks around the operahouse.
Director Marc Forster leaves lots of small puzzles sprinkled throughout the cinematography for viewers who like to interact with the film, rather than just enjoy it. Shot with more of an artistic eye than most action movies, “Quantum of Solace” delivers quality thrills with style.
As in “Casino Royale” the film’s opening credits paid tribute to Bond’s origins in the swinging 60s. Mesmerizing graphics and optical illusions will keep you entertained as the movie’s theme song, “Another Way to Die” performed by Jack White and Alicia Keys blasts out of the movie theater’s speakers.
Overall, Craig proved he wasn’t just a one-trick Bond, but one who’s here to stay for a while. Although “Quantum of Solace” did not quite match the rollercoaster ride of “Casino Royale,” it did fulfill my appetite for high-class action.
‘Twilight’ series not an inspiring read
Amy Windhorst
Campus News Editor
“Twilight” the movie opens this Friday, Nov. 22 in theaters amid a frenzy of rabid teenage fan girls. Stepping outside of its whirlwind of publicity, we at the Newswire paused to ask ourselves what the Twilight series is really trying to say.
Perhaps I am nothing more than an elitest, self-serving English major, but I can’t seem to describe the Twilight series by Stephenie Meyer without using the following word: “trash.”
For a series of books that has been touted by some as the next Harry Potter, the Twilight series has some massive shoes to fill. While it certainly has been the first widely successful successor to J.K. Rowling’s epic, selling nearly 17 million copies worldwide, something is markedly “off” about the series.
If you didn’t already know, the Twilight series currently consists of four 500-page novels. It is a fantasy series, one with a prominent focus on vampires.
The books, marketed towards young teenage girls, rest heavily on the romance between Bella Swan and her dashing vampire, Edward Cullen. This might not raise many eyebrows—Harry Potter had romance, right? Yes, but in Rowling’s case, romance takes a backseat to the larger themes of the series; the Twilight series makes it a centerpiece (Warning: spoilers ahead!).
Bella, first infatuated by the equally attractive and rude Edward, soon develops a full-out obsession with the charming vampire. The romance quickly becomes overblown and consuming—she is no longer happy when she is not spending time with him. Pages are devoted to doting on the sheer prettiness of her male counterpart.
Edward, boy, he’s quite a catch. First displaying some stalker-like attitudes—including watching Bella sleep outside of her window—Edward eventually becomes controlling and overbearing. At one point, he locks Bella in her own basement to prevent her from seeing a friend while he goes out to dinner. These actions are all glazed over with “I did it because I love you.” Meanwhile, in the real world, he is the object of millions of girls’ affections and fantasies.
Why are young girls so attracted to this figure of Edward, the controlling, yet fetching love interest? Is it because they identify with Bella? Bella is, perhaps, the ultimate cliché—she is “plain” and her parents are pretty awful, but look, she has extraordinary mental powers! Gasp! She also plays the damsel in distress, sometimes to an extreme degree.
When she and Edward are parted over the course of the second book, “New Moon,” she becomes deeply depressed and suicidal. It’s really not exactly the most inspiring portrayal of an independent young woman.
Oh, and it gets better. Meyer dismantles the makings of a healthy relationship between Bella and the werewolf, Jacob Black, through some contrived shifting of Jacob’s character. Bella forfeits her former dreams of college to become a vampire with Edward. They marry when she is 18. She gives birth to their child when she is 19. Twelve-year-old girls are reading this?
All of this begs the question: should young girls be reading this? Outside of the multitude of plot-holes, the adjective-heavy writing, the mediocre plot and the shockingly-flat climax, there is a real question of Meyer’s portrayal of femininity.
Look, teenage girls don’t have the most realistic expectations about love in the first place—some of us still think someone is going to pop a glass slipper on us one day. Can we at least popularize a good example of how to deal with love, breakups and not-getting-pregnant-at-18? Is that too much to ask? Maybe it is, but I’d like to think we could give our younger sisters, nieces and classmates some better literary role models. For now, I will fret for the younger generations, and cling to my copy of “Deathly Hallows.”
Briefs
Late Night Movie
The Late Night Movie Series presents “The Dark Knight” at 11 p.m. Thurs-Fri. Nov. 20-22 in the GSC Theater. The event is free to students with AllCard and seating is limited to 350 people.
Diwali Festival
The fourth annual Diwali Show will take place at 7 p.m. on Fri., Nov. 21 in the GSC Theater. A full Indian dinner buffet will be served from 5-7 p.m. before the performance in the GSC Atrium. Tickets are $8 for students and faculty with AllCard and $10 at the door.
Art Exhibition
An artists’ reception kicking off the fifth Regional High School Junior and Senior Juried Exhibition will take place from 6 to 8 p.m. on Fri., Nov. 21 in the A.B. Cohen Center Gallery. The exhibit features mixed-media works created by emerging artists from local high schools and runs through Dec. 5.
