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(04/19/14 12:24pm)
Despite the first sweltering heat of the season, Cromwell Lounge was packed on Sunday, April 13, for the second annual Mixed Mixed Signals Show, featuring the College’s premiere improv troupe dressed as each other. The event, which was sponsored by ResLife, aimed to provide comedic relief to the campus during this hectic time.
As always, The Mixed Signals performed a variety of games featuring all of their members. An audience favorite, Party Favors, forced one member (a party host) to try and guess distinct character traits of three guests attending his party. The night’s ‘party guests’ included someone who was in love with the host, someone who was always sick and God.
Performing their second-to-last show of the semester, it is evident how much chemistry has developed between the new and old members of The Mixed Signals. Time and a lot of practice has strengthened the troupe’s ability to work quickly with each other in any given situation.
Senior members, including the troupe’s president, history and secondary education dual major Jonathan Dowler, have recently been featured in a variety of skits. Graham Mazie, Lindsey Nice and Nina Shulgach also showed off their seasoned skills, appearing in multiple acts throughout the evening.
Every Mixed Signal show is always met with thunderous applause and howling laughter, and after surveying some loyal audience members, it is easy to see why.
“I like attending Mixed Signals shows because it’s a great way to just relax and have a good time,” freshman women’s and gender studies major Mary-Elizabeth Thompson said. “It gets your mind off of whatever else is going on in your life.”
That kind of loyalty has made The Mixed Signals a staple of the College’s campus. As each class graduates, another new class comes in and experiences the comedic magic for the first time. From then on, they are hooked.
“I appreciate improv because it is hard — you create the entire scene from absolutely nothing, and then you have the added pressure of being funny,” said senior journalism and political science double major Jenna Rose, who has attended Mixed Signals shows since the fall semester of her freshman year.
This improv troupe has more than proved itself as a highly respected and admired organization on campus.
“Improv is something you don’t get to see too often, so when you have that opportunity, it only makes sense to take it,” Thompson said.
Having that opportunity be with The Mixed Signals only makes the experience that much sweeter.
(04/13/14 2:17pm)
Broadway did not start out as an exclusive girls club. In fact, a night out in the theater was very well respected among the city’s most element gentlemen. Back in the day, there were no gender biases when it came to theater. There was an equal love and appreciation by both men and women. In 2014, as we trudge along to bring equality to all aspects of life, Broadway is evidently falling behind.
A New York Times article published last week, “In Audiences on Broadway, Fewer Guys Among the Dolls,” points out that only 32 percent of audience members in 2013 were men. That number is down from 40 percent in 1980. One of the reasons Patrick Healy points out is the fact that there are very few “grown-up” musicals nowadays. “Guys and Dolls,” “South Pacific” and “Ragtime” were shows that addressed adult themes and had adult humor. Most Broadway shows that are developed now, such as “Legally Blonde” and “Newsies,” are aimed at young children or mothers.
With the recent opening of “Rocky,” Broadway is hoping to wrangle in more straight men. As the article points out (a bit too blatantly, I may add), gay men are a solid, consistent demographic in the Broadway community. The show is based on the highly successful and highly masculine movie and features onstage combat. As many of the men they interviewed noted, “Rocky” gives them a chance to relate to the material. With shows like “Wicked,” which centers on female empowerment, it is harder for men to relate to.
But one must also consider the other reasons why less straight men are attending Broadway shows. At a very young age, some boys are stereotyped (albeit sometimes inadvertently) into behaving a certain way or liking certain items. For example, many boys are inclined to like the color blue, play sports and stay away from dolls.
These qualities may seem innocent, but there is no doubt in my mind that these gender stereotypes stick with boys as they develop into men. I have to raise the question: do some parents even expose their boys to theater? There is no harm in taking a child to see a musical or a play, just to see what they like. Speaking from personal experience, I attended both Philadelphia Phillies games and musicals when I was younger. Without the help from parents, how will kids ever know exactly what they like? I got to experience a lot when I was younger. And even if I don’t love everything, I at least have a profound appreciation for it.
This is what most of us should strive to be. Whether we are gay or straight, man or woman. We should be respectful and supportive. Men going to theater isn’t emasculating just like women attending sporting events does not strip them of their femininity. I firmly believe that some men would actually enjoy theater if they gave it a chance.
And let’s be honest — everyone should try to see a Broadway show once in his or her life. The same goes for seeing a professional baseball or football game. Whether we love it or not, all of these aspects make up American culture. We cannot allow biases or preconceived ideas get in the way of allowing us a unique experience. If you don’t like it, you don’t have to go back. But you cannot just automatically assume you won’t like something if you have never experienced it.
Broadway will always find a larger audience in women and children, and that is completely fine. I just hope that in the future, these statistics start to go up and there is more of a gender balance in the chairs of the theaters all throughout New York.
(03/25/14 8:22pm)
With her luscious blonde hair and enticing brown eyes, Ellie Goulding saunters across stage like a seasoned professional. Her songs contain complex rhythmic arrangements and poetic lyrics, highlighting her innate musical ability and setting her apart from her pop-star sisters.
Goulding brought her “Halcyon Days” tour to The Liacouras Center on Friday, March 14, performing a complete 20-song set, containing everything from her radio hits to her softer acoustic numbers.
A British songwriter, Goulding emerged into the American music scene with her radio-friendly tune, “Lights,” and has since gained popularity with “I Need Your Love” and “Burn.”
What makes her live performances so impressive is her range of musical styling. She quickly went from banging on a drum to strumming an acoustic guitar, while doing impressive dance routines in between.
The show opened with “Figure 8,” a bass-heavy dance anthem that got the crowd engaged and ready for the rest of the night. The middle section of her set consisted of her slower songs, such as a beautiful acoustic arrangement of “Guns and Horses” followed by her infamous cover of Elton John’s “Your Song.” Goulding’s voice is a unique instrument, soaring through venue with effortless ease. Her distinctive sound allows her music to come to life in a powerful way.
Matched with her vocals are her powerful lyrics. Lines like “Why don’t you be the artist and make me out of clay?” and “You found me on a screen you sit at permanently” echo her poetic skills. It is refreshing to listen to popular music that also contains intriguing, thought-provoking lyrics. Watching a pop starlet explore the core of her musical collection with such passion and emotion is a powerful thing to witness.
After she wowed with her slower section, Goulding performed a three-song knockout: “Anything Could Happen,” “I Need Your Love” and “Lights” that energized the crowd who had just come down from her acoustic session.
Every single person was singing and dancing along to the powerful songs, helping to make the concert feel like a kind of musical religious experience.
Perhaps the most intriguing part about the whole show was how much fun Goulding seemed to be having. She never took herself too seriously, and she was willing and able to take risks with her musical arrangements. Nothing she did seemed too rigid or planned out, which was refreshing to see from a Top-40 pop-star.
Goulding came back on stage for a bombastic encoring, including her current hit “Burn,” which kissed the crowd goodbye with the perfect mixture of sweetness and sassiness.
For this British starlet, her most alluring quality is her ability to get lost in the music and put on a fun show — something most artists have forgotten about.
(03/25/14 8:18pm)
In Kendall Hall on Saturday, March 22, the College’s improvisational troupe, The Mixed Signals, hosted their annual event, “R.O.C.K.,” featuring themselves, Wells Fargeaux and professional group UCB (Upright Citizens Brigade) Touring Company.
“R.O.C.K.,” which stands for Rather Outrageous Comedy Kickout, was started six years ago in order to showcase improvisational comedy, which is a growing performance.
“The idea is to bring more improv to TCNJ,” said Lindsey Nice, a senior computer science major who is a member of The Mixed Signals and president of All College Theatre, which co-sponsored the event.
The night started with a 30-minute performance by The Mixed Signals, led by current president Jonathan Dowler, a senior history and secondary education dual major. With the aid of their infamous bell, the quick-witted troupe played multiple games that highlighted each member in a unique way.
After their set, Wells Fargeaux took the stage. This group is comprised of former members of The Mixed Signals, and on Saturday, Dan Loverro, John Eldis and Sam Paternostro performed a few games.
One crowd highlight was “Half-Life,” in which Paternostro and Loverro acted out a scene in two minutes and then did the same scene in one minute, 30 seconds and so on.
At the conclusion of their set, The Mixed Signals came back out and both groups performed together before a short intermission. The most impressive and interesting quality about the group is their undeniable chemistry together.
What makes a Mixed Signals show so entertaining is how much fun each member of the group is having on stage. There is never a dull moment when they are performing their hearts out on stage.
“Improv is like a very basic play,” Nice said when asked what performing this type of comedy was like. “Like, when you’re a kid you play make believe. Improv is a way to do that.”
Following intermission, three professionals from UCB performed an hour-long set that began with them interviewing a random student from the audience. What followed was short improvisational scenes all based on the questions the student answered. To finish off their set, they took audience members’ most recent text messages and performed scenes based around them.
Overall, it was a wonderful night of comedy that led to most audience members laughing until they cried. It is clear the College’s students have a profound appreciation for this comedic art form.
“It blows my mind when I think about it,” Nice said, reflecting on her journey as a Mixed Signals member. “We literally just stand up on stage with no preparation basically and just try to do things to make an audience laugh and connect with us in any way we can, and that’s just kind of crazy to me that we can do that.”
(03/13/14 2:10pm)
This year’s Oscars was one of the most-watched and well-received award shows in recent memory. There were no shocking wins or horrible snubs, but it was a beautiful show with memorable moments and speeches.
Pink blew the audience away with “Somewhere over the Rainbow,” John Travolta created a new name for a Broadway star, and Ellen bought pizza for everyone. The show was equal parts funny and poignant, celebrating Hollywood as well as making fun of it.
The main point of the evening was, of course, to deliver cinema’s highest honors. And, not to brag, but I called every major category. I put my money on Lupita Nyong’o even though many people thought Jennifer Lawrence had the win all wrapped up. I also thought “12 Years a Slave” would edge out “Gravity” for Best Picture, and luckily, my inclination was right.
All throughout Oscar season I have used GoldDerby.com to make my predictions and to track experts’ thoughts and opinions. In total, I guessed 19 out of 24 categories correctly.
The greatest part about the award season is watching young stars shine and old talents reflect on their journeys. There is no other event that brings Hollywood together quite like the Oscars. There is something extremely inspiring about seeing so much talent and passion in one room, sharing memories and praising each other’s abilities.
Seeing all of this come alive gives me hope and fuels my passion and love for the arts even more. Regardless of who wins, every film that is nominated is incredible in their own respects. And it is a wonderful thing to see such art be preserved and honored.
It’s been a joy covering the Oscars for The Signal, and I hope I’ll be back again next year to do the same. Thanks for going on this ride with me — it’s been a blast. It only solidified my own love for journalism and entertainment.
I would like to leave you all with a quote from Lupita Nyong’o’s acceptance speech. May you all follow your heart and your passion, where it may lead: “When I look down at this golden statue, may it remind me and every little child that no matter where you’re from, your dreams are valid.”
(03/04/14 8:31pm)
After a successful string of tours and albums, Demi Lovato has developed into a seasoned performer. Her current “Neon Lights Tour” is her most ambitious show yet, for Lovato and music director Nick Jonas have developed a unique set list to feature songs ranging from her first album to her latest musical venture.
Lovato took her “Neon Lights Tour” to the Susquehanna Bank Center in Camden, N.J. on Saturday, March 1, with opening support from Little Mix and Fifth Harmony.
The two girl groups proved to be crowdpleasers, but nothing compared to when Lovato took the stage to sing the opening lines of her hit single “Heart Attack.”
The set continued to take off when she launched into power-anthem “Fire Starter” and throwback “Remember December.”
Lovato commands the stage with such confidence and energy that one would never suspect she had just finished a stint in rehab over a year ago. Lovato has now found peace within herself and her music, admitting her flaws and using them to relate to the audience.
Her high-energy pieces keep the crowd going, but it is when Lovato sits down at the piano and speaks directly to the audience that she really shines. As she normally does, Lovato declared how inspired she is by all of her fans and how grateful she is to be surrounded by so much love.
The most heartwarming part of the show was when she told the crowd to forget about everything they were dealing with and just get lost in the music and the energy of the show. She then began a string of songs that showcased her emotional and vocal range: “Two Pieces,” “Nightingale,” “Warrior” and crowd-favorite “Let It Go.”
Very few artists manage to play with such bombastic passion and energy one minute and channel that power into an emotional performance the next. Lovato has continuously proved that she is a musical force and much more than a typical Disney pop-star.
What was most impressive was her arrangement of her old songs. Through unique musical interludes from her backup band, Lovato transformed songs like “Don’t Forget” into new pieces of music that were entertaining for her oldest and dearest fans.
My only hope for Lovato is that she continues to develop herself as a serious music artist and grows out of her adolescent audience.
She is growing both as a person and a musician, and it is time that her audience is as mature as her.
(03/02/14 3:45pm)
After seeing a vast majority of films this year, I can confidently say this list of nine movies represents the best that cinema had to offer in 2013. There was such a range, from simple storytelling in black-and-white to space odysseys with stunning visuals.
Come March 2, three films will be battling it out for the statue: “American Hustle,” “12 Years a Slave” and “Gravity.” All three of these films should come as no surprise to anyone who has been following the award season thus far: “Hustle” dominates the acting fields, “Gravity” sweeps up visual effect awards and “12 Years” has a unique picture of both. All of them have equally gained and lost momentum in the mayhem of the season, and it is still too close to call.
Check below for a list of all the Best Picture nominations and my dissections of each, and tune in on March 2 to see the big winners!
“12 Years a Slave”
Why it SHOULD Win: A moving, original piece about a sensitive historical subject matter, complete with brilliant direction and passionate acting.
Why it MIGHT Not: The film may end up splitting votes with “Gravity” and pushing some voters away due to the sensitive subject matter.
“Gravity”
Why it SHOULD Win: The film is a visual marvel and breaks the boundaries of cinema.
Why it MIGHT Not: While the screenplay is decent, it does not compare to the likes of “12 Years” or “Hustle,” and since the film only features two actors, the Academy’s largest voting branch may not take so kindly to it.
“American Hustle”
Why it SHOULD Win: David O. Russell proves once again he is a masterful storyteller in what may be his best film.
Why it MIGHT Not: At its core, the film is driven by its story and acting performances. It may end up losing out to a bigger spectacle.
“Captain Phillips”
Why it SHOULD Win: A tense screenplay and focused performances drive this film, which hits the audience hard.
Why it WON’T Win: The film is good, but it is not great, especially compared to the other nominees.
“Dallas Buyers Club”
Why it SHOULD Win: Amazing performances lead this incredible moving film based on a true-story.
Why it WON’T Win: While the actors are stand out, the film as a whole is nothing extraordinary.
“Her”
Why it SHOULD Win: The film is one of the most original pieces of cinema that has been produced in the last decade.
Why it WON’T Win: Sadly the Academy does not often lean towards films of smaller production values but big heart. However this is my personal choice and favorite film of 2013.
“Nebraska”
Why it SHOULD Win: A black-and-white film with a big heart, Payne’s latest outing has character and charm.
Why it WON’T Win: The film is far too simple to garner attention from every branch of the Academy.
“Philomena”
Why it SHOULD Win: This remarkable true story was translated brilliantly for the screen thanks to incredible acting and a flowing screenplay.
Why it WON’T Win: Again, the film is lacking in spectacle or huge impact. I’m just happy to see its name on the list.
“The Wolf of Wall Street”
Why it SHOULD Win: This three-hour epic combines stunning visuals, a complicated plotline and solid performances.
Why it WON’T Win: In other years, this film may have stood a chance, but controversy surrounding its delicate content may have stirred some voters clear.
(03/02/14 2:55pm)
Sally Hawkins, “Blue Jasmine”
Jennifer Lawrence, “American Hustle”
Lupita Nyong’o, “12 Years a Slave”
Julia Roberts, “August: Osage County”
June Squibb, “Nebraska”
To be a successful supporting actress, one must possess a delicate balance between stealing the show and letting the leads shine. These five women have managed to pull off this feat and deliver solid, emotional performances.
Hawkins holds her own against Blanchett in “Blue Jasmine,” playing a frazzled sister who houses Blanchett’s character during her breakdown. Hawkins brings a level of intensity to the character which transforms her into a multi-leveled being.
Roberts howls her way through “August: Osage County” as the eldest sister in a family on the brink of falling apart. Never before has she been so fiercely committed and strong as she is here, bouncing off of her ensemble cast so effortlessly and with so much direction.
What makes all of these women so remarkable is their ability to transform their characters into something far beyond a sidekick. Each of them paints a cinematic portrait of a powerful woman facing a devastating obstacle.
Perhaps no one exemplifies this as much as Nyong’o and her brutally emotional performance in “12 Years a Slave.” Nyong’o is powerful yet delicate, relaxed yet crazed. She knows exactly how to command a screen, which is utterly rare as a newcomer to the world of film acting.
Her biggest competition comes from Ms. Lawrence, who once again delivers a knockout performance in “American Hustle.” Her portrayal is sizzling and determined, and she further proves she knows how to command the screen.
If there’s any award that’s hard to predict, it’s this one. Both Nyong’o and Lawrence have won a number of respective awards, but I’m going to bet on the former edging out the later; if only because Lawrence just won last year.
Who WILL Win: Lupita Nyong’o, “12 Years a Slave”
Who SHOULD Win: Lupita Nyong’o, “12 Years a Slave”
(02/23/14 10:13pm)
Amy Adams, “American Hustle”
Cate Blanchett, “Blue Jasmine”
Sandra Bullock, “Gravity”
Judi Dench, “Philomena”
Meryl Streep, “August: Osage County”
The past year was an absolutely incredible year for women in cinema. These five ladies represent some of the finest talent Hollywood has to offer, which is why it’s surprising that one actress has remained a frontrunner since her film bowed early last summer.
Cate Blanchett plays an unstable socialite in “Blue Jasmine,” the Woody Allen directed summer flick that proved to be a star-vehicle for its leading lady. Blanchett has been receiving rave reviews that have stuck with Academy members since the film premiered, and she is currently sweeping every show that serves as a predecessor to the Oscars.
Blanchett delivers a meticulously neurotic performance that is certainly worthy of praise, but that is not to say the other women she is nominated with do not deserve equal accolades.
Streep and Dench, in “August: Osage County” and “Philomena,” respectively, once again prove what power-house performances they both are.
Streep plays sizzling matriarch while Dench portrays a more subdued, heartbreaking woman in search of her long lost son.
Then there is Adams, who drives “American Hustle” with her stunning turn as the film’s leading lady. Finally being nominated in the Lead Actress category, Adams proves she can hold her own as a leading lady. She was mesmerizing and completely committed to becoming her character.
Bullock, too, brought her A-game in “Gravity,” where she spent most of the film alone on screen. She served at this space odyssey’s core and reminded audience members that we all get a little lost sometimes. She was human, raw and connected.
With the award season continuing the way it has, it will be no surprise when Blanchett’s name is read on Oscar night. And it’s not that she doesn’t deserve it, but perhaps just that the competition is entirely too impressive to have a clear frontrunner.
Who WILL Win: Cate Blanchett, “Blue Jasmine”
Who SHOULD Win: Amy Adams, “American Hustle”
Honorable Mention: Judi Dench, “Philomena,” for providing one of the most moving and heart wrenching performances in recent years.
(02/20/14 3:51pm)
In the fall of 2012, critics were buzzing about the newest musical- themed television show that was about to premiere. With FOX’s “Glee” rapidly losing viewers and NBC’s “Smash” stuck in limbo, music-lovers were pining for a show that would finally get the genre right.
ABC struck country gold with “Nashville,” a drama surrounding two country singers on opposite ends of their careers.
Connie Britton plays Rayna James, a 40-year-old country mu- sic star, while Hayden Panettiere portrays Juliette Barnes, an up-and-coming country-pop crossover. Both ladies command the screen with their impressive acting chops, as well as their sweet vocals crooning expertly penned songs by some of country’s best.
Now in its second successful season, “Nashville” continues to prove why it has continued to be a smash hit among viewers. However, the plot can at times get soapy. In the first season’s finale, there was car crash, a marriage proposal and a suicide attempt all set to a musical montage. These melodramatic elements are offset, however, by songs that connect and performances that consistently deliver.
The show’s songwriters work closely with the screenwriters to make sure each song has its purpose within the episodes. The characters don’t randomly burst into song whenever they feel like it. “Nashville” lets its music flow naturally and it creates brilliant, delicate moments that are enhanced by the perfect song.
The cast is a wide range of talents, from seasoned veterans like Britton and Eric Close, to new-comers Sam Palladio and Clare Bowen. Each character has his or her own music style as well. Rayna (Britton) delivers classic country hits and ballads, while Gunnar and Scarlett (Palladio and Bowen, respectively) deliver harmony-rich acoustic ballads and love songs.
The show’s breakout performance, however, comes from Panettiere, who has developed into a masterful actress. Her character, Juliette Barnes, could have been played without depth and she would have come off as a snobby, rich pop star. Instead, Panettiere creates complicated layers for Juliette. Even when her character is utterly cruel, the audience knows the intentions behind it.
Panettiere is at her best when she is breaking down, searching for answers in Juliette’s complicated life after incidents like her mother passing away and her fans boycotting her after numerous tabloid scandals.
Sparks fly when Britton and Panettiere actually share the screen together. Both divas in their own rights, they share moments of joy together and moments of bitter rivalry. In season two, the show has taken more risks by spreading out the plot, allowing each character and relationship to grow or dis- mantle organically.
And perhaps that is the biggest reason why “Nashville” works so well. It flows and unfolds when the time is right, rather than being contrived and tied down to a particular storyline for too long. The writers have taken great control of the plot and really explored possibilities with their characters. While some storylines remain cliché, others are fresh and make perfect sense in the complicated world of the music industry.
“Nashville” proves that music-themed television shows can work when there is a brilliant, hardworking team behind it.
(02/15/14 5:10pm)
David O. Russell, “American Hustle”
Alfonso Cuarón, “Gravity”
Alexander Payne, “Nebraska”
Steve McQueen, “12 Years a Slave”
Martin Scorsese, “The Wolf of Wall Street”
Directing a film is a complicated task that involves incorporating every aspect of a production and focusing it around a particular vision. All five of these men, who are no stranger to the art of creating cinematic masterpieces, have once again exhibited brilliant film-making skills by using spectacular visual imagery to tell complex narratives.
There is something to be said for Scorsese, who still remains sharp with each film he creates even after all these years. “The Wolf of Wall Street,” with a run time of almost three hours, is not an example of amateur filmmaking by any means. Scorsese, the most seasoned director in this year’s crop of nominees, handles the long and sometimes diluted screenplay with perfect pacing. Without him to lead the film, it would have had potentially gone off the deep end into a yawn-inducing three hour drama.
Russell and Payne, both consistent Academy favorites, brought their flair for intimate storytelling to their respective films this year. “Nebraska,” a film entirely in black-and-white, was handled with extreme care by Payne who is no stranger to honing in on the characters. He once again creates a beautiful backdrop for the actors to roam free in. Russell used similar methods in “American Hustle,” placing his all-star team of actors in the center and building the film around their performances.
The real spectacle, however, lies within the work of McQueen and Cuarón, who both managed to bring two incredibly moving stories to life with a masterful vitality. “12 Years a Slave” contains an eloquent balance of harshness and lightness, crafting a tenacious film out of the already powerful screenplay. “Gravity” is a visual stunner, and Cuarón proves he is a visionary director by breaking the boundaries of previous set-in-space films.
The winner of Best Director was once a high indicator of which film would win Best Picture. I predict, however, that much like last year, the two will not coincide with each other. Stay tuned for my predictions about the show’s top prize, but for now I am betting on Cuarón to take him the gold for his incredibly impressive work on “Gravity.”
Who WILL Win: Alfonso Cuarón, “Gravity”
Who SHOULD Win: Alfonso Cuarón, “Gravity”
(02/09/14 2:35am)
2014 Oscar Nominations for Best Actor in a Supporting Role:
Barkhad Abdi, “Captain Phillips”
Bradley Cooper, “American Hustle”
Michael Fassbender, “12 Years a Slave”
Jonah Hill, “The Wolf of Wall Street”
Jared Leto, “Dallas Buyers Club”
A Somali pirate leader, a corrupt FBI agent, a terrifying slave owner, a scummy stockbroker and an HIV-positive transgender woman.
This year has included some of the most diverse and moving performances by an actor in a supporting role in recent memory. Each one of these remarkable men pushed themselves to their artistic and cinematic limits to bring life to supporting characters that stood out every time they entered a scene.
Some played vicious villains. Abdi, a first-time screen actor, held his own against Tom Hanks in “Captain Phillips.”
Fassbender, a rising Hollywood favorite, played the role of slave owner Edwin Epps with so many complex layers that he refined what it meant to be “the bad guy.” Both of these men brought something unique to the idea of a standard antagonist, and did so with such dedication that they are utterly deserving of this nomination.
Hill, a villain in a different sense of the word, played a cocky sidekick to Leonardo DiCaprio in “The Wolf of Wall Street.” He transformed his character into a unique portrait of what happens when one lets his ego ravenously embody his entire being. As much as his character is unlikeable, it is hard to deny the charm and control Hill brings to this performance.
Cooper managed to sneak his way into this field due to the Academy’s love affair with “American Hustle.” However, the nod is not entirely undeserving. In one of his most challenging roles to date, Cooper proves that he has an understated insight of the roles that he plays. His performance is not flashy, but it is enough to make you stop and think about his role in the crime-ring that runs throughout David O. Russell’s latest flick.
The persistent forerunner of the pack is, without a doubt, Leto for his star-making turn as Rayon in “Dallas Buyers Club.” This is Leto’s first nomination and will most definitely be his first win. The singer turned actor plays Rayon with such a beautiful spirit and light. He completely transformed himself and immersed himself into the transgender culture. Leto has used this role to shine a light on issues facing the LGBT community, and Rayon has become a beacon of hope and understanding for millions of viewers. Leto steals every scene that he is in, even against McConaughey’s brilliant work, and I cannot think of anyone else who deserves the Oscar this year as much as he does.
Leto’s performance is one of those once-in-a-lifetime roles you are never going to forget.
Who WILL Win: Jared Leto, “Dallas Buyers Club”
Who SHOULD Win: Jared Leto, “Dallas Buyers Club”
(02/05/14 12:53am)
The art of constructing a musical to be produced on Broadway has greatly evolved in the past decade. While music, lyrics and books still play an essential role in a show’s success, one of the most important elements of most of today’s popular musicals is spectacle.
That is why it should come as no surprise that Broadway’s recent production of “Pippin,” which won the Tony Award for Best Revival of a Musical in 2013, continues to be a smashing success.
The show, which runs approximately 2 hours and 40 minutes, is full of high-flying acrobatics, tense balancing acts and astonishing physical stunts by every single cast member.
The plot centers around a young boy named Pippin (a driven Matthew James Thomas) who attempts to find meaning in a world where his father, Charles (a hilarious Terrence Mann), rules over the land. Pippin goes on an incredible journey and, by the end of the show, finds out what it really means to live.
The real star of the production, however, is Tony winner Patina Miller, who slips into the role of the Leading Player with such fierce tenacity that she commands the stage with her enticing gaze alone. Miller transforms herself into the story’s narrator, and the audience is never quite sure if she is helping Pippin or trying to hypnotize him into joining her ranks with the other players.
Following the circus theme, the entire show takes place under a big top in which Miller and her cohorts serve as various ensemble members and figures that Pippin meets during his travels.
To add to the spectacle, each group number includes a multitude of impressive tricks that leaves the audience breathless.
The weaknesses in the actual story are made up for in the brilliant performances by each member of the talented ensemble. One of the most impressive, standout moments occurs when Berthe, Pippin’s grandmother (played with hilarious joy by Tovah Feldshuh when I saw the production in early January) delivers her impressive Act One solo. When she finished her number, the entire audience delivered a thunderous applause that went on for minutes with no end.
It is so utterly special to witness a show in which every actor is having the time of their lives on stage. There was not a single drab in the entire performance, and that is truly rare. Even when the show took a few dark turns, the cast delivered each line and dance move like it was their last time performing.
It was refreshing to see so much passion on one stage, even after the show has been running for over a year. No one had egos, and each member had their chance to shine without interruption.
“Pippin” leaves you awe-inspired, dumbfounded and joyful. And most importantly, it reaffirms that there is nothing quite like the magic of live theater.
(02/01/14 5:54pm)
2014 Oscar Nominations for Best Actor in a Leading Role:
Christian Bale, “American Hustle”
Bruce Dern, “Nebraska”
Leonardo DiCaprio, “The Wolf of Wall Street”
Chiwetel Ejiofor, “12 Years a Slave”
Matthew McConaughey, “Dallas Buyers Club”
Bruce Dern, at 77 years old, is the oldest contender in the category. His subliminal turn as Woody Grant, an elderly man who believes he was won a million dollars, in “Nebraska” is a masterful display of everything acting should be. Dern carries the weight of the film on his shoulders and plays the part with such determination and desperation that he helps hold the film together at its core.
Leonardo DiCaprio, a Hollywood favorite, received a nod for his role as Jordan Belfort in “The Wolf of Wall Street.” DiCaprio slipped into the scheming stockbrokers’ role so easily that his hijinks and antics seem so natural. Appearing in almost every scene of the three-hour film, he once again proves that he is an acting force to be reckoned with.
Christian Bale delivers another solid performance in David O. Russell’s newest film, “American Hustle.” Bale plays Irving Rosenfeld, a con-man only slightly less slimy than DiCaprio’s character. His inclusion on the nomination list, however, is mostly likely due to the Academy’s love affair with Russell’s latest flick.
The real competition was initially between Chiwetel Ejiofor for his heart-breaking knock-out of a performance as Solomon Northup and Matthew McConaughey’s withering portrayal of a straight male slowly dying of AIDS at the end of the 1980s.
Both of these extraordinary actors deliver some of the best cinematic performances in years. Ejiofor goes through hell and back while McConaughey physically transformed himself by slimming down for the role. This kind of dedication is certainly deserving of a nomination, and both performances are so layered that it would take forever to dissect each artistic nuances.
More recently, however, DiCaprio has been climbing the ranks. Based on who receives the BAFTA award (McConaughey was not nominated, so this will be between Ejiofor and DiCaprio), this could easily be a race between two big Hollywood names.
Based on his recent Screen Actors Guild Award win, it looks like McConaughey is the frontrunner by just a hair, but do not count DiCaprio out just yet.
Who WILL Win: Matthew McConaughey, Dallas Buyers Club
Who SHOULD Win: Chiwetel Ejiofor, 12 Years a Slave
Additional reporting by Jake Burbage.
(01/21/14 5:46pm)
At one point during “August: Osage County,” the two-hour comedy-drama set in Osage County, Okla., the external temperature reaches an excruciating 108 degrees. This blast of heat, however, has nothing on the familial drama sizzling within the four walls of the Weston home.
Meryl Streep plays Violet Weston, a blazing matriarch slowly deteriorating from mouth cancer. Despite her withered form, her words sting with a determined defamation as she takes aim at everyone around her.
When Violet’s husband Beverley (Sam Shepard) goes missing and is then discovered to have committed suicide, the entire Weston family arrives to attend his funeral.
First, there is Barbara, played with the spirit of a raging tiger by Julia Roberts, who is considered the family favorite and has taken personal responsibility to run her mother’s crippling life. Ewan McGregor plays Bill, Barbara’s soon-to-be ex-husband and pacifier of the crew. Violet has two other daughters, Karen (a convincingly innocent Juliette Lewis) and Ivy (played with marvelous subtlety by Julianne Nicholson).
Ivy has been constant in Violet’s life, while Karen and Barbara have been off pursing their dreams.
The cast is rounded out by Violet’s sister Mattie Fae (Margot Martindale at her best), her husband Charles (a powerful Chris Cooper), their son Little Charles (Benedict Cumberbatch), Karen’s sleazy new boyfriend Steve (Dermot Mulroney), the Westons’ servant Johanna (Misty Upham) and Barbara and Bill’s daughter Jean (Abigail Breslin).
The cast list appears like a dream lineup for an acting master class, and what each member of this beautiful ensemble brings to the film is no disappointment.
Tracy Lett’s screenplay, based on his Pulitzer-Prize winning play of the same name, is stocked with histrionic revelations and expertly-crafted moments for each character’s development. There is the final confrontation between Mattie Fae and Charles, the tense back-and-forth between Steve and Jean and the infamous sequence in which Barbara tackles Violet to the ground.
When the entire family gathers for dinner post-funeral, the gates of hell snap open. What follows is a tour-de-force of conflict including adultery, incest, drug abuse, lies and honesty. While other films this season depend on tender subtlety, this story rolls on with a thunderous intensity.
And therein lies the problem that most critics have found with the film. They point out the bombastic complaining by the cast and chastise Streep and Roberts for “over-performing.” With so much talent packed into one room it is hard to not notice each member attempting to “out-act” the others.
If one digs deeper into this realization, however, you can notice that what these actors are doing is not for the sake of awards or empty attention. They are portraying their characters with a kind of honesty most films shy away from. The truth is, whether we want to admit it or not, “August: Osage County” is the epitome of the family drama.
Families feel jealousy. They lie to each other. They cheat on each other. And they do not do it with artistic nuance. They do it with bleak honesty. Sometimes that candor is loud, obnoxious and showy.
What Streep and her ensemble are doing can certainly be interpreted as over acting, but in my eyes they are simply settling into the dramatic honesty of the Weston family.
It would be wrong for them to share bitter whispers across a slow-cooked turkey dinner. Shattering plates, relentlessly cursing and letting their emotions boil like a kettle of hot tea seems like the only accurate way to fully capture the powerful story of this cracked family.
Streep and the cast are not losing themselves in the dripping drama of the screenplay. They know exactly what they are doing. And perhaps the criticism stems from the fact that the year’s most flashy film is also the hardest for us to watch. The drama reminds us of our own family issues, whatever they may be, and Letts does not let us forget that no matter how hard we try to ignore it, family is forever.
(01/21/14 5:45pm)
When the Oscar nominations were announced on Thursday, Jan. 16, thousands were eagerly awaiting to see who made the cut and who was snubbed.
Like most years, there were sure things and a few surprises along the way.
Perhaps the biggest surprise came when the nominations for Best Actor were announced. Regardless of the outcome, someone was going to brutally lose out. This year included some outstanding performances by leading men, and with only five spots, it was really anyone’s game.
Of course, there were sure things, such as Bruce Dern for “Nebraska” and Matthew McConaughey for “Dallas Buyers Club.” Leonardo DiCaprio managed to sneak in for his dizzying portrayal in “The Wolf of Wall Street,” and Chiwetel Ejiofor was no surprise for “12 Years a Slave.” The coveted fifth spot seemed to belong to Tom Hanks or iconic cinema star Robert Redford. However, both famous actors were shut out in favor of honoring Christian Bale for his leading turn in “American Hustle.”
Bale’s nomination was the first in series of nods for David O. Russell’s newest film, which include Amy Adams for Best Actress, Jennifer Lawrence for Best Supporting Actress, Russell for Best Director and Bradley Cooper for Best Supporting Actor. A strong showing in the nomination field, plus a pivotal win at the Screen Actors Guild Awards, catapults “Hustle” to the front of the list to win another coveted award for which it is nominated for: Best Picture.
Each year there is a possibility of having 10 Best Picture nominations, and this year we got nine. Some were completely expected: “American Hustle,” “12 Years a Slave,” “Her,” “The Wolf of Wall Street” and “Gravity.” A few others, however, came as a bit of surprise: “Captain Phillips,” “Nebraska” and “Dallas Buyers Club.”
Perhaps the most shocking — but entirely deserved — nomination was “Philomena,” claiming the ninth spot. The charming movie, led by Best Actress nominee Judi Dench, has one of the most original and powerful stories of the year. Clearly the Academy has taken note of just how important this film is.
Some categories this year have very little competition. Despite fierce performances from all of the ladies in the category of Best Actress (Amy Adams, Meryl Streep, Judi Dench and Sandra Bullock), this one is Cate Blanchett’s to lose. Blanchett played the powerful leading role in Woody Allen’s “Blue Jasmine,” and has been the frontrunner since the movie premiered early last summer.
The Best Supporting Actor field also includes a sure-thing frontrunner: Jared Leto, for his emotional portrayal of an AIDS-positive transgender woman. Despite strong showing from Jonah Hill (“The Wolf of Wall Street”) and Michael Fassbender (“12 Years a Slave”), Leto has this one on lockdown.
For more Oscar news, including an in-depth analysis of every major category, be sure to check out my weekly blog at tcnjsignal.net.
(12/04/13 6:50pm)
From the very first shot of the film, it is evident that “The Hunger Games: Catching Fire” is about far more than a survival competition between unfortunate kids from 12 distinct districts.
The film opens with Katniss, played with artful commitment by Oscar-winner Jennifer Lawrence, perched on a rock in the woods outside of her hometown of District 12.
The icy snow covering the ground and the frozen blue sky above her symbolizes exactly what has happened. Life in Panem has frozen, and when it melts, there’s no telling who will be safe.
For those who have not read the series, “Catching Fire” may come as a bit of a disappointment.
The ending is an unsatisfying cliff-hanger, and while it stays true to Suzanne Collins’ best-selling book, it is still frustrating.
That said, director Francis Lawrence — replacing Gary Ross from the first film — does a phenomenal job of crafting a plot that essentially serves as a bridge between the first and third installments into an enticing two-and-a-half hour film. It helps that he is backed by a bigger budget that makes District 12 even more barren and the Capitol even more luxurious.
After Katniss returns from the woods, she is surprised to see President Snow, played by Donald Sutherland, in her new home.
Snow is not pleased with her behavior, and her acts of defiance in the games have sparked rebellion across Panem. He warns her that if she does not act fully committed to Peeta — a humble and devoted Josh Hutcherson — he will have her family and loved ones killed.
Peeta and Katniss embark on their victory tour, and despite their best efforts, Snow is not pleased. He announces the 75th Annual Hunger Games as a Quarter Quell, in which victors from previous games will be back in the arena competing once more.
Katniss and Peeta are then thrown back into the games, this time with new allies and new foes.
While the film is a great adaptation of the book, what really separates the film from being a dragging developmental story into a lively tale all its own is the acting.
Jennifer Lawrence is captivating as Katniss, a character who has transformed from a scared innocent girl into a jaded young woman. Her eyes are constantly alert and are filled with merciless nightmares from the murders she committed in the first games.
When it is announced that the 75th Annual Hunger Games will see winners returning to the arena, the pure horror on her face is a moment of acting genius.
Hutcherson once again plays the supporting role to Lawrence, but his determination and passion make him universally likeable.
Newcomers Sam Claflin and Jena Malone as Finnick Odair and Johanna Mason, respectively, shine as the movie reveals glimpses of their background stories that tease the audience for more to come from the third installment.
Phillip Seymour Hoffmann makes his debut as Plutarch Heavensbee, the new head Gamesmaker. Hoffmann plays the part with such subtly that one is never quite sure whose side he is on.
One of the most surprising performances came from Elizabeth Banks, reprising her role as the eccentric Effie Trinket.
The night before Peeta and Katniss are to return to the arena, Effie gives a gold bracelet to Haymitch and a gold necklace to Peeta.
Afterward, she breaks down into tears saying how sorry she is and how they both deserve so much better.
Banks’s performance reminds us of the true meaning behind these films. The world is full of horrible situations, and suddenly even the ones in power and the ones with the money are realizing that it’s not right.
While the special effects and relationships are intriguing, “Catching Fire” really sparks when it dives into social commentary, at a time where it is utterly appropriate.
(11/19/13 5:57pm)
On last Tuesday’s episode of “The Voice,” NBC’s reality singing competition, the Twitter instant save was introduced. When the bottom three were revealed, America had five minutes to take to Twitter and tweet to save its favorite artist using a hashtag. This type of audience power was met with excellent feedback.
This type of tactic is only one of the ways that the producers of “The Voice” are doing things right. While “American Idol” and “The X Factor” continue to slip in ratings, in the fall of 2012, “The Voice” was solely responsible for making NBC the most watched network in America.
Americans live for the fresh and new, and “The Voice” offers something bold every season. These twists are effective for heating up the competition because they allow for direct audience interaction. With the new instant save, audiences now feel like they have more power than ever. In the digital age that we live in, it is truly baffling that so many shows are failing in marketability. “The Voice” is clearly drawing in viewers every week, so why are other similar shows lacking the ability to do so?
As with the future of fictional television, I am interested in the future of reality competition shows, particularly music ones. If producers do not follow tactics like the ones used on “The Voice,” they will continue to lower in viewership. Big broadcasting companies spend millions of dollars in market research alone, so why is there still a lack of audience?
Studying trends in today’s generation is not an easy task. It seems like everyday people move on to a new fad. It really is incredible that any television show can stay relevant past a season or two. While this is a harsh reality, it is the reality nonetheless, and producers need to start tapping into what Americans really want.
If these shows do not grow with the times, then viewers will surely leave them behind for better and more relevant programs. And who could blame them?
According to an American Time Use Survey done by the Bureau of Labor Statistics in June 2013, Americans spend on average 2.8 hours a day watching television. While this may seem like a large number, this time is equivalent to one episode of “The Voice” or “The X Factor” and maybe the nightly news. Americans do not have time to watch an abundance of programs, so naturally they will only choose the most interesting ones.
What “The Voice” is doing that the other shows are failing to do is expanding their reach beyond those 2.8 hours. Viewers discuss “The Voice” with their friends, download artists’ tracks on iTunes, and keep up with their favorites via Twitter. While this kind of dedication exists for other reality shows, none of them has the same following that “The Voice” has.
Each show should find the strategy that best works for them. “The Voice” is lucky enough to have found a niche and has grown on that original platform. If other shows do not start finding their own way to reach audiences, they can expect to continue watching their ratings plummet.
(11/12/13 5:29pm)
Last week, the Broadway musical “First Date,” which I reviewed for The Signal a few weeks ago, announced that it would end its short run in January. On Sunday night, “Big Fish,” starring Norbert Leo Butz, announced that it would end its run at the end of the December. The revival of “Annie” will also close its doors early next year.
Other shows like “The Glass Menagerie” and “Betrayal” are only scheduled to play limited runs and will also close in a few weeks’ time.
All of these closings made me stop and think about the current state of Broadway and theater in general. It would be unfair to entirely blame it on the consumer for not showing up to support these shows, for ticket prices are at an all-time high. It would also be unfair to solely blame the producers, who are simply trying to make a profit. In a world where we want bigger, brighter and more spectacular, the cost of putting on a full-scale Broadway show is enormous. In order to cover the cost, the show must charge more for tickets. Charging more for tickets means less people will show up.
This vicious circle can easily be related to other forms of entertainment in today’s crippling economy. People are trying their hardest to keep the market up and running, but it is becoming increasingly evident that the task is not a simple one.
That said, there are a handful of shows currently on Broadway that have had successful runs, like “Phantom of the Opera” and “Jersey Boys.” One could argue that only well-known musicals run for long, but then how can you explain the closing of “Annie” after only a year of performances? If revivals can barely stay open, how is there any hope for brand-new material to grace the Great White Way and stay there?
The solution is not easy, and like many outlets in the current economy, there may not be one simple answer.
What can be encouraged, however, is to support the arts. Whether it be theater, music, dance or anything else, the arts need support now more than ever. While attendance to sporting events has also decreased, no teams are shutting down and no stadiums are abruptly closing their gates. With the shutdown of the New York City Opera and the continuous closing of Broadway productions, the arts are on the verge of falling into trouble.
Each artistic production requires a massive team of people. Everyone from lights to costumes to set to performers need to be involved in every step of the process. Besides being a respected profession, this medium also provides jobs. Many positions have assistants and other smaller jobs, which in turn starts to give many aspiring hopefuls experience.
Many do not realize how hard it is to put on a performance. I just spent the past month working on the set of TCNJ Musical Theater’s production of “Cabaret.” Being a freshman, this was the first time I have worked on a college musical. There are not really words to describe how hard the production team and cast worked — everyone from an assistant to a lead actor dedicates so much time to perfecting the craft. There are also many jobs that people do not even know exist, like a publicist and a technical director. Without all the members poring themselves into their position, the production would fail. So many people only see the finished product, but if they knew what went on the two months before opening night, they would be simply astounded. Having worked on the show from the beginning, it is amazing to see how far it has come and watching people do what they are passionate about is simply priceless.
There may be no real solution to the problem of Broadway shows closing, and it is inevitable that some productions will fail. The arts, however, need to have continual aid whenever possible. Whether it’s a campus production or a regional show, the arts will never stop needing support. Everyone who has a love for something works hard at their craft and deserves the public’s support, and the arts are no exception.
(11/06/13 9:03pm)
The New York City Opera, a 70-year-old company that served as a paradigm for both the classical music world and the entertainment-driven city, closed its doors for good on Oct. 1 of this year.
The landmark may have closed for financial reasons, but the termination of the opera company posed a larger question: How can this classical form of theater stay relevant in younger generations?
“Not many people have an opinion — at least an educated one — about opera,” said Dan Malloy, a junior music education major with a vocal concentration. “Most people didn’t grow up going to the opera.”
One of the main problems is that many people, particularly young adults, find it hard to connect with pieces that are sometimes 100 years old. Despite this, Malloy is one of many students at the College who study and perform opera on a daily basis. These students are passionate individuals who work meticulously at perfecting this complicated art form.
“There is a certain way of breathing and support, a certain amount of space in the mouth and throat, a certain way to shape vowels and spit out consonants to make the texts that you sing (both) clear and expressive,” junior music major Kyle Sheehan said.
Students with a vocal concentration at the College can also take multiple classes and private lessons to help improve these techniques of opera and voice.
While some see opera as a dying art form, these students find performing this type of music exciting and refreshing, offering them a different type of outlet to express themselves.
“There is something special about singing opera that captures me in a way that nothing else can,” Sheehan said. “There is a certain structure, a certain beauty that is captured by the smooth lines of a classical aria or a huge opera chorus blasting away while the orchestra billows from the pit.”
Aside from vocal ability, students who study and perform opera learn a variety of other skills. They get experience by performing in front of others, learning about history and studying various languages. Many operas are written in other languages, such as Italian, and require students to ardently study and focus on the lyrics.
“By studying opera and singing in general, I have learned to think on my feet,” junior music education major Diana Befi said. “I have also learned that, when performing, you need to let yourself be completely in the moment.”
Befi and other students are learning skills that can help them outside the world of opera, too.
“These skills of time management, persistence and collaboration are always useful and vital to surviving in the real world,” Sheehan said, discussing opera’s impact on his future after college.
Regardless of how they got their start, Malloy, Befi and Sheehan all believe that opera is a crucial part of our musical culture and heritage.
“It’s an important part of our history … our generation needs to understand this and experience this just like past generations have,” Malloy said.
The only way to preserve opera in our culture is to get our generation involved. The College, for example, has an extensive music program in which students diligently work, and they should be rewarded with support.
Aside from recitals, the music department also has an organization called Lyric Theater run by staff member Lars Woodul. Lyric Theater’s fall production, Mozart’s “Impresario,” will be performed with the TCNJ Orchestra on Saturday, Nov. 16 at 8 p.m. in Mayo Concert Hall.
Although these steps may seem small, they all sing opera’s praises to a new generation, preserving its importance.