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The Not-So Solemn Column

PAS 8: What a Party!

Welcome to the final post about musicals 🙁 . But don’t worry,  this PAS blog is going out with a bang (just like the musical we’re reviewing today)!

Hopefully, some of you were able to see the Penn State Theatre Department’s production of The Wild Party (it was AMAZING). The show is set in the Roaring 20s, and it begins by exploring  the complex and unhealthy relationship between Queenie and Burrs, two lovers who are, in a word, intense. Queenie is a flirtatious dancer who was looking for more out of a relationship when she found Burrs, who’s occupation is a clown.

When watching the show, it was jarring that the writers decided to make Burrs a literal clown, but in his introduction, a large portion of his song is fixated on making others laugh, or rather manipulating others into laughing. His occupation as a clown symbolizes how he is a manipulator through and through, it’s practically the only thing he has.

Queenie, however finds herself stuck in an abusive relationship with the manipulative clown, and she wants to “show up” Burrs, and what other way to do that then with a party! At the party, the audience meets the rest of the characters, two of whom, Kate and Mr. Black, become intertwined in the relationship between Queenie and Burrs when Queenie begins to fancy Mr. Black.

When Burrs sees Queenie flirting with Mr. Black, he becomes enraged. not only was Queenie able to manipulate him into hosting this party, but he has lost his ability to manipulate Queenie. Burrs spirals into a frenzy as he has lost the only thing he ever had a grip on: manipulation. As a result, Burrs loses his grip on everything and becomes enraged in a murderous frenzy.

The show contains many dazzling ensemble numbers with plenty of opportunities for dance numbers, creating the exciting and wild atmosphere of a 1920s party on stage. The show has a sizable cast of characters, but each character is lovable and fun, adding entertainment with their unique quirks and characteristics. Many characters even get their own songs, allowing the audience to see more of their personality.

My favorite thing about this show is the complex music style, consisting of a perfect balance between jazz, ragtime, and musical theatre. The music is very adaptable to each moment, able to quickly shift between fun, haunting, dramatic, and exciting in a matter of a few bars, very much reflecting the story. It is also reminiscent of the 1920s style music, immersing the audience in the story.

Particularly reviewing the Penn State production, I particularly enjoyed the fact that they decided to produce this show with a large budget. Some shows (like their production of Fun Home) benefit from a lower budget because it allows a more personal feeling. However, The Wild Party is not a show that demands intimacy (with the audience, at least). The production was very flamboyant in the costumes, set, and lighting, and I feel that this contributed to the fun aspects of the show very well.

What truly blew me away by Penn State’s production of the show was the sheer talent on the stage. All the performers are incredibly talented, showing absolute skill and talent every moment they were onstage and producing chemistry with their cast-mates throughout the entire show. It felt like was in New York City seeing a Broadway show!

If there’s one thing you take away from my blog, let it be this: check out theatre goings on campus! There is such an active theatre community in State College, so much so that there is a show or two practically every weekend!

  • No Refund Theatre puts on free shows in the Forum Building, and they are always a joy to watch! Go check them out for some great quality low-budget theatre! They post their shows on social media — Instagram: @norefundtheatre
  • The School of Theatre has 1 more show this semester (A Midsummer Night’s Dream — for any Shakespeare fans!). They also have 3 shows in the Spring semester, check them out on their website! Tickets for their shows are $12.50.
  • The Thespian Society produces shows less often than the other groups, but they put on higher budget student run shows, and they are also a joy to watch, especially if you know anyone in the org! Instagram: @psuthespiansociety

Hope you enjoyed reading this blog just as much as I enjoyed writing it!

RCL 7: Angel Action

Matthew Shepard Funeral Angels X400

We all know the infamous protestors that show no limits when it comes to what they say and where they say it, and the above picture depicts a group of these protestors. However, this is not the first thing the eye is drawn to.

You likely first noticed the figures draped in white cloth, you might even say they look like “angels,” and the “wings” block the viewer from noticing the protestors first.

Not only does the framing of the photo promote this focus on the angels, but such was the point of this initiative led by a volunteer group called “Angel Action.”

The context of this photo holds a lot of weight, and it amplifies the already powerful message of the photo tenfold. I came across this photo and its context in my research for my speech/essay, and thought it was too powerful to ignore.

This picture was taken at the funeral of Matthew Shepard, a gay student who was killed in a hate crime. Many came to honor his death, but because he was an openly gay man, there were groups that protested at his funeral, including members of the Westboro Baptist Church.

Although there were these people in opposition of commemorating Matthew’s life, what was more powerful was the sheer amount of support that overwhelmed the evil, including this group of volunteers who constructed large “wings” and stood in front of the protestors to block them from the audience’s view.

One striking detail of this image and the context surrounding it is the use of biblical symbolism to counter the protests of the Westboro Baptist Church. By dressing as  prominent figures in the Bible(angels), Angel Activism uses the protestors own rhetoric against them. The blockers did not have to be “angels,” but the fact that they were demonstrates how they reclaimed the symbol for a better purpose.

Angels also symbolize peace, protection, and love, and this is reciprocated through the characteristics of Angel Action seen in the picture. While the protestors are shouting and using blaring signs, the angels remain still and silent, forwarding the message that love overcomes hate, peace overcomes chaos.

The overall argument of the image is that the best way to counter hate is with love, and this message prevails today. For example, not too long ago, Milo, a speaker reciprocating many of the arguments of the protestors in the image, was invited to speak at Penn State by a student organization. To counter his event, student organizations across campus banded together to host a counter-event titled “Love is Louder,” continuing the mission of Angel Action and pursuing love over hate. “Love is Louder” was an absolute success, showing that throughout the test of time, Love Wins.

 

PAS 7: It’s Just a Ride!

Ride the Cyclone Poster | Theatre Artwork & Promotional ...

https://www.subplotstudio.com/resources/images/productions/4532/12212/art.overview.437.jpg

You might be surprised what kinds of things people write musicals about. For example, Ride the Cyclone by Jacob Richmond & Brooke Maxwell is a throughly entertaining musical about a group of choir teens who die on a roller coaster and communicate with a robotic fortune teller(yes, you read that right).

Unlike many of the other musicals I’ve reviewed on this blog, Ride the Cyclone does not hold a very deep meaning or inspiring theme; although it does attempt to present a message, it truly prioritizes audience enjoyment and fun, even with its morbid topic.

That’s the wonderful thing about musicals! There are countless different styles of shows, and there truly is something for everyone in musical theatre. So if you haven’t liked some of the shows I’ve talked about to this point, Ride the Cyclone may be for you.

I won’t discuss plot deeply, but the general summary is that a group of teenagers die in a tragic accident on a rollercoaster, but when they get to the afterlife, they meet the robotic fortune teller of the park, Karnak, who is actually a bridge between life and death (go figure). He states that one of them will be able to return to the living, but the rest must move on to the afterlife, and it is up to them to decide who gets to stay.

'Ride the Cyclone' review: It's a hit, lovable dead teens ...

http://www.trbimg.com/img-5616c831/turbine/ct-ride-cyclone-review-ent-1009-20151008

In my opinion, what makes Ride the Cyclone so entertaining is not the plot, but it is how enjoyable and fun the music style is. Every song is full of energy and wonder, and the pop-rock style plays into the overall tone of the show very well.

The show is structured so that each character sings a song, describing their life before they died on the rollercoaster. Although it sounds like a lot of exposition, the characters and their music are what makes this show special. Each story presented is more interesting than the next, and as each character introduces themself, you wonder what you would do if you had to pick who could stay alive.

What I personally love about Ride the Cyclone is how although it has a morbid topic, it absolutely embraces a wacky nature, focusing on comedy and entertainment throughout. It certainly is a unique musical in its humorous and inventive storytelling, and I definitely recommend a listen if you’re looking for a good time!

PAS 6: Art about the Art of Art!

Welcome to the sixth musical we will be discussing: Sunday in the Park with George (1984), with music and lyrics by Stephen Sondheim and a book by James Lapine!

Sunday in the Park with George Broadway @ Booth Theatre ...

You may or may not have heard of Sondheim before — he composed many memorable shows and changed the style of music in musical theatre as we know it. His works made such an impact that today, many musical theatre performers are recommended to have a Sondheim piece in their repertoire book for auditions.

The history behind the conception of this show is particularly interesting. Sondheim’s previous show, Merrily We Roll Along, had absolutely flopped (it closed after just 16 performances), and it left Sondheim distraught and ready to quit the theatre industry.

Before he could quit however, he met James Lapine, the playwright that would become his partner in crime for both Sunday (1984) and, afterwards, Into the Woods (1986). Lapine kickstarted the idea for Sunday by showing Sondheim a picture of Georges Seurat’s painting, A Sunday Afternoon on the Island of La Grande Jatte (1884-1886) and pointing out that the painter was absent from the work, uncovering the elusive history of the Seurat.

The Island of La Grande Jatte (1884-1886) by Georges Seurat

Exploring the mystery of Seurat’s life, Lapine and Sondheim decided to fill in the pieces of the puzzle, creating a fictional story surrounding Seurat’s life, work, and legacy in order to explore themes of emotional connection, the passage of time, art, and moving on.

Actors Bernadette Peters and Mandy Patinkin (as painter ...

The music of Sunday is absolutely breathtaking; the grand orchestral ambience, the stunning and unique vocals of the two lead actors (Mandy Patinkin and Bernadette Peters), and the musical themes truly define this show as a work of art. Sondheim’s signature is utilizing musical themes to facilitate themes of the show, and Sondheim beautifully executes this technique in Sunday.

Furthermore, the story of Sunday is one of the most unique I have encountered. Lapine plays with the concept of art in multiple ways, illustrating how society views art and artists, creating scenarios where the people of the painting are alive and interacting with the world, and outlining the artist’s plague (perhaps inspired by the despair Sondheim felt after his flop).

Lapine truly takes advantage of the fictional aspect of this show, breaking the rules of reality and creating countless parallels in order to establish a sense of wonder. He also utilizes jumps through time, writing the story not for plot, but mainly to facilitate themes and displays of emotion.

Although the story is dramatic, it is also quite humorous! (After all, it is the only show that I know of where the main character imitates 2 dogs having a conversation with each other, in song form of course. And yes, Jake Gyllenhall performed this song in the 2017 Revival)(both are links). There is a perfect balance of humorous and emotionally appealing moments in order to craft a truly enjoyable show.

Overall, I’ve been especially enjoying this show recently, so I thought it would be fun to write about it! It is truly an enjoyable show, and I recommend you check it out if you’re interested!

RCL 6: Paradigm Shift Topic

The Main Research Question:

How has artwork shifted society’s perception of LGBTQ+ Community over time?

  • Representation through artwork
  • Focus on more cultural aspects throughout history

Proposed Shifts:

Start: Creation of the original Pride Flag

Some other potential eras

  • Art commemorating Matthew Shepard — possibly explore the effect on the religious community?
  • Fun Home and Alison Bechdel’s other works — representation of Queer people/stories in art as a whole
  • Rise in popularity of Drag (Rupaul’s Drag Race, etc.)

Potentially: Effect of how art could be weaponized through wedding cakes (but I may just focus on the positive progressions of art).

What story needs to be understood/told, and why?

I feel that the LGBTQ+ history is not told enough. No part of queer history was ever taught in my school, and I feel that it is important to understand how this group has gained rights and respect over time. It is especially important to understand the history the LGBTQ+ community because of the backlash that people in this community still receive (case and point, people like Milo). Overall, I feel I am missing a huge chunk of knowledge about LGBTQ+ civil rights and I would love to learn more; the movements of today stand on the history of past movements, and I feel it is so important to understand the progress of the past (that is more recent than we realize).

I also believe that it is so important to recognize the works of art that helped to change social perception of the Queer Community. Many influential projects and works of art helped people to empathize and understand LGBTQ+ culture on a more emotional and personal level, and I feel that artwork especially helped to create cultural shifts surrounding perception of the Queer Community.

What is to be gained by a greater understanding of the subject at hand?

I feel that learning about the history of different groups of people allows us to have a more whole understanding of influences and cultures in today’s world. Especially with social justice and civil rights initiatives, it is so important to understand the history of the movements and how they have evolved.

It is also important to pay respect and recognition to those who have forwarded progress for marginalized communities. The progress of today stands on the shoulders of the progress they facilitated throughout history. For the LGBTQ+ community, I feel this is especially important because this history is not taught in as many schools.

PAS 5: Ghost Quartet — Trick or Treat?

In honor of Halloween coming up soon, we’ll be learning about the spookiest musical that I know of: Ghost Quartet, by Dave Malloy.

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The show is a specific type of musical called a “song-cycle” where the songs are not clearly connected by a plot, but rather by a theme. Usually, each song in a song cycle tells a unique story of its own that fits into an overarching realm, similar to an album.

The plot of Ghost Quartet is almost impossible to understand and even more difficult to describe. Malloy himself describes the show as “bourbon and ghosts and love and death and wailing and noise and Thelonious Monk” — a broad and very non-specific overview.

Essentially, the plot of the show revolves around 4 characters; however, the 4 characters are reincarnated multiple times, not mentioned often by name, not introduced chronologically, and briefly mentioned. The plot jumps between different moments in time, and is extremely hard to follow, especially on a first listen.

Yet, this complexity is entirely intentional and integral to the character of the show, and many (including myself) enjoy this musical not for the plot, but purely for what may be described as the vibes. Between the music, expression, acting, and intimacy of the show, the emotional expression is almost unparalleled. You may not understand what is going on with the plot, and yet you feel immersed in the themes presented through the expression of feeling.

As with many of Malloy’s works, the music is also extremely interesting and inventive. The actors provide the accompaniment throughout the show, picking up unconventional instruments such as the Celtic Harp, Erhu, and Metallophone.

Overall, the show is enjoyable. Even though the plot may seem extremely serious at times, it jokes at itself repeatedly, holding a very informal tone, and focuses on having fun. In one song, for example, the audience is invited to play along, showing that it is certainly a show more focused on fun than taking itself seriously.

http://https://www.youtube.com/watch?v=x42OuR1bCow

Ghost Quartet exemplifies how musicals use and rely on music for storytelling and for conveying a thematic message to the audience. After listening to the song-cycle, I felt as though I had no idea what I had listened to, yet at the same time I felt as though I had become emotionally attached to the story. I highly recommend a listen, especially for Halloween!

Overall, Ghost Quartet is a beautiful (and spooky) show that demonstrates the power  and importance of music, expression, and fun in storytelling. Hope you enjoyed this post!

RCL 5: Open Your Eyes By Opening Your Ears!

Hrishikesh Hirway is a connoisseur of listening in every way: he is an avid listener of music, he created the podcast Song Exploder (where he listens to songs with the artists of those songs), and he is a producer and songwriter himself. Listening is embedded into his lifestyle, and yet, as he shares in his TED Talk, he is still learning about how he can better listen to others.

During his talk, Hirway explains how he learned that although he might be great at listening to music, he realized that he could improve at listening to people. During his podcast, he would focus the conversation on just one song, but he learned through holding these conversations with artists that there was a lot more to the artist and their art than just the song.

He describes how so many doors were opened when he began listening to others more intently and curiously, and he hopes that others will take up a higher interest in listening and learning about the stories of other people rather than sharing their own.

Due to technology, there has been a shift in the way people communicate, and therefore the way through which people listen to each other has changed. Hirway fears that due to this paradigm shift in communication, we may be traveling the wrong direction in terms of listening to each other.

Hirway recommends that we shift the paradigm shift and redirect it so that people become more interested in listening to the stories of others. He gives an example of a song he wrote in order to show people how the stories of others can make life so much more meaningful. He plays a segment the song without background information, and then tells the story behind his song and why he wrote it how he did. In listening to his story, the audience understands much more about his music so that when he plays the full song, the emotional impact of the song is extremely elevated.

Another strategy he uses in his speech to further his message is an analogy. He relates listening to accessing different parts of a house, correlating different levels of interest with different levels of exploring a house. This helps the audience to understand the concept of listening more deeply so that they can apply it in their lives.

Overall, I feel that Hrishikesh Hirway is a skilled speaker, and I feel that his message about listening is certainly an insightful topic and something that I hope to apply to my life moving forward!

PAS 4: Ordinary Days — an Extraordinary Musical!

Ordinary Days is an off-broadway musical by Adam Gwon about four people in New York City.

Everything about the show is simple:

  • There are only four characters, so there are only four actors
  • The only instrumental accompaniment is piano
  • The setting is New York City, a very common setting for musicals

However, listening to this musical soundtrack is an amazing experience that can only be described as extraordinary. So what makes it so wonderful?

For me, the simplicity of the show’s concept is something that makes it charming. The quaint concept is easy to understand, and the description of the ordinary days of four ordinary people is an unapologetic expression of humanity.

Many digest musicals or other forms of media in order to escape the ordinary world, but I think the great part about Ordinary Days is that it forces us to introspectively reconsider how we view the ordinary, and to see life not as a burden, but as an adventure and an opportunity to grow.

The musical follows two main pairs of characters that occasionally intersect.

Deb is a stressed out college student who has booked her time so much that she can hardly find an ounce of time to experience the moment. She meets Warren, a freelance artist/house-sitter who has nothing but time on his hands. Deb loses her research notebook, and when Warren picks it up, they are forced to see the world from each others perspectives.

Claire and Jason are a couple who live in New York, and as the story progresses, the audience watches the discord between them grow. Both must confront emotional baggage from their past in order to move on, and the climax of this development is both heart-wrenchingly cathartic.

As for the music, even though the only instrumental accompaniment is piano, this does not hurt the music of the show at all. In fact, it helps to maintain musical themes and a continuous style between different songs, so you know when you’re listening to a song from Ordinary Days.

The composition of the music specifically excels at expressing the varied emotions of the characters. Through the pacing of rhythm and building of chords, the audience can feel when the setting is calm, when the tension is growing, or when character growth is occurring. One of my favorite examples of this is the song “Calm,” sung by the erratic Deb.

http://https://www.youtube.com/watch?v=tQ6RSX-Hk9Y

I won’t spoil all the good details because I highly recommend listening to this musical if you’re interested! It’s a highly enjoyable show and it is another one of my favorites. Hope you enjoyed this post!

RCL 4: A Slogan to Love

For years now, the slogan accompanying the pursuit of LGBTQ+ rights has been the simple phrase “Love is love.” Although it is hard to trace the origin of the slogan, it is not difficult to trace the impact. “Love is love” has accompanied countless protests for LGBTQ+ rights because it summarizes a substantial part of the argument for LGBTQ+ rights.

This simple phrase succinctly states the logical approach to LGTBQ+ rights, especially when catering to more conservative audiences that may not be as open to listening to the queer population.  On its own, “love is love” may not seem like a meaningful phrase, you’re simply restating a word. However, when appleid to the rhetorical situation of LGBTQ+ rights, it becomes a powerful embodiment of the fight for rights for same-sex marriage and LGBTQ+ rights as a whole.

Ken Cedeno / Getty Images

To those who may not be as open to the expression of lesbian, gay, transgender, bisexual, and queer love, “love is love” provides a bridge of logic that they can follow. Because of its simplicity, the slogan is easily understood by anyone. The logic behind the slogan is also easy to understand: all types of love, including queer love, is still love. To reject love is something that takes a substantial amount of resistance to humanity and ignorance of logic. In this way, the slogan implements pathos in addition to the logical appeal(logos) in order to convince the audience to stand in support of LGBTQ+ rights.

The slogan “love is love” has had a substantial impact, especially in recent history. Beginning in 1971, same-sex marriage has been deemed unconstitutional multiple times at a national and state level (links to external site). However, support for LGBTQ+ rights and same-sex marriage grew, and with it, the slogan “love is love” was carried on posters throughout protests. Finally, same-sex marriage was deemed constitutional in the Obergefell v. Hodges decision on June 26th, 2015.

Since then, the slogan has carried an unprecedented presence in continued protests for global LGBTQ+ rights. In 2017, #LoveisLove was the hashtag for LGBTQ rights, and the slogan has been translated to other languages, truly carrying a global significance.

FILE - In this June 30, 2019, file photo, marchers participate in the Queer Liberation March in New York. This year's Pride events were supposed to be a blowout as LGBTQ people the world over marked the 50th anniversary of the first parade to celebra

The Associated Press

Overall the phrase “love is love” embodies heartwarming support for those who have been shunned throughout history solely based on who they love. Through its simple logical appeal, “love is love” has facilitated positive cultural change globally, becoming an anthem for unapologetic expressions of love.

PAS 3: Oklahoma: Much More than OK!

Welcome back to the PAS blog where I introduce you to some cool musicals! This week, we will be discussing Oklahoma!, specifically the 2017 revival of this Rodger’s and Hammerstein classic.

~ Unlike the previous two shows (Fun Home, Come From Away), I saw a performance of this show live on Broadway with my choir, so I can also speak on some of the live elements rather than just the soundtrack! ~

Reviving a show, especially a classic such as Oklahoma!,  is nothing short of a risky move for any director. But in my opinion, it is the boldness of this revival that makes it so show-stopping.

Originally, the show was very tame, uplifting, and positive; however, the revival decides to spin this classic western tale in to a more historically truthful version, not ashamed to unabashedly demonstrate the violence, lust, and complexity that accompanies this story in its historical western setting.

The story is slightly altered to bring out darker elements, yet the uplifting themes still apply. As in the original production, “Cain’t Say No” is an overwhelmingly fun piece through and through in the revival, and Tony Award Winner Ali Stroker (also the first actress who uses a wheelchair for mobility to perform on a Broadway stage!) especially knocks this number out of the park, creating a truly enjoyable experience.

 

Another bold choice of this revival is the modernization of the music. The lilts, falsetto notes, and slightly poppy aspect that is present in “Cain’t Say No” and many other memorable numbers is something that I personally found truly enjoyable, fun, and inventive. I definitely would not have been as engaged with this musical if it weren’t for the creativity present throughout the score.

Perhaps the most intriguing detail is the more abstract interpretation of the story. Where neat philosophical ends were tied in the original version, the revival chooses to untie them and leave the audience to grapple with their interpretations of the, at times, gruesome events that occur on stage. The raw power that the revival has through its abstract interpretation is something that only adds to its glamour. 

One interesting aspect of fabricating a more abstract interpretation of this show is the lighting choices. Throughout the show, which is performed in the round (see image), the lights are entirely kept on for the majority of the show, save for a few intense moments where the house is plunged into complete darkness, emphasizing the intensity of these scenes.

The lighting and the audience placement around the theater aim to integrate the audience into the show. There are even tables on the stage that audience members can buy tickets for. To add into this integrative audience experience, throughout the first act, the actors make cornbread and chili to serve to the audience during intermission (it was really good!)

Summary: Although some believe the revival of Oklahoma! took too many liberties, I believe that it was this creative perspective that made the revival of the show something truly special. Between the abstract interpretation of the story, modernized music, and audience integration, this show is certainly one that I was truly privileged to see live.

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