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To deem Jaclyn Pageau ’18 an involved Dartmouth artist would be to understate the depth and breadth of her pursuits in theater and music. Pageau is a soprano in the Sing Dynasty a cappella group, a dedicated tour guide for prospective students and works as a head usher at events in the Hopkins Center for the Arts. As a student, she spent an exchange term at the National Theater Institute, worked in the Upper Valley and New York City’s professional theater scenes as part of the theater department’s “experiential term,” and traveled to London as one of 10 students in the theater department’s Foreign Study Program in order to take classes in general and Shakespearean acting techniques at the London Academy of Music and Dramatic Art.
Dartmouth’s Christian a cappella group X.ado celebrated its 25th anniversary during Homecoming, welcoming alumni of the group in a performance at Rollins Chapel on Saturday night. Following the performance, the group and audience members enjoyed an evening of unstructured worship, an event demonstrative of X.ado’s group personality and mission. Founded in 1992, X.ado differentiates itself from other campus performance groups both in its philosophy and its approach to rehearsing and performing. While a love of music unites the group members, music isn’t the only thing that draws them together; the members’ faith and strong sense of purpose unites X.ado under a common identity.
I watched “Detroit” over a week ago, and I’m still not quite sure what to say. It is, without a doubt, the hardest film I’ve ever had to review. In retrospect, this is not a shock — director Kathryn Bigelow has shown a steadfast willingness to tackle controversial topics in her previous two films, “The Hurt Locker” and “Zero Dark Thirty.” Similarly, “Detroit” is based on the Algiers Motel Incident, although the film acknowledges that Mark Boal’s tense screenplay takes certain factual liberties due to conflicting or incomplete testimonies about what actually occurred in the 1967 incident of police brutality against three black teenagers. Thus, the plot details described in this review will be based purely on the events as the film describes them; if you want to know more about the real-life incident, I highly recommend looking it up.
Comprised of 11 performers from Portland, Oregon, jazz group Pink Martini, which was founded in 1994, artfully merges music from around the world, infusing it with its own unparalleled style. This worldly appeal is partially a result of Pink Martini’s commitment to embody what bandleader and pianist Thomas Lauderdale described as the house band the United Nations would have had in 1962.
Talking about food is challenging because it is never just about food. Food is inextricably tied to one’s being. To all, food is indicative of identity, a myriad of intersections. So much so that there is even an academic term for it: “foodways,” defined by the Oxford English Dictionary as “the traditional customs or habits of a group of people concerning food and eating.”
The first exhibition of its kind for the Hood Museum of Art, “Resonant Spaces: Sound Art at Dartmouth” introduces sound art from around the world to Hanover and the College.. Running from September to December, the exhibition is comprised of presentations and showcases that invite listening and learning. The exhibition centers on the commissions of artists Bill Fontana, Christine Sun Kim, Jacob Kirkegaard, Alvin Lucier, Laura Maes, Jess Rowland and Julianne Swartz. The hope of the exhibit is to invite people to redefine what art can be and how sound makes up our lives.
In Sarner Underground every Monday evening, a diverse group — ranging from nervous ’21s to members of the local community — gather together to learn and practice the beautiful art of Argentine tango.
On Wednesday, Sept. 20, Northern Stage premiered its production of “A Doll’s House.” Written by Henrik Ibsen in 1879, the play follows the unraveling of a seemingly perfect marriage and is considered by many a staple piece of feminist literature despite its author’s stated ambivalance to the cause. Robert Kropf wrote this version of the play, with Eric Bunge directing.
In my review of “Arrival,” I wished director Denis Villeneuve luck for his next endeavor, a sequel to my favorite film of all time: Ridley Scott’s “Blade Runner.” To be clear from the outset, the original “Blade Runner” is far from perfect. It is a flawed masterpiece, as influential as it is imperfect. And that’s probably why I love it. It is a slow, poetic and evocative film that never asked for or needed a sequel. But here we are 35 years later and “Blade Runner 2049” actually exists. Is it as good as the first film? Of course not, but I didn’t really expect it to be. Is it, at least, a worthy successor? By and large, I think so.
This article was featured in the 2017 Homecoming Issue.
Dartmouth’s isolated location and idyllic campus can often feel like a haven from pressing social issues, lulling students and faculty into complacency. Painter, photographer and poet Cecilia Torres ’18 confronts issues of racism and representation in an effort to reach beyond this veil of comfort, using her brush, pencil, camera and words as weapons in the battle to make minorities’ voices heard on campus.
The Emerson String Quartet returned to the Hopkins Center for the Arts Sept. 30, bringing to Dartmouth adaptations of music from 18th century Beethoven to emergent 21st century composers. Renowned for their insight and innovative sound, the Emersons hoped to transport audiences to musical realms unlike even past performances at this venue.
In many ways, “Dunkirk” is the film Christopher Nolan was meant to make. This is not to say that it’s his best film, though it is certainly among the best. While watching the film, one senses that it is the payoff for all his efforts to simultaneously become commercially successful and critically beloved over the last 20 years. After watching “Inception,” which is undoubtedly the most Nolan-esque of all the Nolan films, I feared that the director had reached his pinnacle. His unique and thrilling combination of labyrinthine narratives, philosophical themes and nuanced characters seemed to have been pushed to its limit. After reaching the top of Mt. Everest, there simply was no other peak to summit. His next two features reflected this fact; “The Dark Knight Rises” and “Interstellar” are both decent films that fall short of greatness because they are so overstuffed. Nolan’s ambition, previously his greatest asset, was slowly becoming his primary weakness. Until “Dunkirk.”
Every Sunday at approximately 9 p.m. a group of creative, artistically-minded students meets in Collis Center 301.
Over the summer, theater professor Carol Dunne received news that her vision to help support female theater professionals and artistic directors at the regional and national level had been endorsed by Helen Gurley Brown’s Pussycat Foundation. Since that decision, the Pussycat Foundation issued Dunne a check to the tune of $1.25 million to establish the BOLD Theater Women’s Leadership Circle. Such a grant, specifically aimed to support the careers of women in the theater, is unheard of and represents a major opportunity for theaters all over the nation.
This weekend on the bustling streets of downtown Hanover, the Skinny Pancake will be hosting Montreal-based acoustic blues player Adam Karch and the New Hampshire-based group Sensitive Men.
Those who work the land or live off of it know that although it may seem like the weather is fit for sowing thanks to the bout of warm weather this week, preparations on all fronts are in place for harvest. The Upper Valley, and New England in general, has brief, impressively productive and incredibly seasonal agricultural contributions.
A new name has been posted on the office doors of Shakespeare Alley, welcoming Monica White Ndounou, who joined the Dartmouth faculty as an associate professor of theater earlier this year.
As director of last spring’s student production “What Every Girl Should Know,” president of the all-female a cappella group the Subtleties and actress in “In The Next Room,” “Urinetown” and this fall’s “Cabaret,” performer and playwright Virginia Ogden ’18 has completely immersed herself in the arts at Dartmouth. Ogden spent the past summer as a student at the London Academy of Music and Dramatic Art as part of the Dartmouth theater foreign study program.
Darren Aronofsky and I have a complicated relationship. Well, to be more accurate, his films and I have a charged, complex and often fraught relationship. The common thread among his previous six films is the ability of each to elicit a distinct emotional response from me. “Requiem for a Dream” and “Black Swan” are masterpieces of modern tragedy, while “The Wrestler” is a solid, if unremarkable, film. On the other end of the spectrum, I found “Pi” to be a touch underwhelming and I absolutely loathe both “The Fountain” and “Noah.” Based on those precedents, I really had no idea what to expect from “mother!” other than the fact that it would inevitably provoke a strong reaction. And it most certainly did.