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The Dartmouth
March 30, 2026
The Dartmouth
Arts
Arts

'Mulholland Falls' plays like a predictable TV-movie

By Michael R. Lee | May 7, 1996

Television movies have a certain feel to them. Even in the best TV movies, there is never a sense of urgency or on-the-edge-of-your-seat suspense. What is going to happen and whodunit are always pretty apparent from the opening minutes. While most of them are not particularly horrible, TV movies do not exactly cause people to run out and tell their friends about them.

Arts

Choir, in concert, bids adieu to senior directors

By Michael Roberts | May 6, 1996

The Gospel Choir gave a stunning performance in Spaulding Auditorium on Saturday afternoon and bade farewell to its two senior directors for their undying commitment to the group. Under the direction of Simeon Anderson '97, Lisana Gabriel '96, Carmen Harden '96 and Boris Rose '97, the choir performed with an energy and intensity that drew multiple standing ovations from the enthusiastic audience. The first half of the program saw strong solos from Keara Sease '96 in "Lily in the Valley" and Christine Dankwa '97 in "Worthy of the Praise." Anthony Jurado '98 added a virtuosic soprano saxophone to the selection "Every Knee Shall Bow." The highlights of the first half were provided by the choir as a whole.

Arts

Gilliam's 'Brazil' contemplates profundity

By Tom Jawetz | May 2, 1996

Terry Gilliam has always worked with the past. In directing for Monty Python and in his first two independent releases "Jabberwocky" and "Time Bandits," Gilliam took us back to the medieval era, when knights battled evil beasts and rode in search of Holy Grails. Through the Python film "The Meaning of Life," Gilliam was able to make a transition into relative modernity, though certainly not normality.

Arts

Pharcyde displays hip-hop routine

By Gene Park | May 2, 1996

The hip-hop act The Pharcyde, in their performance at Webster Hall last night, faced the daunting task of communicating their message of hip-hop to a crowd that did not seem very familiar with their style. But that only made them more determined to win over the J.

Arts

Play uses dance, music to communicate message

By Lee Istrail | May 2, 1996

An Irishman, bathed in a pool of white light, begins to recount a story from his childhood. The story takes place when he was quite young, yet he remembers every last detail in "Dancing at Lughnasa," this term's mainstage play, which opened on Tuesday night. This man is Michael Mundy (J.

Arts

Band rages on in new 'Evil Empire' album

By Gene Park | May 1, 1996

The rock music scene was very different four years ago. In 1992, angry, self-conscious music, played by bands like Nirvana and Jane's Addiction, was burning up the airwaves. At that point, it seemed perfect for Zach De La Rocha and company to release the self-titled album "Rage Against The Machine," a bitter album showcasing Rocha's caustic lyrics that became the favorite for the disenchanted youth and drunken frat boys. But times have changed, and bands like Nirvana and Jane's Addiction have passed from the scene.

Arts

Music prof's work premieres in N. Y.

By Jack Vaitayanonta | April 30, 1996

The Chamber Music Society of Lincoln Center, the country's premiere chamber music organization, performed Northern Lights Electric by Music Professor Paul Moravec last night. The performance marked the New York premiere of Moravec's work, which is commissioned by the North Country Chamber Players and was performed throughout northern New England in 1994. The performance is the last part of Lincoln Center's "Music of Our Time" concert series at the Merkin Concert Hall. The 15-minute composition is scored for a mixed octet of flute, clarinet, string quintet and piano.

Arts

'Lughnasa' play opens tomorrow

By Sara Burch | April 29, 1996

Brian Friel's award-winning play "Dancing at Lughnasa" will be performed by a Dartmouth cast on the mainstage for a week, opening tomorrow night at 8:00 p.m.

Arts

Clark's comedic skits bring down the house

By Dave Stefanowicz | April 29, 1996

Comedian Anthony Clark took the stage before an energetic crowd of more than 300 spectators in Collis Common Ground on Saturday night. Clark, the star of NBC television's Thursday night sitcom "Boston Common," pleased his fans with a wacky, entertaining stand-up routine. Clad in a Nike hat, leather jacket and khakis, Clark drew on his characteristic Southern accent and charm to set the stage for his performance. A good portion of the act centered on Clark's family life as he poked fun at his home state of Virginia. "If you ever find out that you have a year to live, go to Virginia, where every day seems like an ... eternity," he said. Despite using mostly prepared material, Clark's show was fresh and original. He spoke of life's ironies -- stopping at a tollbooth to ask for Tollhouse cookies and attempting to feed hamburger to a cow. Like most standup routines, Clark used a roundabout style to bring bits in a circle for the audience.

Arts

Handel Society to sing with N. H. orchestra

By Jack Vaitayanonta | April 25, 1996

Works by Poulenc, Brahms and Mahler are on the program for a concert by the Handel Society and the New Hampshire Symphony Orchestra tonight in Spaulding Auditorium at 8:00 p.m.. In the first half of the concert, the Handel Society and the New Hampshire Symphony Orchestra will collaborate under the baton of Handel Society conductor and Music Professor Melinda O'Neal. They will perform Poulenc's Gloria and Brahms' Schicksalslied, and soprano Susan Narucki is the scheduled guest artist. In the second half, James Bolle, the orchestra's conductor, will lead the orchestra in Mahler's Symphony No.

Arts

Python ponders 'Meaning of Life'

By Tom Jawetz | April 25, 1996

In the course of life, humans are forced to ponder their existence and try to answer those deep philosophical questions, such as "why were we placed on this earth?" "What is the meaning of it all?" Finally, there comes a film that gives answers more explicitly stated than Jack Palance's quizzical "one thing" in "City Slickers." Monty Python address the puzzling topic of "The Meaning of Life," directed by Terry Gilliam, and breaks it down into its bare essentials. In doing so, Monty Python returns to its original BBC television style.

Arts

Meltzer talks on wartime drama

By Arvid Nelson | April 25, 1996

"I am working against the grain of traditional war studies," said Annabelle Meltzer, a professor at the University of Tel Aviv, Israel and a scholar who teaches the dramatic and historical events of World War I. Meltzer's studies do not focus on wartime tactics, but on the spontaneous theatrical performances that occurred in the French legions from 1914 to 1918. The universe of the soldier on the western front was one of hysteria and confusion, with 745 miles of trenches and 12 million men creeping sluggishly back and forth across the Flanders plain, she said. Meltzer recited a quote by the ancient Chinese military tactician Sun Tzu that "war is a project of deception and survival." In that spirit, she said the men of the French army deceived themselves from the horrors they faced each day with theater. Meltzer said the slapdash performances written and performed by the soldiers attracted crowds varying in size from 10 to 30 thousand men. She showed fascinating slides of army regulars watching staged performances while shells were raining down about 200 yards away. The professor pointed out that the concept of wartime theater extends beyond the literal plays performed by the soldiers to other aspects of military life. She said there are two established forms of performance.

Arts

Argentine director Puerzo masters political cinema

By Mobina Hashmi | April 24, 1996

Argentine director Luis Puenzo's first feature film, "The Official Story," is a masterpiece of political cinema. Set in 1983 right after Argentina lost the Falkland Islands War to Great Britain, the film brings to life the story of the desaparecidos, or the "missing ones," alleged subversives whom the dictatorial regime had mysteriously whisked away. The story Puenzo weaves is an intensely personal one in which the viewer's growing knowledge of the situation and accompanying unease matches that of the protagonist, Alicia. The opening scenes of the film are calm as they depict Alicia's (Norma Aleandro's) comfortable life as a history teacher in her mid-forties, and her husband Roberto (Hector Alterio), a wealthy businessman with influential political connections. At a high school reunion, Alicia meets an old friend, Ana, and they engage in friendly gossip. But when Ana recounts to Alicia the reasons why she left the country and the tortures that followed her midnight abduction by the authorities, it turns into a tale of horror. Alicia initially resists believing her stories until Ana tells her the subversives were kidnapped, tortured and killed, and their babies were often sold or given to couples with the right connections. The brutal purging of dissenting voices that Ana speaks of took place around the same time that Alicia and Roberto adopted their daughter, Gaby. Roberto had arranged the adoption and mentioned the exact details to Alicia.

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