Elissa Miller

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Elissa Miller is the Arts and Entertainment Editor for Niner Times. She is a junior at UNC Charlotte studying Communications and Political Science. When she isn't reviewing theater for Niner Times, she is working on bringing sex education to campus through Sex Week UNC Charlotte or forcing her friends to binge watch television with her. In the future, she would like to be an investigative journalist, a lawyer, or the second female President of the United States (because if there isn't one before the time she gets there, that's just sad).

Three Bone Theatre’s ‘ The Daffodil Girls’ highlights women in theatre

Kerstin Vanhuss was sick of it. Sick of trying out for school productions again and again, working to earn one of the three roles for women. Meanwhile, the script had room for 10 men. Why were there so little roles for women when they dominated the enrollment of the theatre department? Frustrated, she and two fellow students at Appalachian State University decided they’d had enough. Branching out on their own, the three founded a new theatre troupe with the goal of producing women-only productions. While the group eventually decided to focus more on  choosing playwrights who were women, it still provided a space for women and minorities to find the roles they’d been desperately vying for. Years later, it continues under the name WITT, the Women’s and Inclusive Theatre Troupe.

Only a few years post-graduation, Vanhuss is in a woman-dominated cast yet again in Three Bone Theatre’s production of “The Daffodil Girls” where she plays the main character Shelly. The play, an adapted version of the Tony-winning play by David Mamet, “Glengarry Glen Ross,” follows the story of a hardcore version of the Girl Scouts known as The Daffodil Girls, where they are pushed to sell cookies in order to keep their troop alive. The wit is biting, the insults hurt and the play feels more intense than it has any right to be.

Three Bone Theatre is a local nonprofit theatre company. It was founded in 2012 and specializes in “adult contemporary theatre.” In the past, it has been drawn to works that wrestle with relevant and sometimes difficult ideas, such as “Fahrenheit 451” and “Motherhood Out Loud.” There is also a civic engagement element as the company works with community partners for each production. For “The Daffodil Girls,” Three Bone is partnering with the nonprofit Girls Rock Charlotte, an organization founded by UNC Charlotte professor Kelly Finley that aims to empower girls through rock music.

One of the reasons that “The Daffodil Girls” is so interesting is because it takes what is typically a story centered around men and centers it around women. Specifically, it centers it around young girls. Here, it is not the men who are the powerful and greedy corporate stereotypes. Instead, it is the girls that are deceitful and mean. They’re power hungry. They will do anything it takes to get ahead. This depiction of girls and women is incredibly rare in any media form, where they are seldom showcased in leadership roles at all, let alone allowed to be desperate for power and money. The show breaks these stereotypes and gives actresses the chance to flex those nuanced emotional muscles. Every role is a different complex and strong female character. While the characters’ ages range from five to 12, the entire cast is composed of adults; all are women. The creative team, with the exception of the excellent lighting, set and sound design (Ryan Maloney and Benjamin Stickels), mirrors this as well.

According to Director Amanda Liles, this isn’t typical of theatre productions. She stated, “You’ll find that the majority of artistic directors, the majority of executive directors are going to be men. And the majority of stage managers are men too…but it’s unusual to find, like, a production company where a majority of people are female, and I think that [what] is really interesting about Three Bone is that we have so many people in these power positions who are female, which is great.” Most all of the other production teams she has worked on have been male-dominated.

Does being involved in a woman-centric production team change anything? Based on interviews, the answer seems to be an enthusiastic ‘Yes!’ However, the difference is hard to quantify. Liles references a more supportive and enthusiastic working environment (though she also says it may be more organized). Vanhuss, though clear about her preference for working in woman-dominated casts, found it hard to explain why. One of her reasons was that “…a lot of times, women get more committed because there are so little plays for us so we put a lot more work into it.” Another was a feeling of frankness; that “you can open up with your emotions a lot more.”

However, there are other larger reasons. Vanhuss recounted the story of one of her friends who was asked to lose 15 pounds for a role in a local college production. “I saw her not eat things sometimes and spend hours on a treadmill. For college theatre.” she stated. She also indicated that’d she’d feel safer bringing up concerns to a woman director than a man, especially in the wake of the #MeToo movement. Liles seconded the idea that theatre isn’t immune to the reckoning of #MeToo. She said, “I know from friends and other people’s experiences that sometimes it can be icky. Like there can be people who are predatory or a little too touchy-feely or inappropriate at times in the theatre community.”

But while Three Bone Theatre’s production of “The Daffodil Girls” may be an uplifting, safe and more collaborative experience behind the scenes, watching it is hard. It hurts to watch these young girls tear each other down and insult one another in the worst ways. It is painful to witness them tear each other apart, especially while wondering why their parents won’t listen or do anything to stop it. Yet, that’s the point. “The Daffodil Girls” wants to demonstrate just how cruel and hard being a young girl can be. It tells us that they can be mean to one another and that they still have valid problems, even if they are young. Director Amanda Liles emphasizes this as well. In her director’s note, she writes, “We need to do right by our young people. Love them, encourage them, advocate for them and inspire them to stand up for themselves and others.” Hopefully, “The Daffodil Girls” encourages audiences to do just that.

Featured photo by Click Witch Photography.

UNC Charlotte production of ‘Twelfth Night’ was fun, engaging and relevant

Jazz music filled the room, played by a small ensemble band incorporated into the backdrop of the set. On stage sat the body and mast of a large sailing ship, partially sunk into the floor. Beyond the boat, the stage was largely barren, decorated only by grey arches matching the color of the floor, some green vines and streetlights. “Twelfth Night,” UNCC’s second Department of Theatre production of the year, was about to start. I’ve always had a bit of a soft spot for Shakespeare, which I blame on my odd middle school experience of volunteering at the Renaissance Festival for three years. It can also partially be attributed to the lovely web series “Nothing Much to Do” (an adaptation of Shakespeare’s “Much Ado About Nothing”) on YouTube. Thus, when I first heard that “Twelfth Night” would be performed this season, I was immediately excited. Apparently, I wasn’t alone. The audience was packed.

The plot of “Twelfth Night” centers on one of two twins, a woman named Viola (Amberlin McCormick). After the ship she is traveling on wrecks, she decides to disguise herself as a man to obtain work from Duke Orsino (Marcus Fitzpatrick). Orsino is desperately in love with a noblewoman, Olivia (Jacqueline Williams), who is in mourning nearby. The feeling is not mutual. When Orsino sends Viola — in disguise as the male Cesario — to convince Olivia of his love, Olivia instead falls for the disguised Viola. This is only further complicated by Viola’s feelings of love for Orsino and the romantic goals of two of Olivia’s other suitors, a knight named Sir Andrew Aguecheek (James Michel) and Olivia’s steward Malvolio (Jack Murphy).  

However, there is another level at play here as the B-plot provides some of the funniest moments and characters. Olivia’s household members, such as her uncle Toby (Dylan Ireland), her right-hand woman Maria (Isabel Gonzalez) and her “fool” Feste (EJ Williams), continually pull off elaborate deceptions on those around them. When the play begins, the object of one such deception is Sir Andrew. Toby has convinced poor Andrew that the knight has the ability to marry Olivia, despite the fact this will never be the case. Toby is simply trying to get as much money from him as possible. Similarly, the group (now containing the duped Andrew) later conspires to convince Malvolio (with forged letters a là “Much Ado About Nothing”) that Olivia loves him. This is viewed as an act of revenge for Malvolio’s pretentious and condescending attitude, with the primary goal being to embarrass Malvolio and then drive him slowly mad.

Every member of the cast was strong, from the main characters to smaller roles. The star of the show was McCormick as Viola. This was a hard role and she really nailed it. She sold the internal emotional struggle, landed the physical humor and created solid romantic chemistry with two love interests. Her banter with Williams as Olivia was fun and engaging to watch. Olivia herself found the right level of slightly-pompous-but-still-relatable needed to create a bond with the audience. Fitzpatrick as Orsino completely sold the misguided love-sick nature of the part. However, I have numerous words to say about the ensemble of Olivia’s home. Williams’ Feste was absolutely incredible, balancing remarkably fast and witty lines with fun, jazzy vocal performances. Murphy as Malvolio played a great comedic “villain” and clearly had tons of fun doing so. The audience had just as much fun watching him. Michel as Sir Andrew really nailed the awkward dopiness of the part, embodying the stereotype of the lovable idiot (very similar to Maxwell Glick’s portrayal of Mr. Ricky Collins in “The Lizzie Bennet Diaries”). He also excelled at physical comedy, which was seen throughout the play and highlighted in a failed swordfight.

Photos courtesy of Daniel Coston.

UNC Charlotte’s production of “Twelfth Night” was, by far, the best production I have ever seen in my time here. It was exceptionally well acted and had remarkable set and costume designs. Most importantly though, it completely connected with its audience. People gasped at unexpected turns, were invested in the love stories and spent huge portions of the play rolling in laughter. I have rarely seen that many people, especially young people, 1) so completely invested and interested in a play and 2) seen them this invested in Shakespeare. I’m pretty sure the girl in front of me laughed so hard she was crying. After talking with the director, Dr. Andrew Hartley, I went into this performance with admittedly high expectations. All of them were surpassed.

The question then becomes: why did this production connect so well with modern day audiences? My answer is three-fold. One, the play was reimagined in a format that allowed modern/new additions. The best example of this was a spontaneous musical rendition of “We Will Rock You” that put me at a complete loss for words (in a good way). Jazz music, modern dance moves and the contemporary feel of the production design also helped connect with the audience. Part two of what made it so special was the acting and line delivery. Oftentimes, Shakespeare’s writings can be associated with a feeling of stuffiness or thought of as too complicated to understand. The actors in UNCC’s production rise above that easily. The words didn’t feel like words from 400 years ago, they felt like the natural speech of the characters. They are filled with love, sarcasm, desperation and other human emotions. It almost never feels forced.

The third reason is that the play, despite its age, still wrestles with contemporary and relevant issues. “Twelfth Night’s” most obvious issue is gender, which is primarily explored as a limit to meaningful relationships. However, it also ties together gender and sexism. Orsino is unable to truly get to know Olivia because of how he (and the world around him) views women. She is just a romantic object to him and she knows that — and actively dislikes it. He builds a much more engaging and open relationship with Viola (as Cesario) because he treats her like he would a man. Further wrinkles emerge at the end of the play, in which Olivia marries Viola’s twin brother, Sebastian (Deandre Sanders). At the time of the marriage, Olivia believes Sebastian to be Viola’s male persona. However, when it is revealed that Viola is actually a woman and that Olivia has instead married Sebastian, she does not even seem particularly fazed. While Viola and Orsino both get their version of a happy ending, Olivia’s fate feels much more uncomfortable. She’s done the very thing she didn’t want to do with Orsino: marry a stranger.

This fall’s production of “Twelfth Night” was not only a highlight of UNCC theatre department productions, it was also one of the best Shakespeare performances I’ve come across to date. It had a stellar creative vision and succeeded in creating a strong and cohesive blend of set and costume design. The ensemble of college actors was absolutely incredible, taking on their roles with gusto and skill. The production felt modernized. It felt relevant. It had musical numbers and sword fights, love and comedy. What more could I possibly want in a play?

INTERVIEW: Director Dr. Andrew Hartley talks UNCC’s newest production, ‘Twelfth Night’

Shipwrecks. Love triangles. Gender-bending disguises. All of these can be found in UNCC’s newest production “Twelfth Night,” a romantic comedy written by Shakespeare. It is directed by UNCC faculty member Dr. Andrew Hartley. Dr. Hartley is the Robinson Distinguished Professor of Shakespeare Studies, an esteemed scholar of Shakespeare and an acclaimed and prolific novelist. Prior to the show’s opening night, I sat down with him to talk about the production, what goes into directing college students and the continued relevance of Shakespeare in today’s world.

You are directing “Twelfth Night” for UNCC this month. How would you pitch or describe the plot to college students who haven’t heard of the production before?

“The plot of the play hinges on mistaken identities and people being cast out into a place where they don’t live. But the core of the story is about love triangles [and] love relationships which are complicated by the fact that the people in them are not who they seem to be, and in one crucial case, one of the women is disguised as a man. I think the focal point of the story, in some way, is about exploring the difference between attraction and connection…One of the things I am running with is the idea that, in some ways, gender can get in the way of forming real, close friendships that can turn into deep personal relationships. Because certainly the Elizabethans (and to a certain extent, we) were raised with the idea that the opposite sex is foreign. Other. And that we have to change the way we behave around people of the opposite sex, especially if they are people that we are romantically interested in. Whereas, within the world of the play, the same-sex relationships are in some ways more honest. So the core relationship between Viola and Orsino is built while Orsino believes her to be a man. To me, that’s interesting.”

Out of Shakespeare’s very extensive body of work, do you have any insight into why the Theatre Department chose “Twelfth Night” specifically?

“Well, a couple of years ago we finished a six-year project which was called 36-in-6 in which we were basically doing something to do with every single play in the canon as we worked towards the 400th anniversary of Shakespeare’s death in 2016. So we’ve done a lot of Shakespeare here over the last…I’ve been here, what? 14 years I think? And we’ve done a lot of Shakespeare since I’ve been here in one form or another. ‘Twelfth Night’ is not one that we have done as a main stage production (though we’ve done little workshoppy kind of things). Once we got out of the 36-in-6 thing, in which we felt there was a lot of pressure on us to do representative work across the whole body, we were then able to start saying, ‘You know, let’s do plays that we like; plays that feel like they have contemporary relevance and plays that are well-suited to an undergraduate cast.’ Unless you are doing a kind of deconstructive, postmodern production, I don’t see us doing ‘King Lear’ anytime soon. Our strength as a department is working with our students and we don’t have very many 80-year-old students. So ‘Twelfth Night’ is a play that works well with an undergraduate cast. It is one of my favorite of the middle comedies. We had ‘Measure for Measure’ on campus last year with Actors From London Stage, and the last Shakespeare we did was ‘Hamlet.’ So we’ve been clustered around the middle of Shakespeare’s career and I think this is one of the greatest and most successful comedies of that period. It is also a very musical play and one of the things I was really interested in was incorporating a lot of live music and building that into the fabric of the show; so this is a production that is set in a world that looks kind of like New Orleans and is contemporary and jazzy.”

From a directing standpoint, how do you go about approaching a show that is as well known as “Twelfth Night”?

“Well known is certainly in the eye of the beholder, isn’t it? I mean I thought that back when we did ‘Hamlet’ and we were using the Q1 text (the earliest printed script), which is very different from the text that most people are familiar with, and I was anticipating all kinds of pushback because none of the famous lines were in the play. What I discovered in the process was that most people don’t actually know ‘Hamlet’ as much as they think they do, and I suspect that’s the same with ‘Twelfth Night.’ It’s one of those plays that some people know well and some people really love but I think, you know, because of the way our education system is structured at the moment, people come to university with surprisingly little hands-on knowledge of Shakespeare. Even when they have studied it in high school, frequently what that means is that they’ve seen a movie or they have read sort of ‘No Fear Shakespeare’ (where they are not actually reading Shakespeare most of the time). There’s not that much deep knowledge, with the exception of a couple of plays like ‘Romeo and Juliet,’ ‘Macbeth,’ maybe ‘Hamlet’ and maybe ‘Julius Caesar.’ Not a lot else. So, you know, my sense is that people have a sort of vague sense of the place of these plays in culture but most people don’t know them all that well. And I’m not just talking about students, I think generally in the culture as a whole that the idea that large numbers of people are really familiar with Shakespeare hasn’t been true for a long time.”

UNCC production of “Twelfth Night.” Photo by Daniel Coston.

What about this production and interpretation of “Twelfth Night” makes it unique from other productions?

“So as I said, it has a very jazzy kind of feel…it’s not a real contemporary world. The clothes look mostly modern (but slightly stylized), there are no cell phones and some people carry swords. It’s got a contemporary vibe but has an eclectic, deliberately non-precise kind of location. As I was talking to the designers, I kept saying, ‘I want it to feel sort of like New Orleans and to have a lot of the things we associate with New Orleans, but I don’t want, like, Mardi Gras beads and Bourbon Street stuff. That’s not what I’m looking for.’ I want a general sort of coastal city vibe.

One of the things that I wanted to do from the outset, and I don’t know how well you know the play, but it begins with a shipwreck. But unlike “The Tempest,” it’s a shipwreck we don’t see. I’ve worked on this show professionally a couple of times before and we always sort of put focus on the romantic relationships. But one of the most important relationships in the play is the Viola/Sebastian relationship — the brother and sister relationship. In some ways, the huge payoff moment at the end is the reconciliation of brother and sister. I think modern audiences always struggle with that…it’s a very simple thing. They’ve never seen them on stage together before the end. One of the things that we wanted to do from the start was to stage the shipwreck, so you actually get to see that moment of separation, and because this is a Black Box show, it’s very small and very actor driven. Though it’s lush in terms of sound and music and color and so on, it is still small, and so we wanted to begin with one big production number; to sort of wake people up and say, “Boom, here it is!” and then go small and focus on the relationships.

I was looking at the cast….and I suspect this is the most diverse Shakespeare show we’ve ever done. I may be wrong. What interests me as an educator, as well as a director, is approaching something like Shakespeare, which people tend to think of as sort of vaguely respectable and sort of up on some pedestal somewhere, kind of irrelevant and out-of-reach, and what I want our cast to get out of this process (and what I want the audience to ultimately get out of it) is a sense of ownership; that we are separated by 400 years or more from this stuff and it doesn’t belong to anybody any more than it belongs to anybody else.”

Speaking of Shakespeare living and writing 400 years ago, why do you think we continue to find so much value in his work? Why is it still so widely read and performed, at least in the theatre community?

“I think there are two reasons. Partly, it is about the period in which he was writing, with the emergence of early modern theater from the 1570s to the 1620s. By the end of the 1620s, we are starting to see a separation of the different kinds of theaters. There are some theaters that are playing to the general public and some that are much more expensive, but in Shakespeare’s day, that’s not the case. He’s writing for a total cross-section of the population. At any given time in this time period, there are about seven functioning theaters in London. Each of those theaters holds about 3000 people. Population of London is only about 120,000, and those playhouses are functioning as commercial ventures every day except Sunday. So you do the math and a huge percentage of the population are going to the theater on a regular basis. Some of those people are day, itinerant laborers making as little as you can possibly make without being homeless and some of them are aristocracy. The theater is an actual cross-section of the population and that is not something you have very often, before or since. I don’t know that there is a modern equivalent. Maybe some sporting events? But those are not cultural events in the same way. One thing you know for certain, is that the people who are going to see ‘Hamilton’ are probably not the same people who are going to the Panthers game, and they certainly aren’t the same people who are going to the Monster Truck rally down the street. We have, particularly since the 19th century, an increasing separation between high and low culture in all aspects, whether that is books or TV or movies or whatever. In Shakespeare’s day, that wasn’t the case. So part of what makes him continue to work is that the plays were always designed to function on multiple levels. That’s point one.

UNCC production of “Twelfth Night.” Photo by Daniel Coston.

Point two is that Shakespeare, unlike most other writers, is himself invisible in the work. Whenever somebody says to me, ‘What does Shakespeare believe about x?’ You can’t say. You can say what certain characters say. Part of what makes Shakespeare himself is that he is always able to take every character intensely seriously, regardless of their moral status or their function in the story, and give them a plausible set of ideas. What Shakespeare agrees with is very, very difficult to say. That’s not the case with some of his contemporaries. Most of the time we want plays to feel like novels; we want that kind of authorial voice that tells us how we are supposed to read everybody in the play and what we are supposed to deduce. You don’t get that with Shakespeare. This means that every production of the play has the capacity to go in so many different directions.

For example, a play like ‘Henry V.’ Most of the time when it is staged today, it is like a sort of monument to anti-heroism and anti-war. 100 years ago, it was the opposite. It was the supreme patriotic, nationalist play. And it’s not that the play’s changed, but we have changed…The reason we keep coming back to Shakespeare is because Shakespeare is a mirror and we keep seeing ourselves, and the things that interest us now are not the same as the things that interested us 20 years ago or 50 years ago. In class now we spend a lot of time talking about gender politics and sexual identity. Did anyone talk about that in Shakespeare classes 40 years ago? The plays are amorphous and rich and complex, but they don’t insist on a single perspective.”

How do you approach the job of directing college students specifically as opposed to directing some other kind of production?

“The difference with working with professionals is that they have a different set of skill sets that they already know how to use. When you’re dealing with college actors, the rehearsal process is also a teaching process. In many cases, I’m working with actors who have never done Shakespeare before (which would almost never happen in a professional theater). Most of the time when directors are working with professionals, a lot of the key job is putting the right person in the right role and then getting out of the way. Student actors expect a lot more. Our rehearsal space is sometimes a transitional space. Different actors are going to be in different places and some are going to be much further along than others, but some will often want the director to do the work for them and tell them how to interpret, which is ultimately not the director’s job. You have to push them in certain directions and then say, “That’s on you.” So what I’m doing as a director and what Chris Berry, the acting and voice coach, is doing is trying to prepare them to do the work themselves and help them build the right skill set, to ask the right questions and to get them to analyze their lines. We’ll spend a little more time doing table work than professionals tend to where we sit around and talk about scenes. The shape of the process is sort of similar to professionals, but the emphasis is just different.”

“Twelfth Night” is playing in the Black Box Theater in Robinson Hall from Oct. 25-Oct. 28 and Oct. 31-Nov. 4. Tickets are $8 for students, $10 for seniors and active military and veterans, $12 for UNCC faculty, staff and alumni and $18 for general admission. They can be purchased online at: http://unccboxoffice.universitytickets.com/user_pages/event_listings.asp.

Correction: The article originally stated that the theaters in Shakespeare’s day held 300 people; this number is actually 3000.

Indie band COIN performs concert at The Underground

Since the age of 13 — the age at which my mother finally allowed me to create a Facebook account — my online life has been curated by an increasingly present series of algorithms. I have no idea what actually goes into creating them, but I do know the power they have. They determine what I see on the internet, both curating my personal news feed and the ads I am most likely to click on. Most of the time, “the algorithm” feels like some omnipresent force, one with confusing and menacing intentions. They are part of the reason political experts talk about “echo chambers” online, as these algorithms tend to reflect back things and viewpoints we are already interested in and agree with. However, sometimes the algorithm chooses what music I listen to, such as when it decided to mix the band COIN’s songs into my recommended Spotify playlists. I found them to be a solid listen, especially when I needed to stay awake late at night doing schoolwork. When I found out that the band would be performing at The Underground on Oct. 19, I decided it was time to actually hear them in person.

The opener for the night was the indie band Arlie, though their performance did not seem to have been well promoted ahead of time. Listings of the concert online only mentioned COIN, though Arlie could eventually be found on some ticket vendor’s websites. Despite this, the crowd was packed with adoring fans, one of whom brought an entire package of Oreos for a band member’s birthday. In fact, Arlie didn’t really feel like an opening band at all, but a band with as many fans at the venue as COIN. The level of fan dedication was extremely impressive for a band that is relatively new on the music scene. Their debut EP “Wait” was released as recently as Sept. 2018. The band, composed of members Nathaniel Banks (vocals, guitar), Carson Lystad (guitar) and Adam Lochemes (drums), is also fairly young. All are recent graduates of Vanderbilt University.

Performance wise, the band has a confident and fun stage persona. For such a young band, they seem incredibly comfortable on stage. They also have a signature look, of which bright-colored and vintage-inspired clothing seemed to be the theme. Purple and pink stage lights remained pretty constant throughout their set. Their music, somewhere between rock, pop-punk and alternative, was quite catchy and extremely successful at engaging the audience. A favorite of the night was their song “big fat mouth.” Though I was unfamiliar with them ahead of time, the set definitely warranted a second listen.

 COIN and Arlie. Photos by Pooja Pasupula.

COIN took to the stage relatively soon after, immediately showcasing a much stronger technical set. Lights flashed, smoke poured in and strobing effects were utilized. Silhouettes were a popular light motif. Lead singer Chase Lawrence had an infectious energy, dancing and moving along with the music. He often talked to the audience about how special the night was and stated that the band had not played a show in the United States for “too long.” He also indicated that COIN would need to come to Charlotte more often, though it is possible that this is something he says about all of the places the band visits. COIN’s other members, Ryan Winnen (drums) and Joe Memmel (guitar), were placed on either side of Lawrence. While they were fundamental in making the music and keeping the energy alive, Lawrence dominated the performance.

The band, though more established than Arlie, is still a fairly new addition to the music scene. Their 2015 debut album, the self-titled “COIN,” and 2017 follow up, “How Will You Know If You Never Try,” were both featured on the night’s setlist. Falling somewhere between indie pop and modern rock, the band kept concertgoers enthralled and dancing. My personal favorites of the night included “Run,” “Malibu 1992,” “I Don’t Wanna Dance” and “Talk Too Much.” Hearing them played live as opposed to on my Spotify playlist brought them to life and made them feel more high energy. The fact that the floor seemed to vibrate under my feet from the bass might also have been a contributing factor. However, I also found that many of the other songs seemed to sound the same. They rarely seem to push the genre, and while fun, I would have appreciated a bit more variety and depth.

With so much negative (and warranted) discussion of it on news and social media platforms, sometimes I forget that “the algorithm” can be a good thing. It is, ideally, supposed to help me find content I am uniquely interested in. Three of the books I physically bought this year are by authors I found and follow on Twitter. And in the case of COIN, a band I only found out about because it was in my Spotify “Daily Mix,” it seems the algorithm has succeeded once more. While COIN isn’t my favorite band, it adds to the list of musicians and songs I like and was a solid and fun concert experience. It is proof that sometimes, in an online world that can be both concerning and hopeful, the algorithm can get it right.

“The Curious Incident of the Dog in the Night-Time” is a compelling mystery with a heart

Warning: This review contains spoilers for the plot of “The Curious Incident of the Dog in the Night-Time.”

I first saw “The Curious Incident of the Dog in the Night-Time” during its national tour stop in Charlotte in February 2017. I sat in awe for the entire production, struck by both its story and the incredibly unique way the play sought to tell it through staging and special effects. It was emotionally compelling and visually immersive; I talked about it nonstop for the rest of the evening. Thus, when I walked into the Hadley Theater for Actor’s Theatre of Charlotte’s production, I was both nervous and excited to see how it would be transformed by this local professional theatre.

“The Curious Incident of the Dog in the Night-Time” is based off the bestselling 2003 novel of the same name and was first translated into a play via a run in London in 2012. The West End production went on to win seven Olivier awards, while the Broadway transfer won five Tonys. It has largely been hailed as a triumph for excellence in casting, staging and special effects. “Curious Incident” tells the story of a boy named Christopher (Chester Shepard), who the author described as “a mathematician with some behavioral difficulties,” but has largely been interpreted by audiences to represent someone on the autism spectrum. It details his attempt to solve the murder of his next-door neighbor’s dog, Wellington, which results in the uncovering of family secrets, a solo adventure to London and a stressful A level examination. The play is self-aware, acknowledging that it is currently being performed on stage, and is narrated by Christopher’s teacher and mentor Siobhan (Megan Montgomery).

Chester Shepard as Christopher Boone. Photo courtesy of Fenix Fotography.

Actor’s Theatre of Charlotte is a professional theatre company that is currently in the midst of its 30th season. After losing their home theater due to leasing issues, the company secured its survival by becoming the resident theatre company at Queens University of Charlotte. A triumph for the local theatre scene, this means ATC is now housed in the Hadley Theater, which is actually located in an elementary school. It’s a little disconcerting to walk into an elementary school hallway, one littered with artwork and jump rope awards, to see a show as technically advanced as this one. However, the Hadley Theater defies one’s expectations immediately upon entering and is a perfect new home for ATC.

The set is incredible. The boxlike, mostly-barren look is clearly inspired by the original, but is condensed and translated for a smaller and more intimate performance space. Using the cast and a small number of chairs, a table and other props, it is able to quickly transform into various spaces and scenes. It also takes advantage of a highly inventive and skilled technical crew. Projectors and lights are used to visually illustrate Christopher’s dreams as well as feelings of overstimulation. Loud sounds and physical choreography are also used to draw the audience into Christopher’s world. These are most on display in scenes where Christopher is panicking, such as one in which the entire stage flashes red and the score picks up. However, it is also used in more reflective parts of the show, such as when Christopher dreams of going to space or when illustrating the math problems he solves during his A level. This production design wants the audience to (at least try to) understand what the world looks and feels like to Christopher, and presents the world as he sees it. It is an absolutely impressive work of technical theater; this alone could set the play apart.

However, “Curious Incident” doesn’t need to rely on the technical aspect alone. It is in the hands of a strong and talented group of actors. Shepard plays the role of Christopher with grace and understanding, portraying his character as the full human being he is and not just focusing on what sets him apart. He does a great job of opening up Christopher’s way of seeing the world to the audience. Christopher’s relationship with Siobhan also takes center stage throughout the play, which means it is a fantastic thing that Shepard and Montgomery are able to play so well off of each other. Montgomery often lightens the mood with her narration and utter delight at Christopher’s writing while Christopher takes the audience back to the play at hand. It is a partnership that feels believable. However, while Shepard impresses in his starring role as Christopher, it truly feels like an ensemble production. In fact, I was most blown away by Christopher’s parents (Rob Addison and Becca Worthington). They paint his parents’ flaws strongly and clearly but also with an overarching feeling of empathy and compassion. There are many points within the show where you can see the hurt they’ve caused and feel righteously angry, only to be drawn back into their lives and connect to them again. It is a moving and powerful performance. Shawna Pledger as Mrs. Alexander also delivers a strong comedic turn in an emotionally-heavy play.

Photo courtesy of Fenix Fotography.

Despite the play’s widespread success, it has not gone without criticism, especially from those within the autism and Asperger’s communities. Christopher, and the characters around him, never explicitly state what his diagnosis is (or if he has one). However, the novel/play has largely been hailed for its depiction of neurodivergent people and originally included the word “Asperger’s” on the back cover. This has led to both support and criticism from autism and Asperger’s advocates, which have especially criticized the novel’s author (Mark Haddon) for his own admitted lack of research into the subject and the play for not casting neurodivergent people as Christopher. Haddon has since distanced himself from an official diagnosis, stating that he is not an expert on the subject and that an official label would take away from the story. Actor’s Theatre of Charlotte seems to be more aware of these concerns and has partnered with Southeast Psychology for this production. In a promotional video, they urge audience members to “read, search, and learn” about Christopher’s “neuro-tribe.” They are also offering a sensory-friendly performance on Oct. 27.

While the program for the show includes a quote stating that “The Curious Incident of the Dog in the Night-Time” is “a story about difference,” I’d argue that it is also a show that celebrates and embraces family. It functions as a portrait not only of Christopher, but of the individuals around him that create his world. This includes his parents, Siobhan and his lonely neighbor Mrs. Alexander. All of them — with the exception of Mr. Shears (Jeremy Decarlos) — are treated with respect and understanding. Especially in regards to Christopher’s parents, the show recognizes their flaws and (serious) mistakes, yet still finds room for forgiveness and a path to redemption. This capacity for forgiveness hits the other major theme: one of hope. It is a guiding thesis here, underscored by Christopher’s final line, asking if he can do anything. It is so hopeful it hurts, because the audience knows that there are unfair societal limitations on Christopher. But for now, Christopher and his family are working on fixing things together. He has his family in the same city, a dog, two more A levels to take and a dream of becoming an astronaut. He is in a good and hopeful place, and I’m happy to exist there with him.

‘Archipelago’ is an Exploration of Loneliness and Love Stories

Photo by Daniel Coston.

Two individuals, a man and a woman, keep running into each other in unexpected places. They dated as young adults, but that was years ago. However, when they do stumble into one another, the connection seems instant. They transform into their past selves and almost immediately are drawn to one another. This seems to occur continuously as the couple is then torn apart by personality clashes, work and war. In any other context, this would be a grand romance story. Adding a grand finale in an airport would make it a rom-com. But “Archipelago” is not that simple.

“Archipelago” is a play by UNC Charlotte theater alum and OBIE Award Winner Caridad Svich. This September, it was used to open UNCC’s theater season, though a majority of the performances were canceled due to Hurricane Florence. Thus, it was only performed on Sept. 12 and Sept. 18. The play and casting were interesting choices for UNC Charlotte, as the work consists of only two performers. Both were UNC Charlotte theater professors, Carlos Alexis Cruz and Kaja Dunn. I appreciated that “Archipelago” was a chance to showcase, challenge and expand their skills and put UNC Charlotte theater faculty in the spotlight in a way they traditionally are not. However, I don’t think it was entirely necessary for the play to be faculty-led. While it is an intricate and complex play to perform, our theater students are capable.

The aforementioned plot of “Archipelago” follows a couple, who goes unnamed until the last section of dialogue, that consistently meet and fall for one another. While the play’s timeline travels in circles, often incorporating flashbacks and reflective monologues, the story of their relationship slowly becomes apparent. They met when they were young (just how young they were is unclear) and became a free-spirited, traveling and homeless couple. However, following a fight at a store, Hannah (Kaja Dunn) leaves. The two later unintentionally meet in Ben’s (Carlos Alexis Cruz) home country, an unspecified war-torn place in the desert where Hannah seeks a sense of purpose and escape from her daily life. After Ben is injured and enters a seemingly-endless coma, Hannah travels back to her home in the city. The two meet twice more before the play ends.

Dunn and Cruz do an excellent job of centering and grounding the play. It is a lengthy work with no intermission, the dialogue is complicated and the plot evokes a wide range of emotions. The two’s chemistry is undeniable and compelling to watch. Dunn and Cruz also complement each other well and bring different talents to the table. While both are great acting work, Dunn seems to take on the emotional heavy lifting. She oftentimes performed whole scenes and monologues on an emotional edge, looking like she could burst into tears at any moment. Meanwhile, Cruz thrives in the physicality of the piece. At one point, the play ceases to use words and instead uses dance, physical staging and choreography on aerial silks to illustrate and tell the story. Cruz’ background in dance and circus arts really shines here and likely influenced the choice to use aerial silks in the first place.

Photo by Daniel Coston.

The play evokes an overwhelming sense of loneliness, only underlined by the mostly-empty set design and the muted colors of the costumes. Large screens that could be illuminated, an archway and a table were the only physical set pieces. The screens caused the space to feel smaller and pushed the performance into a more enclosed and intimate setting. When illuminated, they allowed the performers to utilize various shadows to move the story forward. The script itself transcends time and place by giving very little description of where the actions occur and omitting the character’s names until the final scene. “Archipelago” could take place anywhere between any two people. It underscores how truly singular the human existence is, making the argument that we may never be able to truly understand another person.

For example, despite the fact the couple has known one another for a long period of time, both parties express that they don’t feel like they really know the other. Hannah wonders aloud how she never knew where Ben was from. They both question if their “happy” memories of traveling together as young adults were truly moments of genuine happiness or if the two were actually just desperate for connection and escapism.

It begs the question, should these two really be together? Is the tale told in “Archipelago” a grand love story, proving that despite all their struggles and problems, Ben and Hannah’s love (and possibly their fate) means they should be together? The two could be emblematic of a solution to the play’s emptiness. Maybe we are all broken and unable to understand one another, but at least Ben and Hannah are trying to together.  Or are the two simply enacting some grand love-story narrative because they are unable to move on and desperate to capture nostalgic memories of their youth? If I had been friends with either of the characters and they’d come to me for relationship advice, I would have told them to stay away from such an unhealthy relationship. However, the play doesn’t answer that question, instead deciding to leave it open to interpretation. This makes the ending of “Archipelago” slightly unsettling. The couple is finally together, but should they be?

‘Love Never Dies’ Really Needs To

WARNING: This review contains major spoilers for the plot of “Love Never Dies.”

I love musical theater. This has been the status quo of my life for as long as I can remember. I seriously cannot even tell you what the first musical I ever saw was. This makes it hard to dislike shows (though I definitely have favorites). Even now, despite the fact I have been the Niner Times’ theater critic for two years, I sincerely struggle to give a truly negative review of a musical. I can always find redeeming characteristics and appreciate the opportunity to have a night at the theater, regardless of what the show actually is. These positive qualities typically outweigh the bad in my memory of the show. However, it seems I have met my match in the form of “Love Never Dies,” a musical which completed a National Tour stop at the Belk Theater from Sept. 11 – 16. It is, quite possibly, the worst musical I have ever experienced. I am absolutely baffled by its existence; how on earth did this monstrosity of a musical get past so many people? There are so many points in which someone, literally anyone, should have said “no.”

Let’s start, for instance, with the absolutely insane plot. “Love Never Dies” is the sequel piece to Andrew Lloyd Webber’s iconic “Phantom of the Opera.” Quite frankly, this fact alone sets the musical up for failure, as trying to live up to the longest-running musical in Broadway history is an impossible feat. However, despite the fact “Love Never Dies” is a true sequel, it completely disregards the entirety of the original musical. It has the same characters, but in name only. In this version, The Phantom (Bronson Norris Murphy) is a far more romantic figure — all the murders he committed in the previous musical conveniently forgotten — who longs to hear Christine Daaé (Meghan Picerno) sing again. He’s spent the last ten years living at Coney Island, where he owns a sideshow/amusement park called Phantasma with the help of Madame Giry (Karen Mason) and her daughter, Meg (Mary Michael Patterson). When Christine arrives in New York City to sing for the opening of Oscar Hammerstein II’s new American opera house, The Phantom sends his henchmen to abduct her and her family.

Family-wise, Christine’s love Raoul (Sean Thompson) is now a man with a deep drinking problem who rarely talks to or spends time with his wife. They also have a son together, Gustave (Christian Harmston/Jake Heston Miller). When Raoul leaves Christine alone to get a drink, The Phantom appears. Christine confronts him and is angry he faked his own death, while also implying that he was the love of her life. The Phantom offers to double the amount of money Hammerstein’s opera is paying her to sing and then threatens her child if she refuses to perform. However, when The Phantom spends time with the musically-inclined Gustave at the end of the first act (accompanied by a wild rock number that appears out of nowhere), he realizes that Gustave is his son.

Bronson Norris Murphy as The Phantom and Jake Heston Miller as Gustave. Photo by Joan Marcus.

If you think “Love Never Dies” can’t possibly get any crazier than that, you’d be wrong. It was at this point in the show that I completely dropped any semblance of viewing this as a work of art. I was just there to see where the story could possibly go, which is a much more enjoyable and fun way to frame this piece. Most of act two is largely unimportant, as Raoul and The Phantom battle over Christine’s affections without ever asking her which of the two she’d prefer. In the end, she chooses to sing for The Phantom, which results in her kissing the man in her dressing room before realizing her son has disappeared.

It turns out that Meg has been desperately working to achieve The Phantom’s attention in her role as the star “Ooh La La Girl” in his Coney Island vaudeville show. Upon realizing that, despite these efforts, he’d give the show/Phantasma to Christine and Gustave, she attempts to push Gustave off of a pier and into the ocean. While she is eventually talked down from murdering a child, she then pulls a gun out of her dress in an attempt to commit suicide. The Phantom decides to wrestle her for the gun and the resulting scuffle causes the gun to fire. The bullet hits Christine. She dies in The Phantom’s arms, using her last breaths to tell Gustave that The Phantom is his true father. Raoul appears out of nowhere to cradle her dead body. The musical then ends with Gustave reaching out to remove The Phantom’s mask and give him a hug. The people behind me started laughing.

The plot alone results in so many questions. Did everyone on the creative team forget what happens in the original “Phantom of the Opera?” Does The Phantom write the songs used in Phantasma’s sideshow and, if so, do you mean to tell me the genius opera singer wrote something called “Bathing Beauty?” When did Christine and The Phantom ever conceive a child? Most importantly, who is raising that poor kid now? Are The Phantom and Raoul….co-parenting?

Bronson Norris Murphy as The Phantom and Meghan Picerno as Christine Daaé. Photo by Joan Marcus.

Frustratingly, “Love Never Dies” really has no excuse to be this bad. It is not completely separate from “The Phantom of the Opera” and retains Andrew Lloyd Webber as a composer, orchestrator and contributor to the book. While Webber is the only member of the creative team that worked on the original, new additions Glenn Slater and Ben Elton also both have prior illustrious theater credits (though Frederick Forsyth does not). With Webber on board, at the very least, the music should be more memorable than it is. It isn’t terrible but feels overwhelmingly boring and familiar. Only the quartet number “Dear Old Friend” stands out, both during the show and in hindsight. Even worse, the version of the show that played in Charlotte is actually already rewritten. The musical’s original plot and staging in London received such poor reviews that huge portions were revisited and changed for the Australian premiere in 2011. It is this version that is currently on display for the North American tour.

Still, I must say that the show is not all bad. The set design here is incredible and truly beautiful to look at. The metal atmosphere creates just-the-right level of creepiness for a 1900s Coney Island sideshow and transforms easily to build new shapes and locations. It only becomes more impressive when its lights turn on. The costumes and props are just as intricate, from Christine’s dazzling dresses to a coach that mysteriously moves without horses to a giant skeleton dinosaur. Both of these aspects are credited to Gabriela Tylesova, who clearly has skill and a vision.

The performances here are solid as well, though they are drowned by the lack of cohesive plot and generally lackluster songs. Picerno works hard to make Christine’s ever-changing emotions believable and nails her leading solo, the title song “Love Never Dies.” Mason as Madame Giry sincerely looks like she’s enjoying herself playing the vaguely intimidating noblewoman while Patterson throws herself wholeheartedly into Meg’s vaudeville numbers.  Murphy and Thompson (The Phantom and Raoul respectively) do the best with what they’ve been given. Quite honestly, the best performance here goes to Jake Heston Miller as Gustave. He can sing like an angel and is a great child actor. I sincerely hope he can use this musical as a way to continue to break into the theater industry.

It truly takes a lot for me to be as frustrated with a musical as I am with “Love Never Dies.” From a contrived story that makes no sense as a sequel or stand-alone piece to unmemorable musical numbers, it fails on almost every level. Its only saving graces, the production design and the performances of its actors, are completely overshadowed by the inane plot. It honestly feels as if someone paid an enormous sum of money to get the best sets and costumes possible and then hired actors to put on a performance of their “Phantom of the Opera” fanfiction. To date, “Love Never Dies” still hasn’t premiered on Broadway. It is easy to see why.

‘Off to the Races’ with Jukebox the Ghost

Photo by Shervin Lainez. Courtesy of artist.

Maybe I’m odd, but I distinctly connect music with specific time periods and memories in my life. ABBA’s “Dancing Queen” conjures up memories of riding with my carpool on the way to elementary school with my mom as the driver. “Low” by Flo Rida and T-Pain was the soundtrack of middle school outings to the skating rink. More recently though, Jukebox the Ghost’s album “Off to the Races” formed the soundtrack of my entire spring semester, one I spent abroad in London. I listened to the album constantly, in order and on repeat. Listening to it now immediately connects me to memories of red buses, the Kingston University library and seeing shows on the West End. However, you can only listen to an album and group so many times before you desperately want to go to their concert. On Sept. 11, I did just that and traveled with a friend to the Neighborhood Theatre for Jukebox the Ghost’s Off to the Races Tour.

I rarely go to concerts, typically because I only seem to discover artists immediately after they’ve traveled to Charlotte. Thus, this was my first trek to the Neighborhood Theatre, and also my first experience with a standing-room-only concert venue. I loved the location. Firstly, it was only a four-minute walk from the 36th Street light rail stop. The stop is the closest to Charlotte’s North Davidson Historical Arts District (or as it is more popularly known, NoDa), in which the Theatre resides. Both this location and the Theatre’s history as a converted movie theater from the 1940s give it character and make the venue unique. It was fairly empty when we arrived which meant my friend and I were able to stand incredibly close to the stage.

The opening band for the night was The Greeting Committee, an indie rock band comprised of four high school friends. Initially launched into the music scene with their EP “It’s Not All That Bad,” the band plans to release their debut album in October. The standout was lead singer Addie Sartino who had definite stage presence and looked at home performing there. While I did like their music, it just wasn’t music I think I’d feel the need to hear in concert again. However, I’d be happy to listen to it on Spotify while doing homework. It is hard to believe it comes from a band this young. Unfortunately, the group also suffered from the fact their set went on for too long. The venue continued to fill and it seemed the audience was ready to see the headlining band.

When Jukebox the Ghost took to the stage, I’m pretty sure my heart stopped beating. It is an out-of-body experience to hear songs you’ve listened to on your phone 100 times performed live. Jukebox the Ghost considers itself a piano rock band and consists of three members, pianist/vocalist Ben Thornewill, guitarist/vocalist Tommy Siegel and drum player/vocalist Jesse Kristin. They had the difficult task of deciding on a setlist from twelve years of making music together, which has resulted in six albums. However, a majority of the songs performed were from their newest album “Off to the Races.” Of the ten songs on that album, only two weren’t a part of the setlist. Songs from their self-titled “Jukebox the Ghost” album, “Safe Travels” and “Let Live & Let Ghosts” were also performed.

Due to Jukebox’s long history, it felt almost impossible to know every song. However, the band has such an incredible stage persona that it really didn’t matter if the audience knew the words or not. One of the best things about witnessing the band live was realizing how versatile its members are. Thornewill and Siegel would typically switch roles as lead vocalist depending on the song. At one point, Thornewill ditched his piano to grab a keytar and jump into the audience. It was also breathtaking to witness the band go from slower power ballads to intense pop songs. One moment, the audience would stop to listen to the words and emotion connected with a song. At another, the audience would jump up and down and scream the words. I danced. I stared in wonderment. My ears rang for forty minutes after I left.

Music wise, “Off to the Races” demonstrates a strong influence from the band Queen. This is especially apparent in songs such as “Jumpstarted” and “Everybody’s Lonely.” It was interesting to see how the band pulled off playing such songs in concert as the recordings rely on the overlaying of a number of vocal tracks. The group used a couple of different tactics to simulate this, including singing into a megaphone, asking the audience to choose a voice part and computer technology. At other times, a device was used that would repeat the phrases sung into it on a loop to allow the group to build musical moments. This worked especially well during the emotional “Time and I.” It was beautiful and I have never seen anything like it.

I left the performance venue enthused and excited, certain of the fact I really should go to more concerts. It was a great experience, from a location that allowed me to get literally five feet from the stage to the fact I finally saw one of my favorite bands. However, I’d really love to see Jukebox the Ghost get a bigger and more complex stage in the future. The band members are natural performers and their music is already incredibly layered and intricate. Get this band the corresponding light and stage show. They deserve some dry ice and roaming, colored stage lights.

Catching Stars

Photo courtesy of Theatre Charlotte

A crocodile that ticks. A pirate crew led by a captain with a hook for a hand. A boy that lives forever. The story of Peter Pan has become a part of our cultural canon. Originally written by author J.M. Barrie and popularized by the 1953 Disney film, the tale has been examined and translated into an unlimited number of forms. Want to know what happens when Peter grows up? Watch Spielberg’s “Hook.” Live-action translation of the Disney film? The 2003 film “Peter Pan” fits the bill perfectly. Have a thing for literary web series? Youtube’s “The New Adventures of Peter and Wendy” has you covered. However, Theatre Charlotte’s production of “Peter and the Starcatcher,” a play based off of the 2004 novel “Peter and the Starcatchers,” offers something new. It seeks to explain how Peter, Neverland and the infamous Captain Hook came to be. Even better, it does so on stage.

The play begins with a simple set-up. Two ships, The Neverland and The Wasp, are bound to Rundoon. The Wasp, a fast-moving British ship, will carry Lord Aster (Troy Feay) and an important trunk, property of Queen Victoria. The other, The Neverland, shall take a slower and less precarious route to Rundoon. It carries Lord Aster’s daughter, Molly (Ailey Finn), her nanny (Johnny Hohenstein), three orphan boys sold into slavery and a motley crew of seamen supposedly transporting an identical trunk full of sand. The key: the trunks were switched by the crew of The Neverland. And the one containing Queen Victoria’s treasure? It actually carries starstuff, a magical substance made of fallen stars that will transform what it touches into “what they want to be.” Lord Aster and Molly are later revealed to be Starcatchers on a mission to destroy the starstuff before it can fall into the hands of those who would use it for evil.

However, this description ignores two of the most central characters in the show. The first is an orphan boy with no name (Patrick Stepp). One of three orphans sold into slavery on the ship, The Boy is a quiet and angry force. While he desperately wants a home and family, he is also extremely (and understandably) distrustful of adults, who have done nothing but abandon and abuse him in the past. His growing friendship with Molly becomes a central focus of the play, in which he finds purpose in their mission to save the starstuff and learns the importance of friendship. It is this Boy that will transform into the iconic Peter Pan. The other side of the coin is Dave Blamy as Black Stache. A “ruthless” pirate who leads his crew in a takeover of The Wasp, Black Stache is a comedic force with a penchant for poetry and theatrics. Desperate for the trunk he believes to hold Queen Victoria’s treasure, he and his crew head straight for The Neverland. There, they duel as their ships collide in a tremendous storm before The Neverland sinks and its occupants are forced to flee to safety by swimming/floating to a nearby island.

The cast here is incredible and really works to elevate the source material. Stepp and Finn play well off of each other as leads and their banter feels genuine. It can be hard to take on a role as iconic as Peter Pan, but Stepp really commits and makes it believable, even if this Peter is different than the one the audience knows from Disney. Jesse Pritchard as Prentiss and A.J. White as Ted complete the group of children and provide some solid comic relief. The head of comedy, however, is Black Stache and Smee (Jeff Powell). Blamy as Black Stache is simultaneously channeling Christian Borle incredibly hard while making the character his own. He is laugh-out-loud funny and only improved by Powell’s excellent comedic timing and support. It works, and it works well.

Photo courtesy of Theatre Charlotte

Serious acknowledgment needs to go to the creative team behind “Peter” as well. The set simultaneously is fairly large and adds an immediate “pirate” feel to the stage while providing the space for imaginative stagings and the use of cast members as part of the set. The use of lighting to set scenes in various places (such as the jungle, in the bowels of ships, or underwater) and control the tone cannot be understated. Lightning flashes and eyes glow in the dark. Jill Bloede’s direction stands out especially in the staging of a scene in which Molly trails Alf (UNCC Alum Bowen Abbey) deep into the ship. They crawl under gradually-lower strings to indicate deeper parts of the boat and she opens doors by turning cast members to face her, which immediately spring into action creating various scenes of pirate life (such as gambling and torture). A scene in which the characters collectively get separated and lost while running in the jungle is also especially memorable for its staging and execution.

However, the show is not without its flaws. It attempts to hit a middle ground, balancing comedy with an emotional story about friendship, family and growing up. “Peter” is far more successful at the former. The best part of the show is the two-minute musical number that opens Act Two, featuring the cast as fish recently turned into mermaids. It is an excellent example of comedy in a musical number and hits every beat it needs to. Yet, “Peter’s” attempts at emotional resolution just don’t completely hit, as if they missed by a centimeter or two. This isn’t any fault of the actors. It is a writing issue, as the pace moves incredibly quickly in some places (the Peter and Molly friendship/relationship suffers from this) or much too slow (the first half of the first act). The dialogue around the more poignant topics also feels stuffy and like the play is trying too hard to hammer home its point. This is only more obvious when the lines are spoken by characters that are meant to be children. The problem is disappointing considering how great “Peter” handles comedy and lighthearted fun.

Despite its flaws, “Peter and the Starcatcher” excels at comedy and provides a fun night at the theater. It can entertain children and adults alike through an imaginative and whimsical plot, a great technical team and the interactions of its cast. All of the actors are having fun here and it shows. Furthermore, it is a solid exploration of the origins of Peter Pan. It addresses most of the details, such as how Captain Hook lost his hand, why Peter never ages and how the crocodile started ticking like a clock. This is a solid start to Theatre Charlotte’s 91st season. I’m excited to see what the rest of it brings.

“Peter and the Starcatcher” is currently playing at Theatre Charlotte. Dates are Sept. 12-16 and 19-23, while times vary. Tickets are $28.

Fall-ing in Love with the Arts

Every year, UNC Charlotte’s College of Arts + Architecture curates a busy schedule of theater and dance performances, art gallery openings and concerts to showcase the incredible talent found on campus to the university community. This fall is no different. Whether you are an established fan of the arts or simply looking to experience something new, there is bound to be something for you this upcoming semester! Below is an overview of some of the events held this fall, however, the full schedule can be found at https://coaa.uncc.edu/calendar/month/2018-08.

Theater

The UNC Charlotte theater season typically consists of four productions, placing two in the fall semester and two in the spring. This fall consists of two (radically different) plays. The first is “Archipelago,” a play written by UNC Charlotte alum and OBIE Award winner Caridad Svich. It will star two UNC Charlotte theater professors, Carlos Alexis Cruz and Kaja Dunn, and be guest directed by Monica Ndounou of Dartmouth College. The show will run from Sept. 12 – 16 in the Black Box Theater. The second is the theater classic (and inspiration for the iconic Amanda Bynes movie “She’s The Man”) “Twelfth Night” by William Shakespeare. A comedy centering around a woman named Viola, who has assumed the identity of a man in order to obtain work, and the love triangle that later ensues, it promises to be a fun night at the theater. As a person who is generally a Shakespeare fan, I’m really excited about this one. It will also play in the Black Box Theater and will run Oct. 25 – Oct. 28 and Oct. 31 – Nov. 4. Tickets for both shows are $18 with concession prices (ranging from $12 – $8) for a number of groups including UNC Charlotte faculty, alumni, students, seniors and veterans.

 

West African dance piece, “Bonheur et Prosperite” performed during the 2018 Spring Dance Concert. Photo credit is Jeff Cravotta.

Dance

The Department of Dance will host two large dance concerts this fall. One consists of performances and choreography from the department’s faculty and guest artists. This (aptly named) Faculty Dance Concert will occur on Sept. 28 and 29. The other, the annual Fall Dance Concert, will feature student performers complemented by choreography from faculty and guests. It will run from Nov. 15 – Nov. 18. Both concerts typically explore a wide range of dance styles and topics. They will be held in the Belk Theater and ticket prices remain the same as for the aforementioned theater productions.

Art

One of the best parts of college is the opportunity to explore something new and fall in love with it. For me, that experience applies strongly to attending my first art gallery opening on campus. A number of exhibitions are held on campus every year, though this fall there are three that especially stand out on the calendar. The first is the CoAA Global Studies 2018 Exhibition, held in Storrs Gallery. The exhibition aims to be a reflection on students’ study abroad experiences using a number of different mediums, including video, analytical diagrams and drawings. I recently spent six months abroad and am looking forward to seeing how the exhibit conceptualizes that experience. The opening reception will take place on Sept. 14 while the exhibit itself will be on view until Sept. 28. Later in the fall, the School of Architecture is presenting a “symposium and exhibition” entitled “SEE-ING: The Environmental Consciousness Project Symposium.” The showcase will be curated by Assistant Professor Catty Zhang and on view in Storrs Gallery. The opening reception is scheduled for Oct. 15 while the exhibition will stay open until Nov. 16. The final big showcase currently scheduled for the fall is the Opening Reception for McColl Artist-in-Residence Liz Miller on Oct. 31. According to the event’s listing online, “Miller creates elaborate chain patterns cut from industrial rolls of materials such as felt, vinyl, and leather….these patterns are both elegant and deadly.” Students will also work with Miller to create a piece for display during the exhibition, which will be held in the Rowe Galleries. The works will be on view from Oct. 27 – Nov. 10. All three exhibitions are free.

 

Photo courtesy of CoAA.

Music

The music department has an especially busy semester this upcoming fall. It has to balance multiple choir groups, faculty and guest performances and various band and orchestra ensembles. In the early fall semester, the Faculty & Friends concert series hosts guest performers and showcases the department’s talented faculty. The first of these concerts will feature the ensembles A Sign of the Times and the Madison Park Quartet, which will perform a tribute to Nina Simone. This concert will be held in Rowe Recital Hall on Aug. 28.  Other featured performers in this series include Kirsten Swanson and Eric Millard. During the first week of October, concerts hosted by Jazz Ensemble & Combos, Wind Ensemble and Orchestra are available. The University Chorale will perform later that month. All of these mid-semester performances will be held in the Belk Theater. The final weeks of the semester are also home to a number of music performances, starting with the Gospel Choir on Nov. 19 in Rowe Recital Hall and ending with the Men and Women’s Choruses on Dec. 4 in the Belk Theater. Ticket prices range depending on the concert, though most are $8.

Best Songs of 2017 as Selected by A&E Writers

“Harry Styles” by Harry Styles. (Album art courtesy of Columbia Records.)

Jeffrey Kopp

5. “Like Gold” by Vance Joy: This Australian singer-songwriter first appeared on my radar back in 2013 via his hit single “Riptide.” Years later, I randomly came across “Like Gold,” a single from his upcoming album “Nation of Two,” on Spotify and I was immediately reeled in with its catchy hook. This is a song that really tells a story through the lyrics and Joy’s voice matches the lyrics with his passion. There’s a comforting calm feel that this song evokes, even having a nostalgic vibe that transports the listener to a simpler time in their life. Without any doubt, “Like Gold” has reintroduced me to the music of Vance Joy and I’m thrilled to hear the rest of the album when it releases in February.

4. “Sweet Creature” by Harry Styles: If there’s anything to take away from the rough year that 2017 was, it’s that Harry Styles is insanely talented. Stepping forward and creating his own path after One Direction has allowed Styles to really showcase his own style with his self-titled album that released in May; the album is filled with incredible songs such as “Sign of the Times” and “Kiwi,” but “Sweet Creature” is by far my favorite, because it allows Styles to hit his famous high notes in the chorus that blend beautifully with quieter verses. This is a song that has an old-school soulful feel to it, but also shows that Harry is making creative and fresh music.

3. “Silence” by Marshmello (feat. Khalid): Just when I thought that I couldn’t love Khalid anymore, he joins forces with Marshmello to deliver an epic track that perfectly utilizes both artists. The lyrics make it hard not to sing along to and Khalid’s voice is commanding and powerful as he bleeds emotions and passion. The electronic music from Marshmello has this energetic and lively feel that makes you want to get up and dance. Hopefully Marshmello and Khalid collaborate on other projects in the future, because this song is an example of a duo that is complimentary while simultaneously demonstrating the talent of the two individuals.

2. “Praying” by Kesha: 2017 saw the welcome return of Kesha to the music scene, dropping the famous “$” sign from her name and entering into a whole new era. “Praying” is both cathartic and anthemic, taking the legal issues and abuse that the singer suffered through and leaving them behind. The depression, anger, loneliness and pain that Kesha has experienced is very much present in the song, as is forgiveness and empathy. Kesha’s willingness and ability to move forward and create her own future through new music is truly inspiring and sends a strong message to those that abuse and exploit others. Kesha’s soul and emotions can be felt throughout the song and the incredible high note is testament to her talent as a singer.

1. “1-800-273-8255” by Logic (feat. Alessia Cara and Khalid): The world really needed this song. Depression and suicide have been subjects in music forever, but Logic tells a story without any fancy language or metaphors. He’s straight to the point about an issue that affects millions of people and the message of his song applies not only to those suffering, but it’s also directed to those in the position to help. By having the lyrics tell the story of a phone conversation between someone on the verge of suicide and the National Suicide Prevention Hotline, it’s made abundantly clear that this are avenues of help available. This song has an important message, but it is also catchy and allows Logic, Alessia Cara and Khalid to showcase their talents in a powerful collaboration.

“As You Were” by Liam Gallagher. (Album art courtesy of Warner Bros.)

Stephanie Trefzger

5. “Bist du Down?” by Ace Tee (feat. Kwam.E): Over the past year I have been on a journey to rediscover my love for my native language, German, and this song and artist has played a huge role in that. While Ace Tee is new to music, just releasing her first EP this year, her music styling is not; this song throws it back to the R&B and hip-hop of the early 90’s when she was born.  Unwittingly, perhaps, this song also helped to usher in a new wave of discussion among young people regarding race relations in Germany.  That aside, though, this song just has a good, relaxed vibe to it.

4. “Paracetamol” by Declan McKenna: I’m not usually into indie because I unfortunately associate it with that “bananis and avocadis” vine by Chrish, but even before that, I couldn’t stand many indie singers’ soft and quiet voices where I could barely hear what they were saying. But Declan McKenna’s voice is soft without being quiet. This, coupled with the organ-like electronic opening and lyrics about growing up make for a great song. The darker lyrics with the fun, upbeat instrumentals create an interesting dynamic as well. I was heavily reminded of Vampire Weekend (who I miss) upon first listening.

3. “For What It’s Worth” by Liam Gallagher: Anyone who knows me knows that I am more partial to Liam’s brother, Noel when it comes to just about everything, but especially musically, so I never thought I would put a Liam song on this list over a Noel one when they were released in the same year, but 2017 has been full of surprises; what’s one more? Liam’s former musical project, Beady Eye, sounded a lot like a Beatles cover band, so I wasn’t expecting a whole lot out of this song or out of the album in general. However, this song is raw, original and devoid of the narcissism he is known for.

2. “The Chain” by Harry Styles: I don’t know if this is cheating or not, but this next one’s a cover rather than an original. But I, like many people at this point, am in love with Harry Styles. This is a new development for me, one that grew, partially, out of this song. I am a Fleetwood Mac purist and usually hate any covers of their songs, but Styles’ passion and ability combine into a soulful and true cover. This is by no means Styles’ biggest accomplishment this year (ya know, with the incredible album he released this year), but it stands out for sure. This song isn’t on Spotify, so I’ll add a video below:

1. “Silence” by Marshmello (feat. Khalid): This song hands-down wins song of the year for me. I anticipated it when Khalid teased it on Twitter, and I was absolutely not disappointed when it was finally released. I spend a good amount of time in the car, and this is a great car song. The backing vocals in the second verse honestly made my jaw drop the first time I heard it and still give me shivers. The production value on this song is honestly incredible. I haven’t gotten sick of it yet, and I don’t see that happening any time soon.

“Woodstock” by Portugal, The Man. (Album art courtesy of Atlantic Records)

Tyler Trudeau

5. “Rose-Colored Boy” by Paramore: While I was always a very impartial fan of the punk-pop group of Paramore, their various hits like “Misery Business” and “Ain’t It Fun” making waves across the music scene, something instantly drew me to their latest album “After Laughter.” An emotional, pop-infused journey for lead vocalist Hayley Williams, the album left me with a number of phenomenal tracks stuck in my head. One in particular, “Rose-Colored Boy,” still makes me want to get up and dance at the first spark of its beat.

4. “Feel It Still” by Portugal. The Man: Another anthem for the year found itself in Portugal. The Man’s “Feel It Still.” Acting as a catchy, rhythmic introduction for me to the band’s unique sound, the hit made its mark as it blared continuously across the radio.

3. “Ultralife” by Oh Wonder: After a dynamic entry with their self-titled debut album, the pop duo of Oh Wonder delivered another effortless set with this year’s “Ultralife.” With their title track breathing life into the summer, it instantly became a sprawling and infectious anthem for the rest of the year.

2. “Say It First” by Sam Smith: With the mellow brilliance of Sam Smith returning to the charts with his newest album “The Thrill of It All,” one of the most memorable singles off the album was easily the sensitive ballad of “Say It First.” Utilizing the artist’s mesmerizing voice with lyrics spinning a search for love, “Say It First” draws you instantly into Sam Smith’s newest and most volatile release.

1. “Drink Too Much” by Geowulf: After falling in love with the London-based pop duo last summer, I’ve been eagerly awaiting all year to hear more from Geowulf. With their electric hit “Saltwater” injecting dreamy lyrics into a dazzling backdrop, the Australian duo returned later this year with “Drink Too Much.” Marking another stellar single from their upcoming debut album, Geowulf remains one of the best surprises of the year.

“The Click” by AJR. (Album art courtesy of AJR Productions)

Elissa Miller

5. “Thunder” by Imagine Dragons: I’m sure some of my appreciation for this song comes purely from my excitement about Imagine Dragons’ new music. However, I do legitimately love this song. The fairly simple lyrics make the song easy to sing along to in the car, which is a necessity for me. It also functions well as a confidence builder and pick me up. This summer I had a habit of using it to help me wake up in the mornings as I drove to work, something I highly recommend.

4. “For Elise” by Saint Motel: I can’t explain my love for this song other than the fact I’ve listened to it almost nonstop since I found it during fall break. It features an upbeat tempo, original sound and catchy lyrics. Everything about it makes me want to dance.

3. The Entire Falsettos 2016 Broadway Revival Cast Album: This is probably cheating, but I am physically incapable of choosing a single song to represent this masterpiece of a musical. While the revival premiered in 2016, the album itself was not released until January of this year and technically counts as 2017. Taking place in the late 70s/early 80s, the plot of Falsetttos focuses on the story of Marvin, a man desperately trying to force his family to get along after taking a male lover. What ensues is a beautiful musical that touches on themes of love, family, and friendship. The revival cast is made up of extremely talented Broadway stars (including Christian Borle and Andrew Rannels), all of which are in great form. It’s a little long, so I’d highly recommend a listen during a roadtrip.

2. “The Good Part” by AJR: AJR’s second album is an experience best listened to in order and all the way through. However, if you can only listen to one song, this is my recommendation. While AJR’s music is more synthsized/electronic than I would typically listen to, their use of unique instruments and complex musical arrangements has completely won me over. “The Good Part” features all of the elements that make this album great.

1. “In the Middle” by Dodie: According to Spotify, this was the song I listened to the most this year. I wasn’t surprised. “In the Middle” comes from Dodie’s second EP, released in August of this year. This song has more of a pop feel to it than the rest of the album, which I thoroughly enjoyed. It’s nice to see an artist mix things up a bit; Dodie is having fun here. RELATED: This isn’t Dodie’s first time on an end of the year list, I chose the song “When” from her debut “Intertwined EP” for last year’s roundup.

“Evolve” by Imagine Dragons. (Album art courtesy of Interscope Records)

Noah Howell

5. “Walk on Water” by Eminem (Feat. Beyoncé): While Eminem’s latest album was good, it was simply only good and left much to be desired for me personally. That said, the opening song “Walk on Water” provides a interesting look at where Eminem is at now. Eminem does a good job at providing commentary through his lyrics towards both his past music and where he sees himself now compared to others in the genre. Most interesting is that the song opts for a piano melody as opposed to a regular hip-hop beat, which works surprisingly well in conjunction with Beyoncé’s chorus.

4. “Believer” by Imagine Dragons: From the start, “Believer” hits you with a heavy beat that is hard not to pay attention to. If you’re ever feeling down or just looking for some motivation, this song delivers from the musical beat alone. I wouldn’t consider myself an Imagine Dragons fan, though this song certainly got me more interested in them after first hearing it, and has stayed in my playlist of favorites since.

3. “Jump Up, Super Star!” by Naoto Kubo: Just like its actual gameplay, “Super Mario Odyssey” brings a refreshing take on its music that is a delight to listen to. While each world has its own style, the final part of the New Donk City world features one of my favorite singles of the year. “Jump Up, Super Star!” continues Nintendo’s use of the Big Band Swing genre, and the song itself just embodies the sense of adventure that you’ll find all throughout the game itself. The songs catchy lyrics also give nods to past “Mario” titles, with the song used in the original “Donkey Kong” game even being teased as well.

2. “Floral Fury” by Kristofer Maddigan: With the 1920’s cartoon aesthetic, “Cuphead” needed a soundtrack that would match perfectly alongside it, and composer Kristofer Maddigan provided. While the entire soundtrack is great, “Floral Fury” stands out among the rest with its unique samba style. The uptempo piece gives a lot of the spotlight to trumpet, making it hard to sit still when listening, which even the boss you fight during the song can’t help but do.

1. “Dinah” by Big Bad Voodoo Daddy: In an album dedicated to Louie Armstrong, Louie Jordan and Louie Prima, “Dinah” kicks it off in a special way by covering one of Armstong’s biggest hits. The song begins with the same intro that Armstong gave in the original recording, and right away you’re into the fantastic sax interlude. Musically it is the same notes, but the band does a great job at adding their own flair to it, while paying respect to those who performed it before like Mr. Armstrong. The whole album continues this sentiment with Big Bad Voodoo Daddy’s New Orleans jazz style, making it my favorite release of the year.

“Melodrama” by Lorde (Album art courtesy of Lava/Republic Records)

Aaron Febre

5. “Date Night” by IDLESIDLES’ debut album “Brutalism” reminds me how Rock music can still be fierce musically and retain thought-provoking topics. And “Date Night” is the track that is my favorite off the album. The thumping, idiosyncratic bass, the guttural guitars and frontman Joe Talbot’s animated vocals. Talbot is like a combination of John Lydon (Sex Pistols) and Henry Rollins (Black Flag). This is a sound of a raging lunatic that has certainly caught my attention and leaving me wanting to play “Brutalism” over and over again.

4. “The Story of O.J.” by Jay-Z: This was straight up brilliant from Hova. Considering where he is now in his career, it would make sense to see an established icon like him to make an album that shows him becoming the elder statesmen in Hip-Hop. The sample of Nina Simone’s “Four Women” brilliantly ties up with the lyrics of issues that are being dealt with in the Black community with Jay giving his advice to the community to make them better. Do check out the music video to this track as it further emphasizes the lyrics presented here.

3. “how do you sleep?” by LCD Soundsystem: While I don’t think “American Dream” is anywhere near the level the last two LCD albums, it did produce some great tracks with “how do you sleep?” taking the top spot. It feels like this is a dark, twisted version of another LCD song, “Dance Yrself Clean” (from 2010’s “This Is Happening”). The Joy Division-like drumbeat, James Murphy’s tense vocals and the stomping electronic beat halfway through the song brings a darker side of LCD that I’ve never seen in their previous output.

2. “PRIDE.” by Kendrick LamarThis was the surprising track for me from “DAMN.” I never thought Kung Fu Kenny would go out and make this Psychedelic-like Hip-Hop track. My most played song off of “DAMN.”, “PRIDE.” has the hypnotic guitar chords, the sleepy like vocals of Anna Wise, the religious imagery lyrics and the beautiful refrain “Maybe I wasn’t there,” which conclude to me that this is one of the best tracks Lamar ever recorded.

1. “Liability” by Lorde: A heart-piercing piano ballad from Ella Yelich-O’Connor. This is the best track from “Melodrama.” The soft yet vicious vocals from Lorde with lyrics about personal self-doubt that I can relate to on many levels. “Liability,” as well the album itself, shows Lorde’s songwriting growing and leaving me thoroughly satisfied considering my lack of interest on her debut album. Plus, she’s only 21 years old and her storytelling leaves me floored.

“Rather You Than Me” by Rick Ross. (Album art courtesy of Maybach Music/Epic Records)

Bryson Williams

5. “Sacrifices” by Drake: Would it even be a valid list if a Drake song wasn’t included? “Sacrifices” is the 12th song off Drake’s playlist “More Life,” which was released back in March 2017. “Sacrifices” is a window to Drake’s elegant lifestyle and also a look into his female affairs. “40 got a house on the lake, I ain’t know we had a lake, she complainin’ how I’m late, I ain’t know it was a date.” The track includes a swag-rap verse from 2 Chainz and a ridiculously impressive verse from Atlanta superstar Young Thug. The beat has a tropical feel and creates the perfect vibe for sitting back and relaxing to, and has the ability to set the mood for any room you’re in.

4. “Apple of My Eye” by Rick Ross: On Rick Ross’s album “Rather You Than Me,” Ross balances out introspection and traditional Rozay party anthems. Ross opens up the album with a run down of his ambitions and the feats he’s overcome throughout his life in “Apple of My Eye.” The track opens up with Ross expressing what the apple of his eye was: being someone that his mom could be proud of, and someone his neighborhood could look up to. Ross raps “Lights off so you never tend to speak much, go your separate ways every time the lease up.” Rick Ross highlights the struggles he’s endured to be the mogul and icon he is today. The saxophone in the background of the track captures the therapeutic vibe of the song and forces you to listen to every word. The song ranks on my list because it has so much to digest and will always leave you looking deeper into yourself.

3. “911/Mr. Lonely” by Tyler, The Creator: Tyler, The Creator hit us all by surprise with a bass filled single titled “Who Dat Boy,” accompanied by a music video with a cameo from A$AP Rocky during the Summer of 2017. Although, following that song, he did a 180 and calmed the nerves in the room with “911/Mr Lonely.” The track is about the loneliness Tyler feels and the feeling of hoping at least one person hits your line today. The track features alternative R&B greats Steve Lacy, Anna of the North and perhaps one of the greatest of this generation, Frank Ocean. This song is on my list because of the undeniably beautiful chords and the perfect features. Tyler also delivers honest story-telling like verses that express the true emotion of the song.

2. “Self-Made” by Bryson Tiller: Most of the world knows of Bryson Tiller through is chart topping single “Don’t” back in 2015. Since then, Tiller has established stardom and has been welcomed into the hearts of the new culture of R&B. In July of 2017, he released his sophomore album “True To Self,” which contained 19 songs; five more than his debut album. On the album, Tiller takes us through a ray of emotions as he always does, but then hits with a rare braggadocio in “Self-Made.” The song opens with a bang and Tiller wastes no time getting straight to the point. “Gucci on my belt, bought a necklace for myself, bought Giuseppe for myself, spent them blessings on myself ” he raps with an open confidence, contrary to usual reserved demeanor. This song ranks on my list because its impossible for this song to not lift your confidence. This song is a reminder to always walk into any place with a poised swagger.

1. “The Heart Part 4” by Kendrick Lamar: In late March of 2017, amidst album releases by Hip Hop frontrunners by the likes of Drake, and Rick Ross, another Hip-Hop icon made certain we didn’t forget about him. On March 23, Kendrick Lamar abruptly released his militant and poetic single titled “The Heart Part 4.” The track starts off with soft kicks and a soulful sample as Lamar spits his first line: “30 millions later my future favors the legendary status of a hip hop rhyme savior.” The Compton MC flows effortlessly through three beat changes telling the world where he’s been and and that he still runs the game. This song ranks as 1st because of its over-your-head lyricism and the production of each beat effortlessly contours around Kendrick’s flow. Making it a one-of-a kind song that only a one-of a kind artist can execute.

“Everybody” by Logic. (Album art courtesy of Visionary Music Group/Def Jam Recordings)

Jerry Yan

5. “Cold” by Maroon 5 (feat. Future): As a fan of Maroon 5, I was excited to hear the song on the radio when it was released. The song is catchy as usual, and the lyric talks about turbulences lovers encounter. People who are in a relationship tend to relate to the song. Moreover, Adam Levine’s voice fits in well with Future’s rap verse in the song.

4. “Mystery of Love” by Sufjan Stevens: Nothing is more beautiful than adolescent love. Featured in the LGBTQ+ movie “Call Me by Your Name,” this piece reckons pictures and flashbacks of the summer days that Elio and Oliver spent together in an Italian small town. However, the slightly somber melody epitomizes a sad ending. It was a utopian romance between the boys. But love is love.

3. “Despacito – Remix” by Luis Fonsi and Daddy Yankee (feat. Justin Bieber): Meaning “slowly” in English, “Despacito” was people’s summer addiction in 2017. The Spanish rhythm and lyrics seemed novel but addictive to lots of people. When Justin Bieber participated in the remix version of the song, it made a hit worldwide. From grocery stores in the U.S. to the nightclubs in China, I’ve heard the song everywhere.

2. “1-800-273-8255” by Logic (feat. Alessia Cara and Khalid): It’s not my first time to hear songs about suicide, but Logic has made his piece fairly innovative yet inspiring. The title is the number of the National Suicide Prevention Lifeline. From “I just wanna die” to “I don’t wanna die anymore,” the song transitions from hell to heaven, portraying how people successfully save themselves.

1. “Fetish” by Selena Gomez (feat. Gucci Mane): Gomez takes one step forward in the fashion game in her video and song cover of “Fetish,” rocking a vintage yellow dress with a pair of white sneakers. As sexy as usual, “Fetish” consists of beats from R&B and electronic music, and the theme of the lyric plays around desires and attractions between the two loved ones.

Speak Up


Photos by Chimena Ihebuzor.

Each semester, Campus Activities Board adds a Poetry Open Mic Night to their schedule. The event is typically hosted by a guest poet, such as last year’s Jasmine Mans. Of course, as it is an open mic night, the floor is open to students as well. Though students hesitate to sign up at first, they eventually shake off their fears and step up to the microphone to perform their poems. Sometimes their voices shake with nerves. Sometimes they get so caught up in their emotions they lose their words or their anger reverberates around the room. The stage, the microphone, and the audience become an outlet and a support group. Though the crowd may be large, the end result always feels incredibly intimate. This semester’s Poetry Open Mic Night was held on Nov. 14 at 7 p.m. in the Student Union Rotunda.

The host for the night was Carlos Robson, two-time winner of the National Poetry Slam championship and UNC Charlotte alumni. He has been nominated for APCA Spoken Word Artist of the Year two times and co-wrote and appeared in the play “Miles & Coltrane:blue(.)” which played Off-Broadway in 2009. Currently, Robson travels and performs at colleges across the country. He plans to perform around the Charlotte area for the next month as part of a residency program.

Robson performed a number of poems throughout the night. His poetry often focused on or contained references to social justice topics such as Black Lives Matter, white supremacy, gay rights and the mental health of veterans. However, he never came across as abrasive. This was a person baring his soul to an audience. He seemed entirely genuine, passionate and open. In my opinion, his best poem of the night was “Amazing Grace,” a personal story about a boy he taught with autism. Other highlights included his poems “No Place Like Home,” “Sam,” and a poem he wrote from the perspective of Trayvon Martin.

These poems were presented with interludes of poetry from current UNC Charlotte students. They touched on a number of subjects, from relationship problems to racism. Many of them stated that this open mic was their first time performing their poetry in front of others. For example, freshman Jeremiah Parham performed “Two-Day Weekend,” a poem he wrote that day about the announcement of 50-minute classes on Fridays. Student Jacob Perry presented an especially moving piece about mental health. Hilda Kolawole, a staple poet at these events, performed a powerful poem about those who try to imitate her and envisioned a mountain-top heaven for black women.

Beyond poetry, Robson also served the vital purpose of warming up an audience and amplifying student poets. He often inserted jokes and short stories between poems to entertain the audience and make them feel more comfortable. These anecdotes also provided a bit of a break from poetry that was often deeply personal and emotionally moving. After each student performed, they were congratulated heartily by Robson, who encouraged the audience to applaud until they made it back to their seats. At the end of the night, Robson seemed genuinely moved as he stated how impressed he was by the student’s poetry. He also stayed after the performance to talk with and advise student poets.

I always thoroughly enjoy these events. Still, I sincerely wish Campus Activities Board would use a venue other than the Student Union Rotunda. While it is helpful in that it draws in audience members in the form of foot traffic, the rotunda is also exceptionally loud. This noise not only detracts from the audience experience (which is primarily focused on listening) but also seems to distract those who are performing. The sounds of rolling trash cans, loud conversations, and the student who started playing Rihanna while studying cannot have been conducive to concentrating or performing. However, due to the personal nature of the Open Mic, the night still manages to create a close-knit feeling for the audience. It provides a space for students to have their voice be heard and a place where they can share their thoughts and their fears. It encourages students to express themselves and showcase their art. It is something I strongly recommend attending.

The Homecoming King Comes to Campus


Photos by Leysha Caraballo.

On April 29 of this year, the first Muslim comedian to host the White House Correspondent’s Dinner took the stage. He was following in the footsteps of a number of America’s most popular comedians, including Stephen Colbert, Jimmy Kimmel and the man who made him famous, Jon Stewart. Of course, this wasn’t the only thing special about the White House Correspondent’s Dinner in 2017. In fact, the biggest elephant in the room had to do with another man entirely: The President of the United States, whose whole administration had decided to skip the dinner. Who had been tasked with the job of entertaining this large room of people in such a tense political climate? Entering: Hasan Minhaj.

Hasan Minhaj is most well known for his work as a Senior Correspondent on “The Daily Show,” where he was the last correspondent to be chosen by Jon Stewart before his departure. He has also received critical acclaim for his one-man show “Homecoming King.” It premiered Off-Broadway in 2015 before it was filmed for a Netflix special. Generally, his comedy tends to center around topics such as politics, immigration, and his experience as an American-born Indian Muslim. He has a special skill for making serious statements about these issues while still being appealing and exceptionally funny. His one-man show is an excellent example of this, for throughout “Homecoming King” he seems to find light and comedy even in the darkest moments of his life.

UNC Charlotte students were able to see Minhaj on Nov 8, in the Popp Martin Student Union. He was featured as a part of the Forty-Niner Forum Speakers Series, presented by the Center for Leadership Development. The Series typically brings in two speakers a year; past speakers include Luke Kuechly of the Carolina Panthers, comedian W. Kamau Bell and Olympic gymnast Shawn Johnson. Since the event didn’t have a ticketing system, whether or not someone was able to get in and where they sat was determined by who lined up first. Thus, even though the event was not supposed to start until 7 p.m., there was already a line by the time I arrived at 5:30 p.m.

The event itself actually began around 7:20 p.m., though this was explained to the audience as a result of issues getting Minhaj to campus. I appreciate that those running the event informed the audience of this, instead of allowing us to sit and wonder where he was. Looking back on it though, I sincerely wish we’d been able to have that extra 20 minutes. This was because Minhaj is one of the most compelling entertainers I’ve ever seen. From the time he walked on stage to the time he left, he exuded a confident and relaxed stage persona. The audience (including myself) was absolutely captivated.

Once the event had started, Minhaj immediately launched into about 20 minutes of stand-up material. All of the jokes were new, as I didn’t recognize any of it from interviews or “Homecoming King.” Not only was the material new, it seemed to come from Minhaj’s head while he was performing. Of course, while all of it was likely prepared in advance, it only highlighted Minhaj’s ability to seem completely authentic and unrehearsed. His best jokes included a comparison of white Disney princesses to those of color, a story about Samsung Galaxy Note 7’s that served as a metaphor for racial stereotyping and his cut Ben Carson jokes from the White House Correspondent’s Dinner.

Following his standup, Minhaj took questions from the audience. Questions ranged from deeply personal (“Have you ever been bigoted toward another person?”) to completely off-the-wall (“Why are buildings called buildings when they are already built?”). Minhaj answered all of them with his signature blend of heart and humor. Some of his answers even turned into comedy bits themselves. For example, his answer to the aforementioned building question resulted in a two to three minute long roast of the student asking the question. The most frustrating part of this portion of the event was that a number of students asked questions that could be answered by watching his comedy special, something Minhaj picked up on and then explicitly stated in his answers. Overall, the event ended all too soon. In total, it lasted only forty minutes and was over by 8 p.m.

After the event, the Forty-Niner Forum Speaker Series hosted a meet and greet event with Minhaj in Bistro 49. The line for this formed before the prior event had even ended, as students ran out of the event to get in line while those hosting the event called out raffle numbers. I managed to grab a spot relatively in the middle of the line. As a veteran of meet and greet events at sci-fi conventions, I couldn’t imagine that the line was long enough that I wouldn’t get through to meet Minhaj. However, I was quickly proven wrong. I waited in line for an hour and only moved a couple feet. By 8:45 p.m., those associated with the Speaker Series were already informing those near me that we would likely be unable to get in. This didn’t really seem to have the desired effect on those waiting.

Eventually, it became quite apparent that many people in line were going to be unable to meet Minhaj and the doors to Bistro 49 were closed. People around me were upset, hurt and a bit desperate. Though the Speaker Series gave out highlighters and phone chargers to compensate for the missed opportunity, this did not seem to pacify the line in any significant way. Though some people did begin to disperse, a majority of the line began to surge towards Bistro 49. It was uncontrolled and chaotic. Eager students rushed down the tight hallway and gathered almost mob-like around the doors. Despite warnings and insistence that they would not get to meet Minhaj by those associated with the Forty-Niner Forum and the Popp Martin Student Union, the crowd did not fully disperse until asked to by campus police.

Overall, Minhaj’s exceptional performance as a speaker overshadowed the chaos that came afterward. His standup material was original, timely and made every person in the packed ballroom laugh. He seemed completely comfortable on stage, which caused the audience to feel more relaxed in return. While I appreciated that the audience had the opportunity to ask questions, Minhaj was so engaging that I also just wanted to listen to him perform stand up the entire time. Granted, it would have been called a comedy show if that had been the plan for the evening and luckily, Minhaj is naturally funny even when put on the spot. I can’t imagine it working as well as it did with a number of other comedians.

As for the meet and greet afterward, the problems it had were mostly due to the Forty-Niner Forum Speakers Series’ apparent underestimation of Minhaj’s stardom. While the event itself had been moved to the student union from its typical location in McKnight Hall (likely to accommodate the expected larger crowds), Bistro 49 is simply not a good location for a meet and greet. The narrow hallway to its entrance tightens crowds and obscures sightlines, making it hard to gauge how far away one truly is in a line. Not only that, the line’s size seemed to far exceed expectations. Since Minhaj could only sign autographs and take pictures for a set amount of time, the line should have been managed more efficiently to get more people through it. A number of students that were able to meet Minhaj informed me that while there was a set amount of time allowed per student, it seemed hard to enforce. In my opinion, a pre-sold ticketing system would have benefitted both the main event and the meet and greet. It would have cut down on the premature line forming before the event, as well as prevented the chaos that ensued after students found out that they would be unable to meet Minhaj. If only a realistic number of tickets are allotted for the meet and greet, students won’t get their hopes dashed in an attempt to get into an event that can only truly tolerate a specific number of people.

The Temperature at Which Books Burn

Photo courtesy of Lyrical Photography

Heat. Red flame. The smell of kerosene and ink. This is book burning, a tactic of control and suppression that has been used since the birth of human civilization. It is the ultimate attack on freedom of thought and the right to publicly dissent. Even more dangerous, it allows those in power to shape (and even collectively erase) public memory into a story that benefits them. It is this danger that is explored in “Fahrenheit 451,” a dystopian classic by Ray Bradbury written during the height of the Red Scare. For the next two weekends, this tale will be available for all to experience as it is told on stage by the Three Bone Theater.

For those unfamiliar with the specifics of the plot, “Fahrenheit 451” tells the story of Guy Montag (Harry Jones Jr.), a fireman in a not-so-distant dystopian future. However, in this future, firemen start fires rather than put them out. Their job is to burn books, a source of information and entertainment that has become illegal, and the houses (and sometimes people) who harbor them. However, a chance meeting with his neighbor Clarisse (Stefani Cronley) sends Montag into a dangerous spiral. Ultimately, he is forced to choose between his growing desire for answers and the safety and ease of fitting in.

The performance company behind the production, Three Bone Theater, is relatively new to the Charlotte theater scene. However, one wouldn’t know that from the quality of the production. “Fahrenheit 451” has managed to compile a cast of extremely talented local actors who pull off this production brilliantly. In fact, this is one of the most well-rounded casts I’ve seen this entire season. The Duke Energy Theater complements the show nicely, as the intimacy of the small cast, minimalist set and close performance space draw the audience in.

Of course, no show is without issue. “Fahrenheit 451’s” struggles generally come from the script, with is both long and wordy. The show runs a little over two hours and a majority of the script comes directly from Bradbury’s novel. While “Fahrenheit 451” makes an extremely important point about the dangers of anti-intellectualism and book burning, it also risks bordering on pretentiousness. A number of the production’s quotes come from classic novels and rhetors and may fly above the audience’s heads. In one tense (and extremely well-performed) scene, two characters fling dueling words of philosophers at one another. While the scene ultimately succeeds in getting its message across, it may alienate members of the audience with no understanding or background knowledge of the quotes.

Photo courtesy of Lyrical Photography

However, this production of “Fahrenheit 451” overcomes its long-winded script simply by the talent and commitment of its actors. While the sheer magnitude of the lines could have overpowered the players, they instead made the long monologues and arguments their own. Every character felt real and every line was packed with backstory and emotion. Harry Jones Jr. as Montag is absolutely magnetic. The audience truly feels and cheers for him. The character’s personal journey is apparent in the way Jones carries himself, in the way he delivers lines, and in the way he expresses himself around other characters. Even in scenes in which Montag is mostly silent or confused, the emotion plays clearly on Jones’ face.

Heightening the production, Thom Tonetti as Fire Chief Beatty is one of the most compelling “villains I have seen in a theater production. Beatty is an enigmatic character whose actions and motivations sometimes seem to directly contradict each other. He is an angry and hurt ex-book lover, who turned to books during a time of need and failed to find solace. Tonetti takes this inner struggle and runs with it. At times, he plays the character as sympathetic, causing the audience to almost pity the chief. Not even minutes later, the character transforms into a whip-smart, cold and absolutely terrifying villain. There were points in the production in which it felt like the character was legitimately unhinged.

This talent was matched by Bill Reilly as the scared and quick-witted Professor Faber. Though Faber is only present for a few scenes in act two, Reilly plays the time for all he has. During the aforementioned scene in which two characters fight through words, Faber is tasked with providing the words for Montag. The scene is staged with Faber on a walkway above the two men (Montag and Beatty). This works brilliantly, as one is able to watch the three men perform simultaneously. It is beautifully compelling and tense. Stefani Cronley’s Clarisse is also a powerful performance. She provides a perfect character contrast to Montag and seems, at times, to be the only light in the dark world of “Fahrenheit 451.”

Photo courtesy of Lyrical Photography

Dystopian stories like “Fahrenheit 451” illustrate the worries and concerns our society has about the future. However, they also serve as warnings. They ask audiences to understand what path they believe society is heading in and to prevent the events and characteristics seen in the dystopia. While “Fahrenheit 451” was originally written during the Red Scare and reflects the fears of that time period, it remains ever relevant today. Book burning is still used as a control tactic in a number of oppressive regimes around the world. Beyond the act of book burning though, “Fahrenheit 451” warns the public about all attacks on freedom of speech and thought. This is especially stressed at the end of Three Bone’s production of the play. In the closing scene, the lights dim on the actors as they read snippets of the Declaration of Independence and the United States Constitution aloud. In today’s divisive times, this feels like a warning worth hearing.

“Fahrenheit 451,” produced by the Three Bone Theater company, is playing Nov 2-4 and 9-11 at the Duke Energy Theater in Spirit Square. Tickets are $22 in advance and $28 at the door; all shows start at 8 pm.