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Steven Kwan Arts Editor 520•621•3106 arts@wildcat.arizona.edu
Hot ‘BODs’ hard at play
BODIES ... The Exhibition coming to Tucson By Dallas Williamson Arizona Daily Wildcat Picture this: Hundreds of real organs and body parts on display for all to see. An up-close and personal look into the inner workings of the human body. Every bone, every muscle, every blood vessel. They’re so close you can almost touch them. While this may seem like an anatomist’s candy shop, only available to those who have completed years of medical school, this time everyone gets a taste of this sweet deal. The treat? BODIES … The Exhibition. Beginning May 15, Tucsonans have the opportunity to get intimate with the human body at this innovative presentation of science and technology. Housed in the Rialto Building, 300 E. Congress St., across the street from the historic Hotel Congress, BODIES will provide the public with an authentic display previously available only to the medical community. Featuring 10 full-body specimens and nearly 160 partial body specimens and organs, this spectacle may not be for the faint of heart. However, it is anything but a warehouse of parts and gore. BODIES aims to offer a compelling, eye-opening and educational experience to viewers. “What you are looking at is yourself without your skin,” said Cheryl Muré, vice president of education for Premier Exhibitions, Inc., which is sponsoring the exhibition. “As you walk through the exhibit, it is like you are taking a journey through your own body and studying yourself from the inside out.” Each system of the body is represented through the multitude of genuine specimens. The skeletal system will showcase the various bones of the body, while the full-body specimens offer a look at the body in motion, demonstrating how the muscular system works to facilitate movement. With the nervous system also on display, visitors can learn about the brain and how it surpasses the functioning capabilities of the best computers in the world. The digestive and respiratory systems will also be highlighted in the exhibit. How do they preserve the bodies? “It’s called polymer preservation,” Muré said.“Highly trained anatomists remove all the fluid from the body and replace it with silicone. The silicone then permeates down to a cellular level and hardens, so each specimen will remain like this indefinitely.” Even though it promotes a highly visual and complex education, Muré emphasizes the benefits of the exhibit for all ages. “It makes an amazing field trip for kids and teachers, but is also a great experience for adults and seniors who
Images courtesy of BODIES ... The Exhibition Tucson
are going through so many changes with their bodies. It lets them see inside the body and gain a better understanding of what their doctors are telling them and what is truly going on with themselves,” Muré said. And for college students the experience can be particularly eye-opening. “One thing that makes BODIES so compelling is its display of organs and systems ravaged by diseased and mistreatment,” Muré said.“With healthy organs side by side with diseased organs, you can see the impact that your lifestyle choices have on your body.” Along with a lung plagued by the devastating effects of smoking, the exhibit also showcases a cirrhotic liver, emphasizing the consequences of excessive drinking. “We want people to walk away from this exhibition with a newfound commitment to their own health and wellness,” Muré says.“It’s different than seeing a model or a film, where you can say, ‘That’s not me.’ Looking at an actual lung destroyed by years of smoking truly gives you pause.” Whatever age, whatever interest, BODIES … The Exhibition has something for everybody. For tickets and more information go to www.bodiestucson.com or call (888) 263-4379. Tickets can also be purchased at The Rialto Building box office.
IF YOU GO BODIES … The Exhibition May 15- Aug. 31 The Rialto Building 300 E. Congress St. Adult $22 Senior (55+) $18 Child (4-12) $14 Student $18 Military/veteran $17
‘Othello’ misses point of tragedy By Heather Price-Wright Arizona Daily Wildcat Just before he commits suicide in the fifth act of Shakespeare’s“Othello,”the title character laments that he loved his wife, whom he just murdered,“not wisely, but too well.” Unfortunately for Shakespeare lovers, The Rogue Theatre seems to have loved the play neither wisely nor very well at all. The Rogue’s production of“Othello” could generously be called uneven. While a few actors gave admirable performances, the production was listless and dull — an impressive feat considering the nearperfect script the cast was working with. In fact, it often seemed as though the actors had not actually read that script, instead focusing on their individual roles with little understanding of how they fit into the overall plot. The most disappointing element of the production is Othello himself. In order for his passionate relationship with Desdemona to make sense, Othello should be a commanding,
worldly character, totally in control of himself, with the tragedy stemming from the villain Iago’s ability to shake that complete self-confidence. Unfortunately, Nathan Crocker’s Othello doesn’t fit the bill. He stomps and postures across the stage with a peacock-like overconfidence. Rather than command, he boasts and whines his way through his powerfully written dialogue. Sadly, although Avis Judd tries valiantly as Desdemona to rectify the dynamic of their relationship, it simply makes no sense. The audience has no reason to care whether they survive as a couple, having little idea of why they’re together in the first place. This makes the devastating conclusion befuddling and robs the tragedy of its power. Almost as disappointing is Joseph McGrath’s Iago. Shakespeare’s most compelling villain, Iago is pure, delicious evil, weaving a web of honey-tongued lies across the stage and ensnaring the rest of the players in it. However, McGrath’s Iago is less evil mastermind and more mischievous grandfather. He reveals his unconscionable plans as flippant
afterthoughts, robbing them of everything that makes them terrifying. In fact, Iago comes across as substantially more fun and likeable than Othello himself, further muddling what is meant to be a tragedy. The production began to feel a bit spoofy at times, with the audience accidentally rooting for a charming underdog rather than despising a nefarious villain. Both Judd and Patty Gallagher, as Emilia, attempt to redeem this baffling, boring production. Their scenes together capture the requisite tension as Desdemona prepares for what will soon be her deathbed. John Shartzer is quite good as Roderigo, a sniveling would-be rival for Desdemona’s love, and David Morden’s Brabantio is truly enjoyable as he laments his daughter’s marriage to the Moor. In fact, Brabantio’s offstage death is more compelling than Othello’s suicide. Unfortunately, the fine supporting cast cannot save an ultimately sinking ship. “Othello”fails to deliver, and its final scene, so rich with possibility for pathos, instead leaves the audience puzzled but relieved it’s all over.
Photo courtesy of The Rogue Theatre
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