The Heights Artsfest

THE HEIGHTS

C2

Monday, May 2, 2016

A CAPPELLA SHOWCASE DANCE SHOWCASE 9P :?I@J =LCC<I 8ikj I\m`\n <[`kfi One of the weirdest things about Boston College’s Arts Festival is that two of the three days it’s celebrated are school days. Some events that students might want to see are awkwardly scheduled in the middle of the day, when many of us might have class or work to be doing. In spite of its awkward timing, however, Thursday afternoon’s Dance Showcase, which brought together many of BC’s finest dance crews in an hour-long compilation, saw a horde of students pile into the O’Neill Plaza tent, pining for a seat for the epic mash-up of ensembles and styles.

It’s a rare sight to see a step group like Sexual Chocolate perform in the same set as Full Swing, or to see Full Swing grace the stage before a BC Irish Dance performance. One might think the viewers had gathered for a lesson on the history of dance, rather than a melange of BC’s dance groups. The contrasting styles and music found throughout the Dance Showcase, on the other hand, provided the set with a variability that kept each dance number refreshing and highlighted the distinct characteristics of each of the groups and their members.

While the whole range of performances seen Thursday afternoon each made their own lasting impression on the audience, there were a few numbers of particular note. With its first Robsham show earlier this semester, Full Swing’s two dances demonstrated the group’s popularity with BC audiences, as well its showmanship.

Donned in snazzy dress attire, Full Swing’s performers played out a dance contest to Duke Ellington’s “Diga Diga Doo.” After a few other groups had gone, another assortment of Swing members took to the stage with Grease’s “You’re the One that I Want.” Seeing the Pink Ladies and T-Birds come together in an epic swing number was exhilarating, and encouraged the audience to sway along with Full Swing.

Despite more than a few technical issues that plagued the beginning of their first number, the Golden Eagles showed the crowd that their talent isn’t confined to football fields in the fall. They gave two very different performances, one set to The Chainsmokers “Roses,” the other to Olafur Arnalds’ “Near Light.” Their “Roses” number seemed very much in tune with the pop-themed style the group is used to performing at games, but the “Near Light” number gave the audience a much subtler facet of the group. Akin to the interpretive dance in Napoleon Dynamite, the Golden Eagles’ “Near Light” dance gave viewers a glimpse of the more tranquil end of the spectrum of the group’s versatility. With two very different dance styles on display, the Golden Eagles made it clear to the audience that they are more than just a typical sports dance squad.

The afternoon also saw a few themed dance numbers that were entertaining and well-executed. Draped in basketball jerseys and athletic shorts, Phaymus jogged onto the stage for a basketball-themed romp set to songs like Meek Mill’s “R.I.C.O.” and Lil Bow Wow’s “We’re Playing Basketball” (because if Phaymus didn’t include this in its basketball-themed set, it would be a grave crime). Last up in the Dance Showcase was Uprising, which reached back to the pirate era for its dance number with dubstep pirate remixes and pirate-skirmish interludes.

Both sets from Phaymus and Uprising were fast-paced, intricate, and well-choreographed for their length, but each set felt a little long, and it was easy to get distracted from what was happening on stage, when it felt like the audience had seen the same dance put to five different songs. Despite their arduous lengths, the performances from Uprising and Phaymus made distinct and entertaining impressions on the program, adding a component that stretched beyond the more conventional dance numbers from other Dance Showcase groups.

Thursday afternoon’s Dance Showcase sort of speaks for Arts Fest as a whole. Many of BC’s well-known dance crews and more obscure groups came together to show off a culmination of the work they have put into their routines throughout the year. While the more traditionally popular groups brought a strong following to cheer them on, the so-called underdogs of the afternoon seemed to give the stronger, better-received performances. Though Full Swing, the Golden Eagles, Uprising, and Phaymus might not be considered the faces of the BC dance culture, these groups proved Thursday afternoon that they are just as formidable and dedicated to their craft as the more prominent dance crews of BC.

9P @J89<CC8 ;FN ?\`^_kj JkX]] Boston College’s annual Arts Festival continued on Saturday on O’Neill Plaza with an A Cappella Showcase: Critic’s Choice concert. Many of BC’s a cappella groups joined together in an effort to display a conglomeration of the diverse array of musical styles the different groups hold, which gave the crowd a sampling of the talented a cappella presence on campus, and offered an entertaining concert that captivated all of its viewers.

The Heightsmen, BC’s only all-male a cappella group, opened the show with an entertaining display, part of which consisted of their entertaining 1980s-themed medley. With everything from their spirited rendition of Journey’s “Don’t Stop Believing” to their easy-going cover of Pat Benatar’s “Hit Me With Your Best Shot,” the group showcased their notable versatility and harmonious quality while performing crowd-pleasing throwbacks. The group’s continuation of the medley with the Eurythmics’ classic “Sweet Dreams (Are Made of This)” and Bon Jovi’s “Livin’ on a Prayer” helped round out the New Wave and rock-themed performance, and the enjoyable display presented a wellcrafted start to the show.

The next group was Black Experience in America Through Song (BEATS), featuring R&B and Soul music that has shaped the black community in the United States. The group performed a cover of Carl Carlton’s “She’s a Bad Mama Jama” that exuded life and personality. The song saw a magnetic energy from all of the singers, and the upbeat presentation paid tribute to the ’80s hit. Along with its other songs, which featured impressive rap solos and soulful, smooth vocals, the group had the crowd clapping in time.

After BEATS came the BC Dynamics, complete with their belted-out vocals and well-known song choices everyone in the crowd loved. One of their picks was Joel’s “Only the Good Die Young,” which was an upbeat and cheerfully performed song. The group followed its Billy Joel cover with a handful of other songs, in-

cluding Aretha Franklin’s “Respect,” The Supremes’ “You Can’t Hurry Love,” and Martha and the Vandella’s “Dancing in the Street.” This medley was entertaining not only because of the group’s harmonious interpretations of the songs, but also due to their artful progression of songs from a substantially different era in music. The Dynamics compellingly wove together their songs in a fresh way.

The Bostonians continued the concert with their lively performances, which included their rendition of Chris Stapleton’s “Tennessee Whiskey.” The song featured warm and intense vocals that really highlighted the talents of the whole group as a result of their musically nuanced cover.

The Bostonians also covered The Killers’ “Mr. Brightside,” which was performed with a mixture of fun and angst, and served as an immensely enjoyable take on the song.

The group’s presentation maintained the song’s catchy beat while giving an engaging performance, which was an impressive endeavor. Performing a rock song a cappella without losing the energy or edginess of the original song is probably not the easiest feat, and the group fully delivered on their ambitious selection with their captivating energy.

The show closed with performances from the Acoustics, who began with the folksy song, “Barton Hollow” by The Civil Wars. The song featured powerful vocals and a heartfelt intensity that featured the group’s unique and memorable sound.

The cover artfully oscillated between harmonious softness and a roaring chorus, which created an intriguing and mesmerizing quality to the whole song.

The Acoustics continued their set with a cover of Willy Moon’s “Railroad Track,” a brilliant reinterpretation of the edgy song, along with sharply gritty vocals that delivered the song’s entertainingly jarring quality.

After that off-the-beaten-path choice, the group finished its performance with a classic crowd pleaser, Joel’s “Piano Man,” which contained fun and personable vocals and an energy from the whole group that aptly closed the concert.

THE HEIGHTS

Monday, May 2, 2016

C3

MUSICAL THEATRE WING 9P :8C<9 >I@<>F 8jjfZ% 8ikj I\m`\n <[`kfi

Arts Fest displays a grand propensity for variety through its art displays, dance throwdowns, eclectic songs, and a slew of other forms. This same variety is equally present in the individual shows themselves, as artists in these performances build, modify, and play off of one another, while striking distinct notes in their own rights.

In Ode to the 21st Century, the Musical Theatre Wing offered up performances that fit seamlessly with the theme, while leaving plenty of room for individuals to carve their own standalone paths, serenading audiences with their unique styles.

Ode to the 21st Century reached for elements that span the emotional spectrum, touching on universal and intimate emotions grounded in 21st-century experiences. Each song pressed on in a different direction, while harkening to this overarching theme, giving a sense of cohesiveness and consistent weight to the entire show. Within each of the singers, the emotional conviction was displayed aptly throughout their performances, making each piece as soulfully charged as the last.

An early piece, “Run Away With Me,” performed by Sarah Whalen, MCAS ’18, evoked feelings of longing and hopefulness. Whalen’s voice carried the song softly and sweetly, speaking of

running away, packing the car, and searching for a new place. Accentuating tenderly on the right notes and building up others, Whalen brought the sense of frustrations and yearning to the forefront of this rendition.

The subsequent song “Kindergarten Boyfriend,” performed by Alex La Torre, LSOE ’17, brought a different kind of flair in a tale of playground love. The quirkiness of the song was brought to life through La Torre’s voice as she recounted the simple history in song, exhibiting range when recalling the merriment of youth, while bringing her voice down to a more hushed tone as time continued in the story. The song harkens back to a time when love was less convoluted, when playground love was just called love.

Another song, “She Used to Be Mine,” performed by Lauren Strauss, MCAS ’18, laments the weight of the world and the changes that manifest itself on the person. As the song progressed, Strauss was able to convey the heartfelt story through a soft, yet pointed voice, wearing these emotions in and on every word. Strauss kept up the emotional tension throughout the song, building the sense of strife in her voice to a beautiful, yet sad conclusion. As a whole, the performance was about finding yourself.

Chris Pinto, MCAS ’16, added a quirky, engaging song to the setlist with his rendition of

“Seeing You There.” The song recounts the trials of the city—a contempt of stale cupcakes and disgusting hippies—while relishing in the sight of one infatuating person simply standing on the street, waiting for a rendezvous. Pinto’s voice was full and gracefully filled the air around the stage.

When the song slowed, Pinto’s delivery of shorter, humorous lines was impeccable.

Collaborative performances “Mama Who Bore Me,” performed by Jenna Corcoran, MCAS ’17, backed vocally by several other ladies of the MTW, and “If I Told You,” a duet between Brett Murphy, MCAS ’18, and Corcoran, incorporated the additional vocals well, blending where needed and separating during certain phrases to create more movement and range within the pieces.

Within these songs, the vocal variety was shown in a sort of microcosm of the show as a whole, as the voices complemented and elevated each other, just as the distinct songs of the show did the same.

Ode to the 21st Century tapped into the pulse of the time as the Musical Theatre Wing showed that there are a multitude of stories that can speak to the sentiments and problems of our generation.

Though the 21st century is vast and not nearly over, the feelings evinced by it will surely be felt by the people who live in it and those who will come after it, through the songs and notes left behind.

CONTEMPORARY THEATRE 9P :8IFC@E< D::FID8:B ?\`^_kj JkX]] Representing the theatre department Saturday afternoon, the Boston College Arts Festival presented short plays written, directed, and performed by students in the Contemporary Theatre event. Performed in the Stokes Tent, this was one of the many enticing events of the day and some of the best the theatre department has to offer, as the performers proved that the stage remains a home for authentic and inquisitive artistic expression.

The first play was titled Just Below the Surface. Using just four chairs, the set transformed into a train car that was stopped for repairs. A lawyer, a professor, an AT&T employee, and a writer are stuck in this car together and get to know each other throughout. As the play progresses and the audience starts to hear more and more about each character, it seems that there is something bizarre about each of them that lies just below the surface. The lawyer believes aliens are trying to abduct them, the professor thinks he is a masked vigilante, and the AT&T employee believes that he is a sorcerer, able to cast spells. Although things appear one way at first, Just Below the Surface shows that looking at a person’s character more fully may reveal something very different.

With wonderful writing and acting, the second performance, Counting to 10, handled the topic of suicide. A man is counting planning to kill himself at 10. A woman steps out from behind him and remarks that it is a gorgeous night, stopping him. From here the woman goes on to persuade the man that there is so much to think about and to see. She reveals that she was once in his place and wants to be there for people on the ledge before they reach the number 10.

The play Catherine was especially moving. Directed by Gabrielle Esposito, MCAS ’18, and starring Elizabeth Koennecke, MCAS ’19, the one-woman show moved many to tears.

As Koennecke first stepped onstage with a Michael Kors bag, she set the scene as the college girl who has it all. The audience soon learns that this is not the case. The show starts off with Catherine telling the audience that everything is fine, that nothing is the matter. She goes on about her life, describing her perfect mother, her ex-boyfriend’s new girlfriend, urging us to think that nothing is wrong, though an uneasy look is fixed in her eyes. From there she weaves into her one-sided conversation that she doesn’t like the dining halls and frankly doesn’t really like food. Obsessively remarking on calories and weight and how she feels after she eats, we start to understand why she is here talking to us about this situation: “When you’re hungry, everything starts feeling … sharp.”

Be Real followed Catherine. Dealing with subjects of addiction, friendship, religion, and being young, this play handled these issues in a real way. The conversation the two friends had over coffee was messy and awkward, but relatable. This heartfelt piece perfectly captured the imperfections of friendship and the difficulty of trying to stay friends during hard times.

The final play was called Crazy Billy Shakes. Crazy is just the word to describe this amalgamation of Shakespeare plays.

The show looks at what would happen if some of Shakespeare’s greatest works—Romeo and Juliet, Hamlet, and Macbeth—were to merge together. The result is hysterical and left the audience crying from laughter. Each of the characters has exaggerated costumes fitting the personalities of their characters: Hamlet dressed in all black, Juliet in an elegant dress, Ophelia with a flower crown and sundress, and Macbeth dressed in a mini Scottish kilt to add comedic effect. Hamlet and Macbeth find comfort in one another because they both had to kill their respective kings. Juliet finds Hamlet to be the man she’s always wanted in her life. This well-written, well-acted, crowd favorite ended the performances on a high note.

WITH

LOVE 9P :?8E;C<I =FI; ?\`^_kj JkX]] One of the perks of attending a university with 9000 undergraduate students is the reality that creative talent seems to lurk inside the minds of many.

And what better place to show this talent off than at Boston College’s annual Arts Festival? Arts Fest is a breeding ground for creative minds to share in the works of the student body—one of which was Diana Sunder’s With Love.

With Love finds its roots in BC, as it was written by BC English master’s student Diana Sunder. The play tells the story of Jack Harrington, a depressed man who finds himself in the waiting room of the afterlife after committing suicide. There, he meets Fish, an otherworldly individual who guides him through his emotions as he watches the plight of his niece, her sister, and her girlfriend. From beginning to end, the play serves not only to entertain, but also to educate—at the forefront of With Love is the reality of sharply increased suicide rates in the LGBTQ community.

The play grapples with this heartbreaking truth, very effectively bringing to light one of many struggles dealt with by those in similar circumstances.

On the technical side, With Love is a resounding success. The minimalist set style—a hand-painted door frame and four chairs—serves the simplicity of

the play quite well. In fact, it is a shame that With Love was featured in such a small venue. Though the cast and crew worked very well with what they were offered, the play would be well-suited with a broader stage—all the more room for the larger audience that it deserves, as well.

The dual plotlines of With Love come together quite nicely. The audience spends the first half of the show wondering how the two parallel stories connect, and as each piece falls into its place, it becomes more and more satisfying to see the ramifications of each character’s actions. This interconnectivity is one of the strongest pieces of With Love—though the writing at certain points becomes weaker, the conclusion of the play ends on an incredibly powerful note. As Jack Harrington exits the stage, the emotion in the room hangs on the heads of actors and audience alike.

Yet another strong point of With Love is its cast of compelling characters, Fish in particular. Jake Athyal plays this role perfectly. The ethereal complexities that Fish exudes draw in the audience as he leads Jack to the conclusion of the play. Of particular note is the directorial choice to include the metaphor of a chess game between a man and a supernatural being (see 1957’s The Seventh Seal)—this is a wholly dangerous decision, potentially running the

risk of seeming like a cliche or overused story trope. Due in large part, however, to Athyal’s performance, as well as the strong writing behind Fish, this plot arc works well. Every single performer in With Love was of high quality, but Athyal undoubtedly shines quite brightly in his role.

Most satisfying is the message that With Love brings to the table. Aside from the aforementioned dealings regarding the plague of suicide among the LGBT community, the play actively seeks to normalize thoughts on homosexuality. Over half of the play’s main characters are gay, and this is not a simple gimmick—rather, it explores the nature of the struggle behind love, no matter who it is between. At its core, With Love is a story of humanness, proving to audience members that love is not limited to those who seek to hide it behind tradition.

With Love is a play that needs to exist on BC’s campus. It is no secret to anyone that, historically, BC has not been actively progressive on many social issues. It is so refreshing to see an accurate, healthy depiction of a homosexual relationship on a BC stage. Putting aside any other considerations, the work that Sunder has produced is admirable, and the world would be well served if more playwrights were to follow in her footsteps in promoting a more accepting society.

THE HEIGHTS

C4

Monday, May 2, 2016

CCE MURDER MYSTERY 9P IP8E ;FN; ?\`^_kj J\e`fi JkX]] Just as And Then There Were Nuns began to settle in, Anna read from the Bible that, according to the Sisters of Saintly Giveaways, there is a coven of mostly male nuns who

may have nefarious designs. We had met most of the show’s colorful cast of characters and Anna, the energetic, positive resort employee, was just doing her best to carry out the to-do lists the nuns keep assigning her. She was reading as part of a prayer service, and the passage was familiar.

In the Gospel of John, the Pharisees approach Jesus with a woman who has committed adultery. They ask Jesus whether they should stone her as Moses commanded. Slowly, incredulously, Anna read the part of Jesus: “‘Sure. Why not?’ And he joined in the stoning.”

That’s the type of humor the CCE used in And Then There Were Nuns, which ran four shows this weekend—the type that playfully (depending on perspective, probably) gives serious Catholic tradition a wedgie. Sabrina Serani, MCAS ’18, played the part of Anna Roberts, the proverbial straight woman and eventual lone survivor of the bloody affair that occurred on “the island.” It goes something like this, in honor of Agatha Christie (played by Lucy Pawliczek, MCAS ’17): Twelve sinners go on vacation and tr y t o h av e s o m e fun. What they didn’t count on was a bunch of creepy, marauding nuns.

There might not be a creepier place to sit

9 P C <@>? : ?8EE<CC ?\`^_kj <[`kfi

During a bright Saturday afternoon on Stokes Lawn, students stepped under the roof of the arts tent to find shade and refuge from the swarm of children outside. Inside, they found entertainment, in the form of a chooseyour-own-adventure play. The Boston College Dramatics Society set out to perform it as part of Arts Fest, securing a spot in the Stokes Tent to showcase its skills in pantomime.

The premise of the performance was almost patronizingly simple—Cassie Chapados, MCAS ’17, read aloud from a small, hardcover, choose-your-own adventure book, while four members of the society acted out the story’s plot in the center of the stage. The book, Return to Atlantis by R.A. Montgomery, began by introducing the main character—You. Told in the second person, the story allowed for the audience to actively participate in the main character’s decision making. “Your” actions were played out on the stage by Michael Mazzone, MCAS ’19. Chapados and Mazzone began the show alone together on the stage, as Chapados told the audience of your past venture into the lost city of Atlantis years before.

Unfortunately, you failed to return

in the dark with people you don’t know that well, as other folks scamper around in nun costumes, than O’Connell House.

The maybe (probably) haunted house of Upper Campus has always been a fine setting for comedy, and the CCE mined its inherent creepiness. In spite of its comedic intentions, sometimes And Then There Were Nuns was actually kind of scary. You’re not quite sure if it’s just the shadows playing tricks on you, or if there’s a gargoyle sitting on that spiny staircase looking right at you And Then There Were Nuns is less of a murder mystery and more a mockery of it. Everyone knows it’s the nuns.

The mystery part wasn’t what director Amanda Sie, MCAS

’17, and writers Pawliczek and Mary Disbrow, MCAS ’18, seemed interested in. They mined for comedy the fact that their characters remain mostly oblivious to the evil nuns, along with some sketch situations. A.J. (Andrew Ramirez-

Urbina, MCAS ’19) loves extreme sports. Dr. Warren (Erin McGarvey, MCAS ’16) is a suicidal dentist. Doris (Colleen Doyle, MCAS ’19) and Cloris (Casey Mahalik, MCAS ’18) are elderly conjoined twins—Doris, a prim and proper British lady and Cloris, a foul-mouthed alcoholic. Anna and Teddy Roberts (Christian Moro, MCAS ’19) are bickering convicts on the run whose relationship operates as a thread

throughout the first act of the play.

Harry Gordon, MCAS ’19, played some fun physical comedy as Lommy, a sort of Lenny-meets-Gollum character who referred to himself in the third person and scampered around in socks on the floor. One of the great side bits of the show was when A.J. and Teddy fed Lommy crackers off the table in the background. Perhaps because of his charm, Lommy made it to the end with Anna. And he wass prepared. To protect his love, Lommy whipped out a rifle about the size of flag, and accidently shot himself.

Some died off-stage. We hardly knew you Beth (Cassie Dineen, CSOM ’19), who “drowned in the pool.” We missed you Willy (Matt Stolfi, MCAS ’16), you tall pharmaceutical scoundrel. Some died at our feet. Poor Joss (Jakub Frankowicz, MCAS ’16) died the way of Caesar and Jon Snow, only instead of brothers, a bunch of nuns stabbed him into submission. Teddy Roberts, can’t say we were that sad to see you go. Team Anna!

In the end, Anna donned a habit and joined the murderous nuns, fulfilling the title, and the audience may never trust a nun again.

CHOOSE YOUR OWN ADVENTURE

with any evidence of the visit, and all of your findings were credited to hallucinations caused by spending too much time in the deep sea.

For tunately for your scientif ic reputation, you were soon approached with an opportunity to return back to the lost city. Marybeth Dull, LSOE ’18, joined Mazzone and Chapados on the stage to play the role of Horton James III, one of your best friends who had just recently been awarded a scientific studies grant. Horton offered to use the money and equipment included in the grant to fund and outfit a trip back to Atlantis, where you would be able to experience the fantastical city again and bring proof of its existence back to the surface. The two of you boarded a submarine and plunged to the depths of the ocean, represented by Mazzone and Dull’s cavorting around the stage.

The two were soon joined by the performance’s last remaining actors, Jessie Shaw, MC AS ’19, and Jared Reinfeldt, MCAS ’16. Coming in from offstage with Shaw riding on Reinfeldt’s back, the pair was the realization of the book’s mystical, leviathan-like creature.

At this point, Chapados confronted the audience with its first choice, asking whether the actors should follow the creature or continue their descent toward the lost city. The audience

unanimously decided to follow the creature, and then suddenly, the two actors comprising the beast detached.

Chapados explained that a capsule had detached from the side of the creature, and was requesting permission to come aboard your submarine. The audience was again asked to make a choice, this time between attempting an escape, blasting the capsule with the submarine’s missiles, and allowing permission to board. At the request of a young girl in the front row, the Dramatics Society pursued the latter.

Now a ssuming the role of two Atlanteans who had been riding on the side of the leviathan, Shaw and Reinfeldt explained that they had been on a food-gathering mission, and were happy to welcome you back to Atlantis.

At this point, the audience was asked to choose whether they would join the food-gathering mission, or go straight to the lost city. Growing anxious to see what the actors would do to create the mythical metropolis, the audience elected to journey to the city. The ante of the pantomime was upped as Chapados explained that Atlantis had been at war with an enemy people, the Nodoors, since you had last visited. At the time of your arrival, the city was under attack, and you immediately had to decide whether you should go

straight into the city’s headquarters or help defend it at the borders. Feeling particularly valiant, the audience elected to help protect the city, and Shaw and Reinfeldt set out to arm Mazzone with imagined stun weapons.

Unfortunately, the audience made the wrong call in choosing the overtlyrighteous path. Mazzone flew to the side of the stage, pantomiming the effects of a giant explosion. You would be trapped in Atlantis forever. “Are we happy with that ending?” asked Chapados. The resounding response from the audience was no.

Flipping through the book’s pages, Chapados returned to our initial encounter with the Atlanteans, and opted to join them on th e i r fo o d - g ath e r i n g mission. Yet nowhere in the depths was safe from the Nadoors—the gathering mission soon fell under violent attack, and the audience was confronted with our final choice: fight back, or escape to Atlantis? Having learned our lesson, the audience chose to escape to the lost city, and finally got the happy ending we wanted.

While the premise of

the play was slightly patronizing for older viewers, the enthusiasm of the actors and the silly plot were a perfect form of casual entertainment for a Saturday afternoon. Having only been able to rehearse in multiple read-throughs, as it was entirely unpredictable which adventures the audience would choose, the members of the Dramatics Society looked professional and prepared for whatever their viewers threw at them.

THE HEIGHTS

Monday, May 2, 2016

C5

Voices of Imani

9P D<C@JJ8 89@ A8FL;< ?\`^_kj JkX]]

As the only gospel group on campus, Voices of Imani took the opportunity to present a breadth of musical expression that took took the audience on an emotional, melodic journey Saturday night. It stuck to the roots of the club, which began in 1977 with a group of students who wanted to create a music group on campus in which they could come together, express their faith, and celebrate the rich tradition found in the black worship experience.

Starting off with the uplifting “Troubles Don’t Last Always,” Voices of Imani continued to build up the energy at the beginning of the show by moving on to “Looking For You” and “Love You Like That.” The latter had one of the strongest solos of the concert, by freshman member Bryan Paula, MCAS ’19—quite a compliment given that this concert was filled with excellent solos.

From these spirited pieces, the group moved on to the jazzy “Unbelievable.” This was an interesting piece that switched up the entire energy of the concert. It continued on this trend as it smoothly transitioned into “Peace and Love Medley,” an original composed by Voices’ own Jessica

Stephens, MCAS ’17. This was a wonderful piece and an impressive display of Stephens’ talent. The music and lyrics were perfectly matched. It even had a great rap solo, which Stephens delivered. The next medley, “Change the World,” built on the haunting undertones of the previous song, pulling on the audience’s emotions.

The medley “Blackbird/Fly” slowly transitioned into an upbeat anthem. This piece served as great way to bring back the energy from the beginning of the show and then increase it even more. By the time it ended, most of the audience was on its feet, swaying and clapping along. This piece also featured wonderful solos by Paula Assou and Chloe Fasanmi, both MCAS ’18, as well as freestyle solos by the trumpet and saxophone players.

With such a strong showing, Voices could have easily ended the show right then and there. It had one more surprise, however, in store for the audience—a cover of “Ultralight Beam” from Kanye West’s Life of Pablo. Despite the short time it had to prepare this piece, it was definitely the highlight of the show. It was an expertly arranged piece that had wonderful solos by Levi Pells, MCAS ’16, Eva Frimpong, MCAS ’18, Jacquelyn Andalcio, LSOE ’17, Assou, and Stephens. With this piece, Voices showed that it had been saving the best for last.

Perhaps the finest strength of Voices of Imani is the sheer amount of energy its members bring to the stage. Each singer looks so engaged and moved by the music. It makes it difficult for the audience to remain disengaged. Furthermore, the large number of soloists was a great component to the event. Each performer was dynamic, with a unique presence and style on stage. It is also important to take a moment to compliment

David Altenor, BC ’09, and the current director of Voices of Imani. He played an integral part in transferring the energy on the stage to the audience, pushing it to chime in if it knew the words. Near the beginning of the show, he led a back-and-forth between the audience and the performers, which focused the show’s energy and capture the audience’s attention.

The only problem with the show was that despite efforts to fix the microphones, the band often overpowered the choir. Though the venue may have made this impossible to change, it hurt the overall experience because it was at times difficult to hear the choir well. This was especially evident with the “Change the World” medley, which had another great solo, but unfortunately the choir was almost inaudible over the band.

The silver lining, however, is that the band was consistently spot on. Despite the technical issues, Voices of Imani was able to create a fun, environment—one perfect for a beautiful Saturday afternoon concert on O'Neill Plaza.

JULIA HOPKINS / HEIGHTS EDITOR

SPOKEN WORD 9P :?8E;C<I =FI; ?\`^_kj JkX]]

While Arts Fest is mainly a time of celebration for the work that the school’s students have put into their distinct crafts throughout the semester, it also provides each year’s seniors with a chance to end their careers, personal and artistic, in an encouraging and loving setting. There is a sense of finality to each event over the course of three days, and that feeling certainly did not escape any performers at the Arts Fest Spoken Word program last Friday.

As the Juice performance came to a close at 7:30 Friday n i g ht , A r t s Fest workers began to set up O’Neill Plaza for a night of spoken word performance.

Like many open mics on campus, the evening was

a catchall for any and all forms of spoken word, meaning a wide variety of poems were read: improv poetry, rap, slam poetry, and even simple ramblings of the mind were all welcome. As one performer after another stepped up to the stage, one fact became increasingly clear: there’s no better place than Boston College to find immensely talented speakers.

Arts Fest Spoken Word was run in the most traditional sense of an “open mic”—first, the sacrificial poet reads a poem to kick off the event, and the stage becomes free to anyone willing to brave the eyes of the audience. Any person could stand any number of times to

read, and many chose to do just that. And despite the fact that the event came to a relatively early close, the works of many artists found their way into the limelight.

The stage lights were bright, but not so bright as to outshine the poets standing under them. High points of the evening (and there were many) included the work of both the experienced and the beginners. “Tales From the Friendzone,” written by Rusty Cosino, BC SLAM! member and MCAS ’19, had audience members rolling with laughter and then, heartbreak, as the last lines were delivered.

On the other end of the spectrum, his “5 Responses to People Who Call Me a Hipster,” done entirely off the cuff, dropped jaws.

Though the event was not BC SLAM!sponsored, many of its poets performed. Of note was Alex Hadley, MCAS ’16, performing “I Am a Machine.” Relating the reality of only being understood through numbers, be they height, weight, GPA, or otherwise, she reminded those who listened that they themselves are not just a number, but rather the sum of the memories they’ve made, forgotten, or almost had. As this was Hadley’s last BC open mic, it was clear that this last reading

was an emotional event for all.

In fact, for more than one spokenword artist, Arts Fest 2016 was the last BC open mic ever. There’s a sense of electricity in the air on occasions such as this—onlookers and performers alike can feel it. Each word crackles with a little more energy, holds a little more weight, calls the end of a BC career one step closer. If nothing else, those who engage in spoken word are clearly quite in touch with their emotions—every person in the room felt the sense of simultaneous dread and freedom knowing that the next step of life was, for many,

close at hand.

Events such as these make it abundantly clear that there is an untapped market of talent for performers on BC’s campus. It became more and more common as the night pressed on to hear the words “this is my first time,” but with every statement of these words came a poem or thought that was as polished as anyone’s. One fact has begun to stand out above the rest: the low level of BC student support and involvement in the art of spoken word is a true tragedy, because, if last Friday was any evidence, talent seems to be around every corner.

JULIA HOPKINS / HEIGHTS EDITOR

=Xd`cp DXkk\ij `e Ê>Xd\ f] K_ife\j1Ë K_\ ;Xe^\ij f] 9\`e^ X B`ejcXp\i

:8C<9 >I@<>F I am all for creative liberties being taken in shows or films with source material, but not all of these liberties are of equal merit. Game of Thrones’ first episode of season six has done harm to the world it lives in by breaking fundamental societal rules that serve as part of the fantasy bedrock of the show. The result is that the show is becoming less and less aware of its roots and more concerned with the flimsy spectacle of fantasy on screen.

The scene in question is the murder of Prince Doran and his son Trystane at the hands of the Sand Snakes and Ellaria Sand.

Homicide should not be cause for too much concern in a show that has left such a bloody footprint in the minds of viewers,

but these killings are more hazardous to the world than most. Westeros is a place rooted in tradition, honor, and loyalty. In a world where people are meant to grow up fast, learn to fight for their lives at a young age, and possibly ascend to the throne, one thing remains more or less a constant ally: family. When I say this I mean direct, nuclear family, rather than bannermen, who have proved to be quite fickle in the story. Without family, one is likely to be a Lommy, murdered by wildling raids, or enslaved along the shores of the Narrow Sea. The Starks have (had) family to rely on, the Lannisters have family to rely on, even the Boltons seem to count on each other.

Some may argue that many of these relationships are strained and flawed.

Though that may be true, these people, however flawed their relationships may be, stick together for better, or, more often, for worse. Others may point out how Daenerys sat by as Viserys was killed by the golden crown he so desired or how Tyrion murdered his father and was

falsely accused of murdering Joffrey. But one of these happened in the lawlessness of the Dothraki Sea and the other was brought to the royal court to condemn the kinslayer (Tyrion was in deep). These scenarios, though they challenge traditional Westerosi family dynamics, never kill the undercurrent of the importance of family and sticking together.

But in Dorne, I guess things are different. (Some people gon’ die). Wasting Doran and his son was flat-out stupid. Not only does it undermine the notion that you should not murder your family, it also undercuts just how important family was to Dorne. Oberyn died trying to avenge the death of his sister Elia and her children in his duel with Gregor. For years, he planned and trained to take down the enemy without bringing any fury down on Dorne. He fought for his family because he loved his family. If anything, seeing his brother get shanked to death and his nephew speared in the face would cause a different kind of splitting pain in the head of The Viper.

Politically, the move is equally as simple-minded. Who in Westeros will want to deal with kinslayers? Additionally, they are all Sands, bastards with no real claim to the seat of Dorne by Westerosi law. And though the culture is different in Dorne, they are all women. After giving Myrcella a real kiss of death, Doran seemed like the reasonable man to do damage control on an event that surely would stir up some trouble. And if you are going to lop a few branches off of the family tree, why not have a plan a little more substantive and grounded than stand and fight? Their motivations should be more clear than some personal vendetta, especially when they have everything to lose.

If getting back at the Lannisters for the trial-by-combat-gone-wrong was enough motivation, why kill your prince and his son? As renowned fighters and assassins, couldn’t these capable Sand Snakes crack some skulls on the DL? All the action in the show demonstrates that mindless killing is not only

hard to understand, but frustrating when taken into the context of the world built up around the show. Motivations were much clearer in the books. And I say this not as some book snob, touting them as better. I watch the show and read the books as two separate entities, but I will point out when the show breaks the fantasy rules that both forms of the story abide by.

The despondent feeling that Game of Thrones is entering an era of inconsistency is one that I hope is untrue. The killing cannot serve as the crux of the narrative movement, so maybe the departure from the books is not the best idea, if the producers do not understand what the world is all about.

Tyrion has said as much: “The mind needs books, just like a sword needs a whetstone, if it’s to keep its edge.”

:Xc\Y >i`\^f `j k_\ 8jjfZ`Xk\ 8ikj I\m`\n \[`kfi ]fi K_\ ?\`^_kj% ?\ ZXe Y\ i\XZ_\[ Xk Xikj7YZ_\`^_kj%Zfd%

THE HEIGHTS

C6

JUICE

9P AF?E N@C<P ?\`^_kj J\e`fi JkX]] Armed with a stabilizermounted DSLR camera, he circled and panned across the Arts Festival stage, swooping toward Christian Rougeau, MCAS ’17, and his electric violin. Rougeau leaned into the camera, smiling at the videographer as he tore into his strings. The fraying hairs at the tip of his bow—war scars. He knew the battlefield well. They all did.

Juice’s meteoric rise from freshman-boy jam band to campus media darling likely came as a surprise to those familiar with Boston College’s music scene. Having covered student bands for some time, I can say there’s a strong sense among many musicians here that BC students just don’t get it—they don’t show up at concerts, they don’t like music they haven’t heard on the radio, the y don’t pay for music created by on-campus musicians. Then Juice showed up.

Attendance at BC band competitions skyrocketed overnight, and to be fair to other acts, a 7-man band will mathematically have more friends to show up, but it quickly became clear these weren’t just friends: they were fans. They knew the lyrics, they would shout out requests for specific songs. They would show up to concerts in Cambridge, they would show up to concer t s in Ne w York . And when it came time for Juice to record its first album, the crowdfunded effort raised over $16,000. Heck, I even donated to it. Thursday night was the concert for that album’s release. Juice, having won the Battle of the Band’s competition twice already, lef t the mantle op en for another band this year, conceding instead to perform

Monday, May 2, 2016

JOHN WILEY / HEIGHTS SENIOR STAFF

its own set on O’Neill Plaza after this year’s winner was announced. But with the competition cleared for another winner, a sense of anxiety remained for the other musicians there that night: was there really room on the mantle for another Juice?

For this year’s winner Funky Giant, perhaps, but these events have yet to demonstrate even close to the same turnout when Juice doesn’t show up.

At this point, Juice almost feels like the featured performer, with everyone else serving as openers. The regulars call out the performers by name, while the

University’s Office of News and Public Affairs happily co-opts the performance as an opportunity to collect some B-roll.

The crowd conspicuously doubles in the minutes before Juice takes stage, with the venue so packed by the start of its set that latecomers start standing up on chairs to get a view of the stage.

Juice’s freshly released, self-titled album—as anyone familiar with its set can tell you—is Juice. It features a few newer tracks, but for the most part, could have been taken song-for-song off of a setlist from one of their longer concerts. For those at Thursday’s concert, it wasn’t a

grand reveal so much as a celebration of a Juice BC knows well, potentially moving toward the next big stage. It all had the feeling of a send-off party.

Crowd favorites “Gold” and “How You Gonna Do Me Like That” were mixed with extended musical interludes—Chris Vu, MCAS ’17, performed a mesmerizing piano intro. For his part, Ben Stevens, CSOM ’18, stood out very clearly as the band’s lead vocalist Thursday. In the past, it’s been tougher to pick out just who was championing the vocal efforts. Rougeau’s exceptional violin, meanwhile, has developed from

essentially serving as the band’s best party trick to being the standout ingredient in Juice’s instrumental mix.

What keeps Juice fresh is the band’s depth. The group’s internal dynamic is constantly shifting , and its sound gets a clear boost from the competitive energy between its members on stage. While its studio recordings are spectacularly produced, that explosive energy is a tough thing to mix for.

Mo st b ands a spire to sound like the recording, but I imagine Juice having a tough time ever recording something truthful to how it sounds live.

This is all to say that, while Thursday’s event in some senses marked Juice’s arrival—a complete d album, a completed identity at B C , success beyond near all its contemporaries—it mostly presented questions. Has Juice’s success at BC given new legitimacy to BC’s independent music community, or has it simply disguised some of the community’s problems? Can Juice effectively export its sound outside Chestnut Hill and enjoy a much broader base of fans? Why did our overlords with the BC Arts Council cut off Juice mid-set? (Yup, that happened.) Did they get all the B-roll they needed and just call it a day?

As Arts Council volunte ers ushere d Juice off the stage—to the extreme distress of several ang r y onlo okers — the crowd was offered a rare reminder that even Juice can feel the squeeze, that gravity has not changed, and while Juice’s rapid rise can offer some hope, plenty of obstacles remain for musicians at BC.

BC’s Best 9P ?8EE8? D:C8L>?C@E 8jjk% 8ikj I\m`\n <[`kfi A blend of pulsating blue and pink lights cast a funky atmosphere throughout the large white tent on O’Neill Plaza.

The tent, filled to capacity since the

start of the Battle of the Bands competition, had already hosted a handful of talented singers, songwriters, and musicians vying for the title of champion of the night’s music festivities. Hosted by the Campus Activities Board and the Music Guild, the annual BC’s Best music showcase attracted a large audience with its wide spectrum of music styles and vocal talent on Thursday night. As the event drew to a close and the judges sat eagerly on the verge of deliberation, only one act remained.

Shouting excitedly and fighting for access to the front row, music fans formed a rather rambunctious crowd which pressed up close against the elevated Arts Festival stage.

William Bolton, CSOM ’16, had just finished his high-energy set, including boppy Bolton originals like “Bud Light” and “Bad Girl.”

Before Bolton, the experimental

indie group Small Talk laid down some atmospheric jams as Katie Kelleher, CSOM ’18, and Meghan Kelleher, LSOE ’16, lent their distinct vocal style to the tracks. Now, as the only group that had yet to perform, the all-sophomore trio Funky Giant had to bring something special to the stage if it hoped to triumph over some stiff competition.

After a few test strums on his guitar strings, a musician in a maroon shirt stepped nonchalantly to center stage.

Leaning into the mic after exchanging a grin of genuine elation with lead guitarist Henry Ricciardi, CSOM ’18, the charismatic Nick Rocchio-Giordano, MCAS ’18, addressed the throng of his screaming fans.

“Boston College,” he said, squinting through the bright stage lights and out into the crowd. “I wanna hear you guys go frickin’ nuts.”

Truth is, he really didn’t even have to ask.

Rocchio-Giordano, Ricciardi, and drummer Mario Borges, MCAS ’18, launched into a high-tempo set of perfectly executed funk—a groovy mess of electric guitar licks and steady percussion that thrilled audience members and judges alike. Despite its total lack of vocals, Funky Giant’s skilled instru-

mentals and boogie-inducing original songs more than made up for the lyricless tracks.

Preceding the Battle of the Bands finale was a heated singer/songwriter component in which students showcased their raw vocal talents and deft guitar skills. The Kelleher Sisters enchanted listeners with sweet-sounding harmonies and yearning vocals. Their unique voices, converging in delightful conjunction with soft guitar chords and keyboard riffs, resonated through the tent and created a charmingly mellow atmosphere. The audience sat attentive, feeling every emotion contained within the songs as the sisters crooned the pleading lyrics “Do you see me?”

Rachel Moon’s, MCAS ’19, empowered lyrics and emotion-heavy vocals set the tone for a series of passionate performances by BC singer/songwriters. Bolton showed off his catchy hooks and infectious new-school-meets-oldschool style, returning to the stage later in the program to compete in Battle of the Bands as well. Another contender in Battle of the Bands was Small Talk, who teamed up with The Kelleher Sisters to perform a handful of colorful original tracks. Atmospheric and psychedelic, the synth-soaked indie songs got the

JULIA HOPKINS / HEIGHTS EDITOR

audience swaying and bopping along to the beat.

Armed with a guitar, a harmonica, and an arsenal of impressive vocals, Jonathan Im, MCAS ’17, performed original tracks “Just Kids” and “Down the River,” among others. Truly compelling, Im’s impressive vocals, touched by a warm raspiness, were reminiscent of the impassioned tone of Ray LaMontagne.

Prefacing his performance with an explanation of his lyrics, Im said, “I wrote this at a time when life hits you in the face, sacks you. You feel like a kid again—helpless.” Im beautifully encapsulated these sentiments when he soulfully sang, “We’re just kids figuring it out as we go through the highs and the lows, through the painful blows.”

Liz McGovern, MCAS ’18, stunned the crowd with her vocal performance.

Powerful and poignant while simultaneously light and airy, McGovern’s vocals rightfully won her the esteemed title of Best Singer/Songwriter. Infused with that sweet, evanescent twang of hers, McGovern’s hauntingly beautiful songs commanded the attention of all in attendance. Her quirky, self-described “love child of mini-songs” that she wrote herself served as a truly charming addition to the event’s lineup.

As for Funky Giant, the exciting win and upcoming gig opening for T-Pain at Modstock help the group really take root as a prominent BC band. Seemingly unconcerned, however, about the escalating fame and attention, Funky Giant humbly implies that it’s really all about the fun.

Of his victory Thursday night, Rocchio-Giordano said, “It was a blast to play for everyone. We just want to thank everyone involved for supporting such a great event.”

“The best part of the whole thing was being able to play with such an unreal crowd and share the stage with so many talented musicians,” Rocchio-Giordano said, recalling his band’s exciting win.

“As for T-Pain we’re psyched for the opportunity and can’t wait to lay down some more funk for Modstock.”