The Daily Princetonian
Thursday April 11, 2013
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PRINCETON UNIVERSITY BALLET Kelly Rafey shadows the company as they prepare for their upcoming production, ‘Spring Fling’
ALVINA JIAO :: STAFF PHOTOGRAPHER ASAWARI SODHI :: SENIOR PHOTOGRAPHER PAGE DESIGN BY STAFF WRITER LIN KING
Kelly Rafey Contributor
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t’s company class on a Friday night, and Hagan Dance Studio in the Lewis Center is in a state of commotion. Dancers sprawl across the floor, some doing curl-ups, some with their legs propped up on the barres stretching, while others sit in the splits with their laptops in front of them, furiously trying to finish their writing seminar papers before class starts. Kamber Hart ’16 calls everyone to the floor with the cheerful announcement that tonight’s class will begin with an intensive cycle of crunches. A collection of groans echoes from every direction, but a moment later the music begins, chatter ebbs and the carefree attitudes from the beginning of class simmer into quiet focus. This routine reminds onlookers that Princeton University Ballet is a group of trained ballet dancers, accustomed to long hours, intensive ballet programs and physically exhausting classes. Most members have trained in ballet for most of their lives. The typical PUB dancer is cast in four pieces, each one requiring eight to 10 hours of rehearsal time. In addition, dancers have a two-and-a-half hour company rehearsal every Friday and long nights of rehearsal during the week leading up to their shows. Aside from this grueling schedule, most members are also involved in dance outside of PUB. Some dancers are a part of another dance group on campus, some dance in guest choreography or senior theses, and some are enrolled in dance classes through the Lewis Center for the Arts. In short, these are dancers who have an extraordinary commitment to dance, who devote hours and hours into rehearsal, class and performances. Princeton first introduced an official dance community in 1969 — coincidentally the same year female undergraduates were first admitted to the university. In the 44 years since the development of Princeton’s dance program, over 15 different dance groups have formed on campus. None of them focused on classical ballet until 2008, when Virginia Byron ’10, Elizabeth Rosen ’10 and Alexis Branagan ’11 decided to form Princeton University Ballet. PUB is one of the youngest dance groups on campus, but the group’s age has not kept it from developing into a well-established, pre-professional company. President of PUB Caroline Hearst ’14 says that since the company’s foundation it has continued to grow bigger and better, now reaching a larger audience than ever before. “People
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have been attracted to Princeton because they know that PUB’s there. We hear that more and more and more,” Hearst said. Freshman member Sarah Howells ’16 was one such student: “After having dance be such a big part of my life in high school I didn’t want to lose it in transition to college. And PUB is a perfect way to still hang around other dancers.” For the past month and a half, I have been able to work with PUB as it prepares for its upcoming show, “Spring Fling.” The company has assembled a high-caliber production from the ground up before my eyes. The skill and artistic ability that they have consistently demonstrated is impressive for any college dance organization, let alone one that is entirely student-run. I wasn’t sure what to expect when I slipped off my street shoes and padded into Hagan Dance Studio for the first time. PUB isn’t a particularly large group on campus, and I hadn’t heard enough about the company to get a firm idea of what its classes and rehearsals would be like. I have learned over the past month that PUB’s dancers treat class and rehearsal alike in terms of their incredible energy and support for one another. It was not uncommon during company class for a smattering of claps and cheers to break out when someone did a particularly good pirouette or stunning leap. The same level of audible support carried over to rehearsals, as well. This positive and upbeat attitude is rather unique as far as pre-professional companies go; for many dance companies, pettiness and jealousy tend to dictate social dynamics. But rather than reenacting “Black Swan” in the studio, PUB has adopted a warm and enthusiastic atmosphere. Even when dancers buckled down and spent hours rehearsing the same 16 counts of choreography, they never sacrificed their energy for seriousness. PUB’s fall production “Nutz” is always a favorite, but “Spring Fling” promises to be even better as dancers push themselves to experiment in new formats, new variations and new choreography. PUB’s performances are comprised of classical ballet variations and student-choreographed contemporary pieces. While the classical half of their fall show always contains selections from “The Nutcracker,” the spring production allows for more flexibility in its choice of choreography. This year PUB chose “Spring Fling” as its theme and selected classical variations from different ballets that somehow evoke this theme. The classical repertoire, chosen and cast by artistic director Paige Hupy ’14 and assistant artistic director Leah Worthington See PUB page s2
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The Daily Princetonian
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PUB offers an outlet for classical ballet dancers PUB Continued from page s1
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’15, includes pieces from “Romeo and Juliet,” “Swan Lake,” “Don Quixote,” “Giselle” and “Carmen.” Rather than dividing the show into classical and contemporary halves, PUB has interspersed its classical selections with the contemporary pieces, making the show more engaging and cohesive. Every member of PUB is welcome to propose a piece of choreography for the upcoming production at the beginning of each semester. Potential choreographers pitch their concept, music and roughly eight counts of choreography to Hupy and Worthington, who decide on the final list of choreographers and casting. Hupy explained to me that she based her decisions on the pieces she envisioned the dancers performing. This year she looked for choreography that fit together with the show’s theme and simultaneously offered a diverse assortment of dances. Howells, one of three freshman choreographers, explained, “What I like about choreographing for PUB is that the dancers are so wonderful that I could basically give them anything and they would make it look amazing. So it’s a nice way to start choreographing.” Indeed, in each rehearsal I watched the dancers and choreographers work in collaboration with each other. Choreographers would change, remove or add steps at dancers’ suggestions, sometimes incorporating one dancer’s “mistake” into their final choreography. The connection between dancers and choreographers is particularly striking when choreographers perform in their own pieces. Hupy and Worthington worked together to both choreograph
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and perform in the company’s closing piece. In order to clarify the dancer’s movements, Hupy and Worthington would take turns watching the piece during rehearsals, one perched on a stool in the front of the studio while the other danced in her spot. In other run-throughs both choreographers would dance, taking care to keep an eye on their fellow dancers and shout out corrections or counts. In addition to incorporating classical variations and student choreography, PUB has continued its tradition of bringing in guest choreographers — a feature that distinguishes PUB from other dance groups on campus. Guest choreographers introduce a fresh perspective to the ballet company, a perspective that challenges the dancers and the student choreographers to push themselves further. “We sometimes get a lot of repeat in the choreographic ideas or formations or just the vision,” Hearst said. “A lot of pieces can tend to run together if you let your own tight-knit group choreograph everything.” The guest choreographer this semester is Tom Mattingly, a soloist at Ballet West. But a dance show is not just about the choreography. Like any production, PUB must manage costumes, publicity, lighting, sound and general logistics. In addition to pulling together technical elements for their show, PUB outfits its dancers in both classical and contemporary costumes. This process differs drastically from that of other dance and performance groups on campus due to the wonderful commitment and generosity of Cathy Hazard, a costume designer for a number of independent choreographers. Hazard designs, sews, fits and maintains the bulk of PUB’s costumes free of charge. She has been involved with PUB since the company’s origin, first
becoming connected to the company through Branagan, PUB’s founding artistic director. Gradually, Hazard has compiled a large inventory of PUB costumes that can be recycled or reworked from performance to performance. For “Spring Fling,” Hazard made about half of the classical costumes from scratch, including all six costumes for the variation from “Romeo and Juliet.” She also designed and sewed the elaborate Von Rothbart costume for a variation from “Swan Lake.” I love making costumes, it’s my play time,” Hazard said. “I play with trims and I play with different fabrics. It’s a creative outlet for me.” Her goal is to outfit the PUB dancers in costumes that boost their professionalism, an aspect of their company that she has watched grow and develop over the past five years. This weekend, PUB will take “Spring Fling” to the stage in Frist Film/Performance Theatre. In preparation for opening night, the dancers have been participating in full nights of rehearsal, commonly referred to as Hell Week. Hell Week has been dizzyingly packed with run-throughs, last minute adjustments, sound and tech complications and tech and dress rehearsals. The backstage area is full of energy as dancers rush from piece to piece, sew ribbons on their pointe shoes, catch final notes, go over choreography in the wings and run through backto-back rehearsals. Throughout this process, the dancers embody a new exuberance that the costumes, lighting, sound and stage have imbued them with. “It’s all spread out up until that moment. And everything comes together at the last moment,” dancer Sophia Andreassi ’16 said. All of their hard work, all of the hours, rehearsing and choreography has finally resulted in something professional — something to be proud of.
ASAWARI SODHI :: SENIOR PHOTOGRAPHER
PUB dancers prepare for ‘Spring Fling,’ which offers both contemporary dances and classical ballet pieces.
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The Daily Princetonian
Thursday April 11, 2013
Ask the Sexpert This week, she discusses orgasms. dear sexpert, There is something crucial missing from my sex life: the bigO, the finish, the earth-shattering feeling of an orgasm. Of course, I have heard of other women having orgasms, but to me, these accounts might as well be folklore. This is not to say that I have not tried. I am a pretty experienced girl. However, with or without my partner, I can’t seem to get there, wherever “there” might actually be — I wouldn’t know. Is it normal for a woman to have never had an orgasm? Is it really possible? Does the mythical G-spot actually exist, and I just have yet to find it? Please help! —Waiting at the Finish Line dear waiting, Take comfort, you are not alone. One study (Fromer, BJUI) showed that 54 percent of women aged 1830 years old had trouble climaxing. The same study, which polled 587 women ages 18 to 95, found that overall, about 63 percent of the women reported suffering from sexual dysfunction. Sexual dysfunction refers to any of six key areas: lack of desire, arousal issues, lack of lubrication, problems achieving orgasm, lack of satisfaction and pain during intercourse. Despite the high number of women that are unsatisfied, female pleasure and anatomy has only recently become a large area of interest for doctors and sex therapists. A subject of heated debate is the “G-spot”. The G-spot, named such after German gynecologist Ernst Grafenberg, is supposedly an erogenous zone of the female genitalia (possibly part of the clitoris). Thought to be located somewhere in the front vaginal wall, between the vaginal opening and urethra, it remains an elusive part of the female anatomy. A 2009 British study found that its existence is unproven and subjective, while others claim to have found it through ultrasound imaging. In any case, there could be several reasons why you are having trouble reaching climax that have nothing to do with your anatomy. Enjoyment of sex is more than
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SFI promotes style and sustainability Zoe Perot
Staff Writer just physical, it is a combination of mind and body. In that way, just stressing about achieving an orgasm might be the reason you are pring is here, having trouble reaching one. Even which means ditchwomen that orgasm frequently ing the old winter do not necessarially climax every coats and pulling out time. There are a lot of expectations a whole new wardrobe. What surrounding sex, some of which better way to be inspired are influenced by media and hardly than to attend the upcomall of them are entirely realistic or ing Princeton Fashion Week achievable for everyone. According events, hosted by the Princeto most sexual therapists, one of ton Sustainable Fashion Inithe best ways people can improve tiative. On the first real day their sex life is to relax and be com- of spring, Street caught up fortable. Whether you are hearing with Carmina Mancenon ’14 stories from your friends, reading and Megan Partridge ’14, two colorful romance novels or facing of the three co-founders of expectations from a sexual partner, Princeton’s Sustainable Fashshut those things out and focus on ion Initiative, and asked them what you want and enjoy. If you to “disclothes” some more have a partner, talk to them and tell information about SFI and them what you like. Even scientists Princeton Fashion Week. are still debating female anatomy, so a little guidance always helps. It :::::::::::::::::::::::::::::::::::: is believed that women can experience different types of orgasms “The Sustainable from either clitoral stimulation, Fashion Initiative vaginal stimulation or a combinagrew out of my tion of the two. Some women find desire to explore that vibrators assist with “crossing the finish line” and they can ways to bridge this be used with a partner. Perhaps divide and harness you respond more to one kind of the power of stimulation than another. Don’t be afraid to experiment and try new fashion to catalyze things, there is surely something positive change that works for you. around the world.” If you want to learn more make an appointment with Sexual ::::::::::::::::::::::::::::::::::: Health and Wellness at University Health Services. Otherwise, do some research on your own. The First, we wanted to know “Go Ask Alice!” and “Scarleteen” why sustainable fashion is websites are great places to start. important. “The problems are There are plenty of suggestions and quite pressing at the moment. guides to achieving orgasms from Just to throw some stats from sexual therapists online or in books 2006 out there, for instance, as well. Best of luck! the ‘throwaway culture’ —The Sexpert of fast fashion generates environmental impacts on Interested in Sexual Health? The Sexpert the order of 2 million tons is always looking for members of the com- of waste, 3.1 million tons of munity to join the team of sexual health carbon dioxide and 70 million educators who, along with fact-checking tons of water waste in a single from University health professionals, year in manufacturing hubs in help write these columns. Email sex- China. As a consumer, I don’t pert@dailyprincetonian.com for more want to be a part of a system information and questions about sexual that gives rise to these types health. Don’t be shy! of conditions,” Partridge said.
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In the summer of 2011, Mancenon, Partridge and Jenna Rodrigues ’14 came up with the idea of SFI, and that fall they brought it to life. “Each of the three co-founders, Meg, Jenna and I, come from a very different background,” Mancenon said. “But I guess looking at it from my perspective, I was born in the Philippines and raised in Japan, and would go back to visit the Philippines during the summer, and there was a definite difference between third world and first world life, which got me interested in the idea of inequality and international development, particularly from an environmental angle.” The initiative was partly inspired by the unique and far-reaching characteristics of the fashion industry. “It’s unparalleled as a language of self-expression, but for so long, there’s been a disconnect between the story of where our clothes come from and how they’re used to communicate identity in a purely aesthetic sense. To put it quite simply, the Sustainable Fashion Initiative grew out of my desire to explore ways to bridge this divide and harness the power of fashion to catalyze positive change around the world,” Partridge said. Mancenon has a background in fashion activism. At 16, she founded Stitch Tomorrow, an organization that aimed to combat poverty by combining fashion and microfinance. She took the organization to the World Economic Forum in 2010. However, once she came to Princeton, Mancenon felt that in order to take advantage of everything Princeton has to offer, she needed to put the project on hold. At first, it may not necessarily seem that fashion and sustainability have a common thread, but Mancenon elaborated on the logic behind the combination. “I think the best way to interest
people in civic engagement is to combine things they know well (like fashion) with civic issues (like environmental activism). We also want to get Princeton to play a role in sustainable fashion, create conversations and get stakeholders involved,” Mancenon said. Part of getting Princeton
:::::::::::::::::::::::::::::::::::::: “I used to think of sustainable fashion as bad-looking, or something you can’t wear. So I’m really excited to show people that you can have the glitz and glam of high fashion, but you can also have ever yday wear.”
::::::::::::::::::::::::::::::::::::: involved is through Princeton Fashion Week, an annual series of events coordinated by SFI to celebrate sustainable design. “We seek to use each event as a platform for sparking inspired and informed conversation around the future of fashion, sharing the stories behind our clothing and accessories and critically examining the way the current fashion system works,” Partridge said. This year, there are a variety of events offered by SFI. These events consist of TED-style talks given by leaders in the fashion industry, including Benita Singh, co-founder and CEO of Source4Style, and Sarah Ziff, founder of the Model Alliance, and culminate in a runway show. Mancenon is most excited for the runway show. “I used to think of sustainable fashion
as bad-looking, or something you can’t wear. So I’m really excited to show people that you can have the glitz and glam of high fashion, but you can also have everyday wear. It’s also really fun to see friends dressed up in the clothes, walking on the runway!” Mancenon said. Once Fashion Week is over, things won’t slow down for the busy SFI founders, who have many projects and ideas up their sleeves. “We would love to see increased attendance and interest [in SFI]. We’re also hoping to bring SFI to other schools and create a network. Stanford already has a SFI, and we’ve started getting in touch with them. We’d also love to get some of the many great design schools that are in the area to come to events,” Mancenon said. “I really think that bringing an academic angle to all of this would be exciting. We are talking to ODUS about starting a seminar-style course around sustainable fashion, which would be interdisciplinary and bring together people from different parts of campus. We also have a magazine, Verte, which is coming soon.” Ultimately, the two girls ended the discussion with this thread of wisdom. “One thing the three co-founders always say is that to care about fashion, it shouldn’t just be about looking at trends and following them, or your appearance, but about understanding the meaning of clothes, and creating stories from clothes.” Mancenon said. “Sew” as you get ready for the fresh, warmer weather and changing up your wardrobe, you might want to keep in mind some of the goals of SFI. Make your way to the Princeton University Art Museum to learn from one of the talks, or head over to watch your friends strut their stuff down the runway.
In Defense of: Prefrosh Annie Tao Staff Writer
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r eview is almost upon us, and all around campus, groans can be heard as students anticipate the arrival of noisy, over-eager prefrosh. The initial enthusiasm that you had when you signed up to be a host begins to wane as the two Preview sessions draw closer and closer. Plans to clean your room and clear an afternoon for ice cream on Nassau rapidly disintegrate. Instead, you start wondering whether it’s too late to take your name off the hosting list, grumbling about having to spend time with a cocky HYP cross-admit that could be better spent cramming for your chem exam (or, better yet, sleeping) and whining about the Street being closed the one weekend you actually have time to go out. Though you may suspect that your prefrosh probably killed someone to get in (considering the acceptance rates this year), if you really think about it, there are so many reasons for us to be more appreciative of these rocketbuilding, smallpox-curing, perfect-scoring cyborgs. A Uncle Ben once said, “With great power comes great responsibility.” Prefrosh present an opportunity like no other to exert your influence on another human being, and it is entirely up to you what to do with your authority. Will you choose to live vicariously through your prefrosh, thrusting upon them all of your own lost hopes and dreams? Or will you swoop in on their talents like a hawk, and try to recruit them to your belly dance/improv/debate team before they’ve even committed to Princeton? Maybe you’ll be the host who deviously recommends the Econ course that almost killed you, assuring your young charge that the lectures you slept through were fascinating and the problem sets straightforward and relevant.
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Perhaps you’ll let them in on a little-known secret, that the best writing sem papers come from hasty binge-writing at 4 a.m. the day they’re due. Whichever path you choose, you can revel in the heady power of having someone else’s future lie in the palms of your questionably capable hands. Two words. Never mind, just one — lanyards. Afraid you’re never going to live down that time you wore Crocs to precept (it was a rough night out, okay?)? Not to worry. There are few things more embarrassing than rocking a fluorescent beacon of helplessness around your neck. In addition to making your sweats look chic in comparison, the simple pleasure of watching prefrosh walking around like collared puppies without leashes is second to none.
:::::::::::::::::::::::::::::::::::::: Two words. Never mind, just one — lanyards. ::::::::::::::::::::::::::::::::::::: While the Street may be closed during Preview week, fear not: Your social life need not suffer. Prefrosh are the only people you can actually force to keep you company. Your professor scurries into his office and slams the door every time he sees you coming, and even your parents have begun ignoring your daily Skype calls, but to an eager new admit, you are the world. The bond between prefrosh and host is somewhat unconventional, but notoriously sacred. At last you’ll have someone to walk to the bathroom with (refuse to give the code to the poor kid and she’ll have no choice) and when you insist that she must have dinner with you every night (per protocol, of course) you’ll actually look like you have a friend to eat with. Prefrosh also have the po-
tential to perk up your romantic prospects if they’ve been looking glum as of late. As a new crop of potential Tigers comes rolling in, you have an entirely new playing field to choose from. These kids have no idea about those embarrassing hookups or the time you sang karaoke at College Night. It’s time to let your inner cougar shine. (We won’t judge.) Prefrosh can also strengthen your bond with Princeton. As with any other relationship, you resent that Princeton is no longer quite as romantic as it was when it first began courting you, now that it finally has you. However, Preview makes the school you fell in love with look better than ever. Prefrosh mean a return to dining halls that serve filet mignon and creme brulee, free tickets to every show on campus and tables in Frist handing out cool T-shirts and free pens. While the attention may not be directed at you, you can still enjoy it as a celebration of your anniversary with Princeton. In the end, if we’re going to be honest with ourselves, we love to hate on prefrosh because we’re scared. With every new crop of admitted students, the glory of our own triumphant admission seems to dim. We worry that this will be just like the time Mommy and Daddy said they were having another baby and they’d love you both the same but you know it’s a lie because why else would the three of them go to Hawaii without you while you were taking finals?!?!?! Instead, we should remember that these kids — however imprudently — look up to us as older and wiser role models, skillful navigators of a strange new world. We can let them play with our toys for one week, even if they’re doing it all wrong. (If you are a prefrosh and you’re reading this, I do genuinely think you’re wonderful. And Princeton’s wonderful. And wonderful things were meant to be together.)
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The Daily Princetonian
Thursday April 11, 2013
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{ your guide to weekend arts & entertainment }
CAMPUS PICKS A cappella: TigerLily Jam! Any “Pitch Perfect” fans out there? Come out and see Princeton’s own version of the Barden Bellas at the Princeton Tigerlilies Jamboree, the group’s largest biannual event. They will be singing some of their traditional songs but will also feature newer arrangements, including songs from Ingrid Michaelson and Disney. The Jam will also include comedy from the freshmen, a “Pitch Perfect”themed video and a special guest performance by eXpressions Dance Company. A night of sweet melodies from the Lils is a (pitch) perfect way to unwind after the invasion of the prefrosh before you celebrate the reopening of the Street! Theatre Intime Saturday, 8 p.m.
A cappella: The Man Show Lacking your daily dose of testosterone? Get your fix (and more) this Friday at the annual Man Show. The all-male a cappella groups will be sharing some sweet melodies for all their swooning fans. The Tigertones, the Footnotes and the Nassoons will be featuring some new arrangements as well as some signature classics. This year all proceeds will go to Children’s Futures, which benefits the Nurse-Family Partnership in Mercer County. Get a three-forone deal and simultaneously donate to a local cause — it’s a win-win!
Cultural: TASA presents: Night Market Feel like you’re ready for a vacation again? Halfway to finals and feeling the stress? Get a taste (literally, there will be delicious food) of what a night market is like. The East Pyne courtyard will be transformed and filled with different booths, food and performances. The Princeton Juggling Club, Triple 8, Sympoh, Bhangra and many more groups will be performing! East Pyne Courtyard Saturday, 8-11 p.m.
Theater Event: “Sunday in the Park with George” The Lewis Center for the Arts’ production of “Sunday in the Park with George,” a Pulitzer Prize-winning musical by Stephen Sondheim, is the newest installment of the Lewis Center’s Program in Theater. Julia Bumke ’13 directs this production, which stars Holly Linneman ’13 and Brad Wilson ’13 and features a cast of Princeton students. This play focuses on a man’s struggle to balance his love of a woman with his love for his art. Head over to the Berlind Theatre this weekend to watch Bumke, Linneman and Wilson’s magnificent efforts as they put this special production on the stage. Berlind Theatre, McCarter Theatre Center Friday through Saturday, 8 p.m.
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Theatre Intime Friday, 11 p.m.
Campus picks compiled by Lillian Xu, Oliver Sun, Kelly Rafey and Zoe Perot.
‘Spring Fling’ leaves you wanting more Abigail Williams Street Editor
Having seen Princeton University Ballet’s productions of “Nutz,” I expected something similar from their spring show “Spring Fling,” — you know, minus excerpts from “The Nutcracker.” But “Spring Fling” is not limited by the same constraints placed on PUB’s classic fall show. Rather than dividing the performance into classical and contemporary halves, more modern, student-choreographed pieces are placed in between classical variations from a variety of ballets. The result is a refreshing, engaging production that evokes the sense of fun and light-heartedness so inextricably linked with springtime. The structure of “Spring Fling” is a hugely influential artistic choice. Part of the skill in this production lies not just in the choreography and performance, but in the transitions between pieces and the building of emotions that takes place over the course of the ballet. A selection from “Romeo and Juliet” transitions seamlessly into “Cascade,” a piece choreographed by Maria Katarina Rafael ’15. The classical partnering present between Romeo and Juliet (Daniel Cohen ’13 and Caroline Hearst ’14) in their romantic rendezvous blends into the atypical same-sex partnering present in Rafael’s choreography. The flouncy purple dresses from “Romeo and Juliet” are replaced by simple gray shirts and shorts. While the two pieces might sound diametrically opposed, the contrast is breathtaking, and themes of grace and togetherness carry over. The flow of the production is maintained through seamless transitions. Almost before the previous piece’s dancers have made it all the way offstage, the next piece begins, keeping up the show’s quick pace. Clocking in at almost exactly an hour, “Spring Fling” is a short, but sweet production. The lengths of the pieces vary, with longer pieces telling a story and shorter pieces just hinting at the theme.
Unfortunately, in PUB’s pursuit of brevity, the company has selected certain classical variations so short that they cannot absorb the audience effectively. While these variations evoke the “Spring Fling” theme, the all-toosoon endings can seem slightly jarring to the viewer. Longer selections, including excerpts from “Swan Lake” and “Carmen” are satisfying in their commitment to storytelling. Kamber Hart ’16 shines as the evil sorcerer von Rothbart in PUB’s selection from
:::::::::::::::::::::::::::::::::::::::: ‘Spring Fling’ Pros: Refreshing show structure, fresh choreography, high technical difficulty. Cons: Some variations are too
short, uneven expression and commitment to choreo.
::::::::::::::::::::::::::::::::::::::: “Swan Lake” — her expression and performance quality adds a unique element to the beautiful variation. Similarly, Morgan Nelson ’15 mesmerizes as Carmen in an excerpt from “Carmen Suite.” The fiery chemistry between Nelson and partner Colby Hyland ’16 is entirely believable, making the variation seductive rather than awkward. PUB’s student choreographers are featured prominently in “Spring Fling.” When seven of the 13 pieces in “Spring Fling” are products of student choreography, it’s difficult to choose a favorite, but “Liberated by Love” by Celina Culver ’15 is a standout. Five dancers take the stage, with two couples dancing in tandem and one girl attempting to break their mold. Sophie Andreassi ’16 stuns as
‘Bloody Bloody’ takes a spirited romp through history Caroline Hertz Contributor
L
adies and gentlemen, presenting the first governor of Florida, the hero of the Battle of New Orleans and the baddest boy you’ve ever seen — your president, Andrew fuckin’ Jackson. He promises to kick the sissy, frilly National Republicans out of the White House — but more importantly, he solemnly swears to be the kind of sexy, flawed rockstar that would make your parents have a conniption. In this way — poured into tight pants, eyes rimmed with black liner and backed by an ensemble of the baddest guys ’n gals — Andrew Jackson takes the stage in PUP’s production of Bloody Bloody Andrew Jackson, directed by Julia Hammer ’15. It’s a rock musical that tells the story of this nation’s seventh president, reimagining Jackson as a guitar slinging, injun’shooting emo rocker. It revels in its dumbed-down version of history, relying on anachronistic slang for humor. That “fourscore” stuff may be a real snooze, but you’ll sure perk up when you hear the prez call James Monroe a douchebag and one Founding Father explode, “Jesus, van Buren, why do you always gotta be such a motherfucker?” Ten minutes into this show, you might be wondering what exactly you’ve gotten yourself into. Lines like “Huzzah! Your shoes have been cobbled!” immediately precede screams of “My face is literally melting off into my hands right now!” But give the show another 20 minutes and you will come around. Bloody Bloody brilliantly employs a South Park-style “mock anything that moves” satire to skewer everything from Obama’s “Yes We Can” slogan to John McCain’s “maverick” reputation. With a knife tucked into shiny, low-slung pants, Matt Seely ’14 — playing the production’s title role — struts and slinks across the stage. He delivers a performance that is raucous, mesmerizing and frightening all at once as he grows from petulant youngster to furious, xenophobic adult, enraged by the uselessness of the current leadership and finally to precariously insecure chief executive. Seely boasts a sulky sex appeal, an arrogant charisma
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and an athletic exuberance born of angry restlessness that is impossible to resist. He even tries to bully his historical legacy in a clever running gag with Oge Ude ’16, the irrepressibly chatty narrator.
:::::::::::::::::::::::::::::::::::::: ‘Bloody Bloody Andrew Jackson’ Pros: Witty, original, wildly fun to
watch, some fantastic performances. Cons: Vocally uneven, humor
doesn’t always land.
:::::::::::::::::::::::::::::::::::::: There are quite a few standout performers in addition to Seely. Evan Strasnick ’15 plays the sniveling, sycophantic, cartoonishly gay and ultimately somewhat sensible Martin Van
Buren beautifully, but he shines most in his flamboyant cameo role as the Spaniard. “Jorje Washington is NO GAY,” he purrs through a black mustache. “JOO is the gay.” David Drew ’14 serves up two stunning and wildly different performances — one as the cackling, villainous Henry Clay and one as the quiet, troubled Indian who calls himself Black Fox. Drew’s Henry Clay will make you burst out with delighted laughter, particularly when he grasps the head of the taxidermied weasel wrapped around his neck and lifts it to his ear so as to hear it whisper evil schemes. On the other hand, you will find yourself riveted to the stillness of Drew’s Black Fox and the agony that bubbles beneath the surface of his reserve. Matt Volpe ’16 delivers a remarkably powerful monologue from the perspective of a man swept up in the crazed, adoring fervor that sweeps the nation during Jackson’s inauguration. Despite these stunning performances, this reviewer has a couple of reservations. Although the cast of Bloody Bloody includes a few vocal superstars, the vocal
performances are uneven overall. More importantly, though, this cast occasionally misinterprets the tone of the play, camping up the material unnecessarily. A script with this much absurdity built in requires a production that plays it completely straight. What Bloody Bloody needs is a production that doesn’t exaggerate the cartoon, but rather seeks to ground it in the kind of truth and dramatic tension that can give the show some really gripping stakes. More specifically, this production of Bloody Bloody falters only in the moments when its actors try to milk laughter from slapstick bits that shouldn’t have been dragged out in the first place. But never fear; the mistakes of this production are the exception, not the rule. Bloody Bloody raises a fascinating central question that explores whether Jackson was the hateful and immoral American Hitler or a savvy, kick-ass, selfaware dissident who did what he had to do to keep a young, unstable country af loat. This is a hilarious, absorbing and potent piece of theater.
the featured performer, dancing with her hands invisibly bound as the other dancers attempt to weigh her down. Culver uses lighting to her advantage, illuminating her dancers in shadowy white and golden light. The unison of movement and expression, coupled with the rousing musical selection makes for a memorable piece. Pieces like “Speak No Feeling,” choreographed by Andreassi and Hart, and “Ripples Through Honey,” choreographed by Sarah Howells ’16, feature innovative choreography and eye-catching costumes, but a lack of unison in movement and uneven facial expressions keep these pieces from reaching their full potential. “Spring Fling” features a piece by guest choreographer Tom Mattingly, who adapted his original choreography for PUB’s dancers. Titled “Fall into Loving Arms,” this piece is a show-stopping number. “Fall into Loving Arms” follows five dancers, each of whom brings real, individual expression while still maintaining incredible unison. When the male and female dancers come together in pairs, the dance remains tight and in sync. Artistic Director Paige Hupy ’14 rounds out this piece with her striking solo. The audience will not be able to tear their eyes away. “Spring Fling” is an exploration of new possibilities for Princeton University Ballet, as the company experiments with structure and contemporary pointework. The performance is a strong showing for PUB — evidence of how the company has challenged itself to bring new material to the table. PUB heralds in spring with refreshing and visually stunning performances that leave the audience ready to grand jete all the way to Lawnparties.
Street’s Top Ten Top Ten Lies to Tell Your Prefrosh
1 Everyone goes to Black Box on the weekends.
2 Forbes is worth the walk.
3 Come to Princeton, we’re getting rid of grade deflation next year!
4 Ben Bernanke was my preceptor freshman year.
5 We don’t all want to marry each other.
6 The weather is always like this.
7 Seersucker is mandatory dresscode.
8 You sang in high school? You’ll definitely get into an a cappella group.
9
The ‘Prince’ is the most popular fraternity on campus.
10 COURTESY OF JULIA HAMMER
Beyonce is replacing Shirley Tilghman as president.
The cast of ‘Bloody Bloody Andrew Jackson’ encircles actor Matt Seely ’14, who plays the eponymous role in the production.
4/10/13 10:31 PM