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VOLUME 114, ISSUE 42
VOLUME 116, ISSUE 27
SINGPINGS REVIEW
MEN’S BASKETBALL
CAMPUS LIFE PAGE 5
SPORTS PAGE 6
Copy Editor Cecilia Mitchell reviews the SingPins new a capella album.
The Panthers take down No. 23 ranked Buffaloes.
Students de-stress before finals EMMA’LE MAAS Staff Writer
Student Wellness Services hosted De-Stress Days from Dec. 9 to 11 in the Maucker
Union ballrooms. The bi-annual event is held before finals week every semester. Activities include PlayDoh, puzzles, coloring, rock-painting, positive notes,
SOFIA LEGASPI/Northern Iowan
therapy animals, hot chocolate and tea and several other arts and crafts. Other activities include the “Walk the Labyrinth” experience: a quiet meditation-type room where allowing students walk a path to clear their minds and alleviate stress. Health Promotion Coordinator Shawna Haislet helps organize the event in order to promote well-being in students, especially during finals time. Her personal favorite De-Stress Days activity is rock-painting. “It’s a way for you not only de-stress, but also be creative,” she said. “It’s a way to remind yourself that you’ll be okay.” Haislet and other coordi-
nators base the activities on results from The National College Health Assessment that UNI students answer concerning their health habits. “Stress is always the number one factor that negatively affects academic success,” Haislet said. Haislet advised students that stress is not necessarily always a negative thing. “Stress can keep you motivated to work and be productive,” she said, also emphasizing, however, the importance of self-awareness and getting the seven to nine hours of sleep required to be successful. Montana Hart, a senior social science education
major, said her top ways of dealing with stress is working out in creative ways such as Zumba or jazzercise. She advised other students to find their outlet as well as invest in time management. “I like to write things down, and you get gratification when you cross things off,” said Hart, who has attended De-Stress Days for the past few semesters. “[My favorite part is] hearing about all of the different resources they have here on campus,” Hart said. “Just seeing that they really care about students and their success is really nice.” See DE-STRESS DAYS, page 2
THEATRE REVIEW
TheatreUNI gives haunting performance in ‘Cabaret’ ANNA ALLDREDGE Theatre Critic
TheatreUNI wrapped up its winter season in StrayerWood Theatre with a simultaneously ostentatious and gut-wrenching musical production of “Cabaret” which ran from Nov. 20 to 22 and Dec. 4 to 8. Amy Osatinski served as director for this UNI production of the iconic Broadway musical. “Cabaret” is an American musical that takes place in a Berlin nightclub, called the “Kit Kat Klub,” as the sun sets on the decadence of the 1920s. The Ebb and Kander Broadway show premiered in 1966 and follows American novelist Clifford Bradshaw as he grapples with love, financial necessity and the dawn of fascism in Germany. “Leave your troubles outside,” said the Master of Ceremonies (Emcee), portrayed by Noah Hynick, to the audience. “So — life is disappointing? Forget it! In here, life is beautiful.” The bustle of the nightclub settled audience members into the lavish and carefree nature of 1920s Germany. Tables were set up surrounding the main stage, where audience members
could sit and order drinks from Kit Kat Klub servers. The interactive set served as an integral piece in the development of the storyline. As the musical progressed, the music, set and character development all contributed to the slow and nearly imperceptible deterioration of 1920s decadence and hedonistic style. Its multifaceted themes were conveyed through a skillful and nuanced show in nearly all aspects. Contrasting the untroubled nightclub with the crumbling world outside, main characters Sally Bowles, Cliff Bradshaw, Fraulein Schneider and Herr Schultz have varying knowlege of the growing threat of the Third Reich. Sally (Erika Bailey) and Cliff (Thayne Lamb) hit it off at the Kit Kat Klub one night, and after Sally is let go from the nightclub where she performed, she convinces Cliff to give her a place to stay. The two fall in love, but both have doubts about trading in their wild lifestyles for the family life. Fraulein Schneider (Abigail Chagolla) and Herr Schultz (Andrew Oleson), Bradshaw’s landlady and a Jewish grocer,
respectively, fall in love as the Nazis rise to power. Despite the rosy haze they seem to be perceiving the world through, the four soon realize that the political climate of Berlin is worse than they once thought. As the lights come up on Act Two, Kit Kat Klub entertainers imitate this historic transition as they impress the crowd with an energetic, choreographed dance number. Toward the middle of the piece, however, the jovial and entertaining atmosphere dissipates as a snare drum cadence grows in the background. As the militaristic rhythm emerges, the Kit Kat Klub girls and boys march in the style of footsoldiers, ending with a salute to Adolf Hitler. Despite the negligence of those stuck in the age of nightclubs, parties and alcohol, the rise of fascism is becomes more difficult to ignore for regular people. The setting of the Kit Kat Klub provides “Cabaret” with a mechanism to include non-linear musical numbers that comment on the deteriorating political and social climate. Additionally, the Master of Ceremonies acts as a guide, transitioning
from storyline to separate songs. Some of these include: “Two Ladies” and “If You Could See Her…,” which features the Emcee dancing with a female Gorilla he appears to be in love with. In a devastating moment that contrasts from the general levity of the Emcee thus far, he reveals that the “gorilla” is, in fact, Jewish. Erika Bailey’s portrayal of Sally Bowles offered an incredibly versatile and emotional aspect to the character. “Cabaret” certainly allowed Bailey to shine as a triple threat. From choreography-heavy numbers like “Don’t Tell Mama” and “Mein Herr” performed in the Kit Kat Klub, to the emo-
tional and heart-wrenching “Maybe This Time,” Bailey showed off her wide range of proficiency in dancing, singing and acting. Her performance of the title song “Cabaret,” in particular, was one audience members will not be susceptible to forgetting. “Cabaret” serves multiple purposes in the musical, as is hinted by its name. It represents a character development for Sally, as she refuses to wake up from and let go of the ignorance she resides in. Her character is distraught, after having had an abortion and giving up on her life with Cliff Bradshaw. See CABARET, page 5 COURTESY PHOTO/TheatreUNI