F RI DAY, FEB R UA RY 14, 2020
ILLUSTRATION BY: ROSY LIN/THE HOYA
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FRIDAY, FEBRUARY 14, 2020
THE HOYA
Comedy Groups Offer Fresh Voices, Community
SARAH KEISLER AND MEGAN WEE Hoya Staff Writers
Before he wrote for “Saturday Night Live,” before his career soared with “The Comeback Kid” and “Kid Gorgeous,” and before he produced “Big Mouth,” John Mulaney (COL ’04) was a member of the Georgetown University Improv Association, then the Georgetown Players Improv Group. Georgetown University has made a name for itself in the comedy world, as some of its more well-known graduates include big names like Nick Kroll (COL ’01), Jim Gaffigan (MSB ’88) and Mike Birbiglia (COL ’00). These world-famous comedians got their start on Georgetown’s very own campus. From improv groups to standup and sketch comedy to satirical news publications, a niche comedy scene has developed against an otherwise serious academic background to build student communities that foster meaningful collaboration as well as valuable personal growth.
has definitely grown a lot over the years.” Across media, many students who are involved in comedy are involved in multiple groups to try their hand at a wide variety of avenues, according to Joe Stewart (SFS ’22), an executive producer for the Sketch Comedy Society who also participates in improv and writes for The Georgetown Heckler, a satirical online publication founded in 2003. “There’s a ton of opportunities,” Stewart said in an interview with The Hoya. “There’s a large crossover at Georgetown with the comedy groups. Several members in Sketch are in improv and The Heckler, and a large connection with theater.” The relationships formed by participation in comedy communities is remarkable, according to Michelle Renslo (COL ’22), a member of both the Georgetown Improv Association and the Sketch Comedy Society.
“I found a family of people who are immensely supportive and don’t take themselves too seriously,” Renslo said in an interview with The Hoya. Even among the rich opportunities for comedic engagement on campus, however, there is not a formal organization for stand-up like there is for sketch or improv. The stand-up scene still has plenty of room to grow because there is a fair amount of interest but less of an organized community for it, according to Burton. “We really only have one event a year, Georgetown’s Funniest Human,” Burton wrote. “I think that there are a ton of people who write stand-up and would be interested in trying it out if there were more opportunities for it.” In Funniest Human, one of the few campus events dedicated to stand-up comedy, 10 students compete for the title awarded
by a panel of judges. Students who are dedicated to refining their craft are also able to explore opportunities off campus. Stand-up comedian Gary Simons (COL ’21) became involved first in the Georgetown Improv Association and later tried sketch writing and stand-up. People interested in comedy should seek out opportunities to pursue it, as even off-campus opportunities abound in Washington, D.C., according to Simons. “Anyone who’s interested in comedy should reach out. If they think it’s something they might be interested in, they should go out and find it,” Simons wrote in a message to The Hoya. “There’s no stand-up club, so I go on my own and do stand up. I’ve performed at Dupont Underground, which is an abandoned subway tunnel. I’ve also done a couple bars that do open mics.”
COMEDY THROUGH COMMUNITY
As students seek out ways to channel their passion for comedy, they run into a vast amount of opportunities for involvement, according to student comedian Zev Burton (SFS ’22). “Georgetown’s campus is very receptive to comedy, as can be seen from the sheer amount of opportunities on campus for humor,” Burton wrote in a message to The Hoya. Georgetown’s small artistic community exists within a larger, academically focused school. This dichotomy makes comedy the perfect pocket of creative expression for people who want to take a break from their academics and learn comedy, according to Rachel Thomas (COL ’22), an executive producer for the Georgetown Sketch Comedy Society. “It works in our favor that we’re not an art school because it means people involved in comedy have found themselves a small niche,” Thomas said in an interview with The Hoya. “It’s conducive to a supportive community, and we help each other.” Within the Sketch Comedy Society, members write short comedic sketches and work on them together to put on a free show every semester. It is a process that is necessarily collaborative, according to Thomas. “Comedy is a very collaborative craft, and so we really do support each other a lot and help each other a lot,” Thomas said. This teamwork is especially necessary in improv, according to GUerrilla Improv Business Manager Shannon Burke (NHS ’22). “Improv is all about supporting your scene partners and accepting the reality that they have created, which makes a really welcoming environment,” Burke wrote in a message to The Hoya. “Our team
COURTESY WILL HOUSTON
Members of comedy groups like GUerrilla Improv use the group’s laid-back environment and no-cut policy as a way to increase inclusivity in the close-knit comedy community. By offering this stress-free community, the group aims to bring out better comedy.
FRIDAY, FEBRUARY 14, 2020
THE HOYA
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“There’s also a pretty notable lack of diversity in the comedy community, specifically in The Heckler. There are not many women and in any comedy setting it is difficult to speak up, especially because affirmation in a comedy setting is laughter,” Palter said in an interview with The Hoya. “I barely went to Heckler meetings my first year because I just felt like no one was interested in what I had to say. It took a conscious effort to get out of my comfort zone.” With increased time and involvement, however, participating in comedy on campus became an encouraging experience, according to Palter. “It’s a close-knit comedy community. It’s a really nice, supportive space,” Palter said.
FUTURES IN COMEDY
GEORGETOWN IMPROV ASSOCIATION/FACEBOOK
Georgetown’s relationship with comedy is evident enough in its famed graduates, yet groups like the Georgetown Improv Association continue to broaden their horizons by co-hosting the yearly ImprovFest, which showcases comedy troupes from universities around the country on the Hilltop.
CHALLENGING THEMSELVES
As students create characters through performances and writings, they find the process to be character-building for themselves as well, according to Renslo. “It’s definitely challenging and can be scary, but that’s why I like it — because it keeps me on my toes,” Renslo said. The wide array of Georgetown’s comedy groups not only serves to increase opportunities for comedy on campus, but also to offer those who may be afraid to step out of their comfort zones a chance to express themselves. Self-assurance is one of the important aspects of these comedy groups, according to GUerrilla Improv member — and the club’s fall 2019 Mr. Georgetown representative — Jack Reichert (SFS ’20).
“You get into GUerilla by going to practices and being committed to the team,” Reichert wrote in an email to The Hoya. “We believe that anyone can be funny if they work at it.” Building self-confidence is a facet of participation in comedy organizations, according to Stewart. “More people could be more involved in comedy if they wanted to be,” Stewart said. “We have friends who are really funny, but don’t think they could ever be funny if it is written and not in the moment. I think people are funnier than they think they are.” One of the benefits of participating in comedy, even for those with the slightest of interest, is personal growth, according to Burke.
“We really love to see people just try improv. Whether it sticks or not, I think that comedy can teach you really important skills and give you a much needed break from everything else you have going on,” Burke wrote. “Improv makes me feel really validated and confident. You have to make strong choices in scenes in order for them to be successful, so you learn to be sure of yourself.” Admittedly, the comedy community can also be daunting to those looking in from the outside. These smaller, closeknit groups can be intimidating to students who are not already friends with people in them, but pushing oneself to explore those communities pays off, according to Eliza Palter (COL ’20), editorin-chief of The Heckler.
For some, engaging with comedy in some form outside of Georgetown is natural after having affirmed their passion for comedy and built their self-assurance through their experiences on campus, according to Burke. “I wouldn’t say that many GUerrilla members are planning to pursue comedy outside of college, but there are definitely a few who have started doing stand-up comedy outside of Georgetown,” Burke wrote. While many students use comedy as a channel for creativity, for others it becomes a life goal. Reichert plans to pursue a career in stand-up after finishing school, even though he is majoring in global business. After discovering the comedy scene at Georgetown, it became more than just a hobby and developed into what he actually wants to do as a career, Reichert said. “After coming to Georgetown — that’s where I discovered comedy, and that sort of spiraled into that being what I actually want to do,” Reichert said. “[Business] is definitely going to be super helpful down the line because if it ends up like I’m not funny, I’ll have it to fall back on.” Approaching comedy with dedication and serious practice is a large part of finding success, according to Reichert. “I street performed for an entire summer in New York. It was terrifying. Every day I would wake up, get on the train with my backpack and a couple peanut butter sandwiches. I thought I was good going into it, but after a week, I thought, ‘Wow, I’m bad,’” Reichert said. “I completely redid how I wrote jokes. I would go to open mic nights every night. I started to get my own voice. By the end of the summer, I got sort of good, and I could rattle out jokes every day, just for fun.” As he continues his journey in the field, the comedy scene at Georgetown has unquestionably left its mark, according to Reichert. “People don’t generally think that college improv groups are good, but in reality they can exceed the skill of professional groups and other amateur groups,” Reichert said. “I’ve been to other university comedy shows, and I think that Georgetown has this weird competitive edge.”
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FRIDAY, FEBRUARY 14, 2020
THE HOYA
MOVIE REVIEW
‘Birds of Prey’ Crafts Harley Quinn’s Feminist Narrative Directed by: Cathy Yan Starring: Margot Robbie, Mary Elizabeth Winstead, Rosie Perez IYANAH LANGA Hoya Staff Writer
Director Cathy Yan made her debut into big-budget filmmaking in a stunning way with “Birds of Prey,” the latest film in the DC Extended Universe. The film, which stars Margot Robbie as Batman villain Harley Quinn, rehabilitates the character into a fun and relatable foil who is able to be sexy without being sexualized in a captivating and colorful presentation. Harley Quinn’s appearance in David Ayer’s 2016 film “Suicide Squad” was the peak the male fantasy: she is overly sexual, has tattoos all over her body that reference her “belonging” to her boyfriend, the Joker, and a literal collar with his nickname on it around her neck. “Suicide Squad”’s Harley is an inherently detrimental character, only important in the film so long as she is wearing high heels, booty shorts and a ripped t-shirt. She functions more as a glorified sidekick obsessed with her boyfriend and never offering anything particularly interesting outside of that relationship, a one-sided character that offers nothing more than sexual appeal to the film. “Birds of Prey” flips this character on its head. We see Harley cut her hair, draw over her tattoos and distance her-
self from her pitiful excuse of a boyfriend. Robbie shines in this role with a vigor that “Suicide Squad” never quite captured. The movie is Harley’s fantasy world, and, for an hour and fifty minutes, the audience is just living in it. Opening with a cartoon sequence in which Harley explains her past to the audience, the first of many fourth-wall breaks, the movie sets its playful tone immediately. “Birds of Prey” is irreverently funny, charming and colorful — colorful in language, colorful in acts of violence and visually bright. The film’s premise of saving a young girl from a crime lord is fairly simple and straightforward, but its presentation in a glittery pink and purple package is what makes it so wonderful. It is a departure from basic superhero films that provides a breath of fresh air into the genre which is quickly becoming stale. In line with DCEU’s 2019 film, “Shazam!,” “Birds of Prey” is cheerful, witty and does not take itself too seriously. The film also has just enough of the realism that the DCEU tends to favor: the characters get knocked down and have trouble getting back up, and each bullet or arrow is counted and treated as actual ammunition, with infinite ammo never being a possibility. Even more interestingly, superpowers are barely mentioned in “Birds of Prey.”
Instead, the power that these women have is their cunning and whatever fighting discipline they know. Each of the female characters in the film is tough without needing superpowers, further reflecting the realism the film attempts to evoke. Their talents are not despite their femaleness, but because of it. Black Canary (Jurnee Smollett-Bell) can fight because she works at a club and does not want to be taken advantage of, and Renee Montoya (Rosie Perez) is a police officer who can box and fight because of her job. The only character who is skilled in multiple fighting skills is Huntress (Mary Elizabeth Winstead), which is explained due to her role as a trained assassin aiming to avenge the death of her family. Each character’s presentation of femininity isn’t identical to one another, in a way that encourages their individuality and fitness. By celebrating womanhood through each of these characters
and the bonds they forge over that womanhood, Cathy Yan achieves what every other superhero film cannot by offering a distinct viewpoint on women superheroes. This celebration of strong women goes even further than what’s on the screen. The soundtrack to “Birds of Prey” displays this same sense of unapologetic femininity that the film does. Featuring tracks from the likes of Doja Cat, Normani, Megan Thee Stallion and Saweetie, the soundtrack blends rap, pop and R&B into a cohesive blend of songs that suits the film perfectly. With all of these ideas coming together beautifully, “Birds of Prey”’ is a sparkling big-budget debut for Yan and screenwriter Christina Hodson. The film functions as a welcome change of pace that offers more in the way of feminine power for the traditional superhero film format while also forming itself into a delightful film in its own right.
DC FILMS
“Birds of Prey,” the latest film in the DC Extended Universe, rehabilitates the image of Harley Quinn into a fun, colorful expression of womanhood. Standing in stark contrast to 2016’s “Suicide Squad,” this Cathy Yan-directed film focuses on Harley and her crew’s individuality and self-willed powers outside of conventional superhero movie tropes.
FRIDAY, FEBRUARY 14, 2020
THE HOYA
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CONCERT REVIEW
ALEXANDRA BRUNJES/THE HOYA
On tour in support of his third studio album, “Pony,” British indie pop singer Rex Orange County shined at The Anthem on Wednesday, Feb. 12. By combining colorful set design with relatable and personable lyrics and performance styles, Rex offered a dynamic showcase of his discography’s best tracks throughout his fantastic show.
Rex Orange County Brings Color, Spirit to The Anthem ALEXANDRA BRUNJES Hoya Staff Writer
At just 21 years old, Alexander O’Connor, better known by his stage name Rex Orange County, is making waves on his first solo headlining tour in support of his third studio album, “Pony.” The Pony Tour began in November in the U.K. and Ireland, and this past Wednesday, Feb. 12, Rex put on an electric, sold-out performance at The Anthem in Washington, D.C., for one of the final stops on the North American leg, which concludes Feb. 27 in Atlanta. When Rex Orange County came onstage, the energy in the room immediately intensified and set the tone for a show in which the audience was highly engaged and palpably excited, as evidenced by the Generation Z fans screaming the lyrics to every song and the mosh pit crowding the stage. The Pony Tour’s show at The Anthem opened with a performance of the album’s first single, “10/10,” with Rex and his five-piece band set performing against a backdrop of colorfully lit clouds. After a set of lively and boisterous songs, a curtain dropped, concealing the band and the stage design, and
Rex Orange County performed several songs alone without backdrop, band or frills. He rotated between multiple different instruments he was playing and seemed to sing his lyrics directly to the audience, with a resonating sense of emotional urgency. When he finished his solo set, including a cover of Alicia Keys’ “No One,” the rest of the band returned and played another set of songs, this time with a large pony adorning the stage behind them and several disco balls on stage. This attention to detail in the production design aided in creating a captivating showcase of the rising star. Rex Orange County also took several moments throughout the performance to talk directly to the audience and thank them for their continued support of his artistry, noting how The Anthem was a larger venue than those in which he typically performs. In the moments in which Rex addressed the crowd, the lights shone directly on the audience, reflecting the personalized nature of both the music and the performance. This sense of twoway communication was indicative of the relationship Rex Orange County has formed with his fan base, particularly
through his emotionally intimate lyrics. Throughout the performance, the lighting strongly complemented the changing tone of the performance and maintained audience engagement. Notably, at the end of the concert, Rex Orange County asked the audience to stop filming for a moment — “No phones now between the two of us,” Rex said — so that he could share a song with their full attention. This move was an uncommon and telling decision that further indicates Rex Orange County’s desire to make a strong connection with his fans and make sure that his songs are having the desired impact. When the show wrapped up after an encore, the crowd was buzzing and exhilarated, and the lines for merchandise purchases were overwhelming. Rex Orange County’s music fills a rapidly popularizing indie pop niche that features relatable, often sad lyrics woven with high-energy pop sounds and catchy beats. In concert, these songs use colorful pyrotechnics and sharp instrumentals to come to life. The ensemble of musical instruments was comprised of nontraditional components to an indie pop performance that added impressive auditory dimensions to the show. Part of this musical and sonic com-
plexity likely stems from O’Connor’s extensive musical background: He grew up in England and attended a performing arts school, where he honed his skills in drumming and piano and began exploring the music production process. He also knows how to play the guitar and saxophone. In 2016, he selfreleased his first album, “bcos u will never b free,” on SoundCloud, a collection of 10 alternative songs that garnered significant attention and led to impressive musical collaborations such as on Tyler The Creator’s 2017 album, “Flower Boy.” His second album, “Apricot Princess,” was released in 2017, and “Pony” was released in October 2019 after two years of artistic growth and rising indie pop hype. The growth between albums is palpable, both in sound production quality and discovery of unique sound; “Pony” is a noticeably more mature and self-realized album than “bcos u will never b free.” After the final six stops of The Pony Tour, Rex Orange County’s next steps remain to be seen, but if his performance at The Anthem is any indication, there are only good things in store for both Rex’s touching music and empowering performance style.
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FRIDAY, FEBRUARY 14, 2020
THE HOYA
START/SELECT
‘The Witcher 3: Wild Hunt’ Successfully Adapts Dark Series Mac Riga Tight and rewarding combat, complex storytelling, memorable characters, killer soundtrack and a fantastic collection of downloadable content have cemented “The Witcher 3: Wild Hunt” as one of the most beloved of the last decade. One facet of CD Projekt Red’s 2015 bestseller that is often overlooked, however, is that it successfully adapts the original book series from which it originates, vastly heightening the game playing experience The titular witcher, Geralt of Rivia, and most of the characters populating the game’s world first appeared in Polish author Andrzej Sapkowski’s series of fantasy novels and short stories from the early 1990s. Since Netflix released its less-thanstellar television adaptation of the books last year, “The Witcher,” it seems fitting to address the success of “The Witcher 3” as an adaptive work, from which Netflix would be well-served to take some cues. “The Witcher 3” effectively captured the best themes of the series in a way that was appropriate to the video game medium. The most effective way “The Witcher 3” adapts Sapkowski’s novels is in cap-
turing the moral ambiguity of Sapkowski’s gritty world by constantly forcing the player to make dialogue and gameplay choices, often timed, that will alter the course of the game. They span from sweeping decisions to more mundane ones, from participating in a plot to assassinate the racist, power-hungry king of one of the game’s warring factions, to choosing not to accept the monsterhunting fee from a peasant family who has taken in a traumatized orphan of the beast’s making. One of Sapkowski’s earliest short stories in the “The Witcher” series, “The Lesser Evil,” deals extensively with the concept of hard choices and ultimatums. This theme pervades the rest of the stories, haunting the monster-hunting main character as he is constantly forced to choose the best path forward in a world colored in shades of gray. Each decision made weighs heavily on the psyche of the player, and the game does not pull its punches in showing players the consequences of their actions. Fail to kill the king, and the closing preamble will throw the ongoing pogroms of magical beings in your face. Eliminate him, and it details the victory and dominion of the more progressive, but still authoritarian, Nilfgaardian empire. The choices the player makes compellingly heighten the stakes of the game. Though the larger-scale decisions can indelibly alter the ecosystem of the game, it is the smaller decisions that often have more
of an impact on the player. Money is scarce, and top-of-the-line resources are critical given the danger of the tasks. Choosing not to collect your monster-hunting fee from a peasant family, while satisfying your conscience, will also force you to skip on that piece of gear and endanger your life in contests to come. The choices you must make add a realism and a lasting impact to the way you play the game. This difficulty is another effective way “The Witcher 3” uses its medium to convey the tone and themes of the book series. Sapkowski’s dark fantasy world is grim and unforgiving. Having grown up in a Poland ruled by the USSR and still reeling from the aftermath of World War II, Sapkowski intentionally painted a world that reflected the strife and inhumanity that became the norm in times of war and racial inequity. As a result, the novels are gritty and death is a constant companion for Geralt on his quest; throughout the series, his friends and enemies alike meet bloody demises, all with a backdrop of death and destruction on a massive scale. Mortal gravity is captured elegantly in the difficulty scaling of “The Witcher 3.” Apart from the constant, sobering visual reminders of the bleak nature of the game’s world, the combat is unforgiving, even when playing in the game’s easier difficulty settings. The most minor combat encounter can bring Geralt to the brink of death, forcing the player to think strategically and carefully, and most of all
recognize the mortality of the witcher in practically every moment of the experience. Attention to the constant threat of death makes the game all the more realistic and gripping. “The Witcher 3” is a masterclass in using gameplay mechanics to convey messages. In CD Projekt Red’s hands, the soul-aching uncertainty felt by Geralt in Sapkowski’s novels is translated directly to meaningful in-game choices, and the brutal world of the books is realized in the game’s white-knuckle difficulty. It is this aspect of the game that sets it so far apart and secures its spot as a truly masterful work of adaptation, keeping the most compelling and thoughtful themes of the series alive. Merely translating a work from one format to another can result in a perfectly passable adaptation, but the greatest ones are those that recognize the advantages and limitations both of the source medium and the adapted medium. CD Projekt Red nails this balance perfectly, allowing “The Witcher 3: Wild Hunt” to excel both in its own right and as compared to Sapkowski’s novels. As showrunner Lauren Hissrich gears up to enter production for season two of Netflix’s “The Witcher,” she would do well to look to this 2015 masterpiece and emulate the grace and respect of its adaptation. Mac Riga is a junior in the College. START/ SELECT runs online and in print every other week.
DINING ON A DIME
Bodega Offers Spanish Cuisine in the Heart of Georgetown Natalie Keramati Piquillo peppers, seared to sweeten the flavor and topped with generous sea salt to amp up the divergence of tastes, is one of many inexpensive hot tapa options at Bodega Spanish Tapas & Lounge. Whenever I find myself wanting to experience authentic Spanish cuisine without having to travel far from the Hilltop, I think about heading over to Bodega, nestled conveniently on M Street. Bodega is a great option for Georgetown students who want to try something new, or even want a late-night meal, at affordable prices ranging from $5 dishes at happy hour to $15 tapas at dinner. This variety of dining options ranging from weekend brunch, happy hour, wine tasting and of course a late-night meal
makes me look to Bodega as a dining destination for any time of day and any mood. Tapas, which are small, appetizer-like dishes, allow for many people in a larger party to order several “small plates” to share as they begin their dining experience. I prefer this method of sharing because it allows for all parties to taste a broad range of dishes — sweet, spicy and everything in between — as they explore the menu. Ordering many of them to share makes for a filling and relatively affordable meal when split among friends. One of the cold options under $10 is marinated anchovies with Basque pepper, which offers refreshing spice and delicious sauce. Alongside the savory options are sweet ones as well, like their toast with goat cheese and honey, which combines a sharper cheese flavor with a complimentary sweetness. The hot options, which are plentiful, include steamed mussels and seared octopus, giving seafood a hearty twist with its strong seasoning and charred flavor. Ranging from $8 to $14, these are great options for students who wish to order a few dishes and split the cost, as tapas are typically less expensive than
regular entree prices. With cold, hot, vegetable and meat options, the diversity of the dishes on the menu certainly stands out as Bodega offers a comprehensive experience of varied aspects of Spanish cuisine. The happy hour menu, though, is the best value for your dollar. The $8 tortilla española is a traditional Spanish tortilla cooked with eggs and potatoes, a staple of Spanish cuisine. Bodega cooks it to perfection so that the richness of the potato and flavor of the onion combine to create the perfect savory omelet. Another impressive potato concoction are the croquetas de pollo — crispy chicken croquettes whose creamy filling and crisp exterior provide a tastily complex experience of richness and crunchiness. It was the datiles con tocino that left the greatest impression among the happy hour selections. The crispy fried dates wrapped in bacon combined the sweetness of the date with the saltiness of the bacon perfectly. As the most popular dishes on the happy hour menu, they certainly lived up to expectations. The decor in the restaurant is truly distinct and caters to Spanish traditions and culture,
with metal bull skulls covering the walls and red and black cushions populating the interior. The exterior of the restaurant continues this stylistic choice, offering a heavy black doorway that juts out incredibly visibly to any passerby. The restaurant’s size functions in its favor too, as the cozy booths and small seating capacity allow for a quiet and quaint dining experience centered around enjoying the company of your dining companions. The lack of reservations at this smaller tapas bar contributes to this casual, walk-in environment. Bodega is a charming exploration of Spanish cuisine with a happy hour menu that is large enough for students to try all sorts of plates for all different tastes, while splitting the portions and the price. Given that the restaurant is also a lounge, it is ideal for a relaxing group hangout. With its proximity and taste, Bodega is ideal for an evening out that will leave you satisfied without breaking the bank. Natalie Keramati is a student in the Graduate School of Arts & Sciences. DINING ON A DIME runs online and in print every other week.
FRIDAY, FEBRUARY 14, 2020
THE HOYA
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PERFORMANCE PREVIEW
GEORGETOWN UNIVERSITY DANCE COMPANY
Georgetown University Dance Company’s Spring showcase provides a moving demonstration of the dancers’ self-expression through emotional interpretations and powerful group numbers. The show will tie together a variety of dance styles in its hourlong performance that will run Feb. 21 and 22 at the Gonda Theatre.
GUDC Showcases Creativity in Spring Performance MOLLY ZHOU
Hoya Staff Writer
Their bodies rose in unison as the music struck its first chord. Dancers tilted their heads as their arms reached for the sky and toes flexed to a point with every movement flowing to create a personalized story. The Georgetown University Dance Company upcoming showcase Feb. 21 and 22 will be the result of hours of weekly rehearsals and hard work came to life through these original pieces, choreographed by both Georgetown students and professional artists. The February spring concert showcases eight dances of all different styles, with students being able to highlight their performative creativity in the dances they most personally identify with. This freedom makes way for a passionate and exciting show, where students are showcasing their most inspired moves. Throughout the technically stunning production, the audience will see everything from partner lifts to floor rolls, jazz moves and pirouettes within its hour runtime. Even with all its different styles, this art of dance is rooted in self-
expression and self-identification with what each dancer finds most powerful. Many of the dance pieces are paired with lyrical songs, and, through carefully coordinated movements, the artist’s words and meaning are elevated elegantly alongside the dance. Sometimes, a song itself can spark an inspiration for its own dance number like Amber Run’s “5AM” did, according to student choreographer Juliana Peacock (COL ’22). “I’d always loved that song and found it really emotional,” Peacock said. “When I first heard it, I thought this would be the perfect song to choreograph a dance to.” Despite difficulties in molding a choreographer’s distinct vision for the performance to specific dancers, the company sought to hear feedback from each dancer, bring about the best outcomes where everyone contributes their part to a shared vision, according to Peacock. “It’s a lot about having everybody in the studio at the same time,” Peacock said. “You work with the dancers and make sure it fits their needs — that’s really important for getting it to all coordinate together.” In order to convey her interpretation of the song, she worked to choreograph
the right motions to best suit the somber, melancholy melody and subject matter. By visualizing which moves she wanted in the dance and creating new ones to match the musical melody and dancer’s feedback, the final result featured a large amount of group work, with dancers pulling away and getting pulled back into the fray with a sense of poignant dynamism. Each dance tells its own distinct story, and students watching from the sides were hooked from start to finish. The choreographers’ careful considerations were visible in every move throughout the showcase. The imagery and power in the showcase is reflected in each smaller performance. Tiffanie Carson, one of the professional artists featured in the performance, starts her piece with a group huddling around one dancer and slowly breaking open in a powerful display. Michelle Du’s (COL ’22) piece features lines forming and falling in sequence, with fluid partner dances and each couple moving in sync and lifting each other up in complete trust of one another. Together, these moments in the performance represent the singular vision of each choreographer, creating a spirited
production. This overall showcase aims to spotlight how forms of expression vary within dance and have a personal, more nuanced feeling to them, according to Gabriela Rodriguez (COL ’20), who currently serves as videography coordinator for GUDC. “Dance allows you to express yourself in a way that other avenues don’t. For example, in writing you’re explicitly saying what you feel, but dance is more implicit,” Rodriguez said. “Maybe you can’t even form the words to what you feel, but you can definitely move in that way.” The personal connection towards the dance company fosters a sense of community across the passionate dancers, who come from a variety of backgrounds. All together, the entire performance is a breathtaking and inspiring spectacle. Each dancer expresses their passion, and their commitment to the art of dance is present in each move, from leading a number as a choreographer or manifesting one of their fellow students’ vision as a dancer. The showcase will run at Gonda Theatre on Friday, Feb. 21 and Saturday, Feb. 22 at 8 p.m.
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THE HOYA
FRIDAY, FEBRUARY 14, 2020
What to Do in DC
MUSIC
New Releases
YU YOUNG LEE Hoya Staff Writer
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KIRA POMERANZ Hoya Staff Writer
ZACK VILLERE
Twenty-two-year-old indie singer-songwriter Zack Villere and identical twin brother electronic/alternative duo Mulherin will swing by Union Stage on their early spring tour all over North America. With Villere’s quirky, upbeat tunes and Mulherin’s R&Binfused style of music, their collaborative performance next Thursday night at the intimate venue is bound to provide quality entertainment, all at an affordable price of $16.
@YELYAHWILLIAMS/TWITTER
EMPIRE DISTRIBUTIONS
HAYLEY WILLIAMS
RAVEENA
‘CINNAMON’
‘HEADACHES’
Lead singer of the band Paramore, Hayley Williams’ solo debut is distinctly her. Instead of falling back on her hard rock roots or the ’80s pop-esque style Paramore has recently adopted, “Cinnamon” is a jazzy piece, relying on Williams’ powerful voice and an interesting beat that is so off-rhythm that it works in creating an engaging musical piece.
Raveena’s most recent release is enchanting. The beat for “Headaches” has an undeniable funky groove and Raveena’s vocal performance is quiet and sultry. In tandem, these qualities create a captivating piece with the pace change featuring a welcome surprise for Raveena, whose earlier releases have relied heavily on her vocals and the interesting choices in production make this one of her best songs to date.
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UNION STAGE FEB. 20, DOORS OPEN 8 P.M. | $16
UNION STAGE
FESTIVAL AT ATLAS ATLAS PERFORMING ARTS CENTER FEB. 19 - MARCH 1 | PRICES VARY PER SHOW
From Feb. 19 to March 1, the Atlas Performing Arts Center will be hosting the Intersections Festival, a showcase of various different artists, dancers and presenters sharing their stories. The festival boasts an eclectic collection of voices, from “Lesbian Belle” Elizabeth McCain’s theater performance to Deferred Action for Childhood Arrivals recipient Gabriel Mata’s solo dance. The event includes interactive events for the whole family, as well as free cafe concerts.
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ATLAS PERFORMING ARTS CENTER
DC MARDI PARTY DISTRICT PIER AT THE WHARF, FEB. 22 | 4 P.M. - 7 P.M.
In anticipation of Valentine’s Day, D.C.’s own Jazz ensemble Newmyer Flyer returns with the seventh edition of Love Songs: The Beatles at the Hamilton Live. The show promises a night of songs by everyone’s favorite British rock band, with over 10 musical acts that will be performing renditions of The Beatles’ classic love-infused discography. @ETHANGRUSKA
@EDGAR_THE_BREATHTAKER/INSTAGRAM
ETHAN GRUSKA
KING KRULE
‘HAIKU4U’ FT. LIANNE LA HAVAS
‘ALONE, OMEN 3’
Grammy-nominated producer Ethan Gruska’s new album “En Garde” was released this past January and this two-minute piano track “Haiku4U” is the clear stunner. Despite the song’s short length, it accomplishes much with both its production and musical layering with the key change in the track creating a lush musical landscape supplemented by La Havas’s melodic voice.
King Krule’s music is something to relish in. Much of his earlier work has come from a place of sadness and young angst, but “Alone, Omen 3” takes a more positive spin, letting the listener know they can come out of bad times and they aren’t alone. This spin is a welcome change that will hopefully be continued on his upcoming album, slated for release later this month.
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DISTRICT WHARF
14TH ANNUAL EXPOSED DC TOUCHSTONE GALLERY | FEB. 19 - MARCH 1
Running for its 14th year, the Exposed DC Photography Exhibition will have its opening reception the night of Feb. 19. The show, featuring the 43 selected winning color photos that capture the hidden niches of Washington, D.C., and dive into more nuanced views of the city as more than just the capital of the United States. The exhibit photos will be for sale, and will be displayed at the Touchstone Gallery until March. TOUCHSTONE GALLERY
FRIDAY, FEBRUARY 14, 2020
THE HOYA
B9
PERFORMANCE PREVIEW
WILL HOUSTON/THE HOYA
The Mask and Bauble Dramatic Society brings its third showcase of the year to the stage with “Hedda Gabler.” Featuring an inspiring performance by exchange student Meg Edwards, left, as the title character, the performance shines by transporting the 18th-century tale into a modern context, in which many of its themes remain salient.
Mask and Bauble Offers Modern Spin on ‘Hedda Gabler’ HALEY RESNICK Hoya Staff Writer
Georgetown University’s Mask and Bauble Dramatic Society stuns the audience in its performance of “Hedda Gabler,” a play originally written by Henrik Ibsen in 1891 and more recently adapted for the stage by British playwright Patrick Marber. The play tells the story of a young woman trying to acquire a sense of power and agency in her life despite feeling constrained by different men. Set entirely in a couple’s unfurnished living room, the play manages to demonstrate the everyday struggles of life and how they persist from 1934, when the play is set, to now. The Mask and Bauble Dramatic Society is enjoying its 168th year, making it the oldest continuously running student theatre group in the country. The play, running until Feb. 22, is directed by Margaret Gleason (COL ’22) and produced by Advait Arun (SFS ’22). (Full disclosure: Arun serves as the cartoonist for The Hoya.) Despite the seven-person performing cast, the play has an extensive team with over forty students on the production and direction staff. From the first few minutes,
one can see the nine months of intense effort that went into this production and the collaboration necessary from all members of the play’s cast and staff. In the effort to tell the story of a woman gaining her agency, “Hedda Gabler” touches on many important ideas to modern life. Addiction, gun violence and mental health are three issues that the main character, Hedda, as well as the other characters in her life struggle with. Due to these issues, the story is not light, and its effect on the audience extends far beyond the time spent in the theater. Gleason spoke to The Hoya about the relevance of the play’s subject matter to modern society and why she decided “Hedda Gabler” was the play to adapt this semester. “‘Hedda Gabler’ is wildly relevant to our current era despite having been written over 100 years ago,” Gleason said. “When we have these problems, and we don’t deal with them, and we let our pettiness and our selfishness get in the way of helping others, it brings both us down and the people around us.” One of the most notable aspects of “Hedda Gabler” is its centering on a
woman who possesses power over her body, over men and over her mind. Hedda manipulates everyone, seeking evil at any chance and offering minimal shame committing these acts. While many often depict Hedda as crazy, her lack of agency in the original production shapes her character, according to Gleason. “Hedda is not given much agency,” Gleason said. “She’s been limited by social expectations of what women should be, feels trapped by a million things so she does what she feels is the only avenue she has for getting any sort of agency or freedom.” Rarely do plays from this time period represent women with a sense of independence or being equal to men. Yet “Hedda Gabler” does just so. The choice of lighting, stage design and actor placement ensure that the focus of the scene is always on Hedda even when she is not physically there. Hedda Gabler, played by Meg Edwards, a junior exchange student from the University of Edinburgh, excellently embodies a woman who wants, if not needs, more than she currently has. The scenes where she is alone best encapsu-
late what Hedda is all about: a woman withholding her power who just needs to scream. Gleason chose to utilize dance for Hedda’s release of inner rage, one of the few ways in which Gleason added her own personal touch to the script. Throughout the whole process, the focus was keeping the character true to its original depictions while bringing her down to earth for the audience, according to Gleason. “Something that was important to both me and Meg was humanizing Hedda,” Gleason said. “She’s often depicted just as like the crazy woman, the unhinged woman, and the audience isn’t given any insight into her.” Gleason and the rest of the Mask and Bauble ensemble certainly accomplished such a goal. Hedda’s strength, masked by the other characters around her, is clear from start to finish. Although Hedda is an 1891 creation, Hedda and her problems still apply in 2020. Mask and Bauble’s “Hedda Gabler” brings the classic story into the modern day while offering evocative performances and powerful storytelling.
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FRIDAY, FEBRUARY 14, 2020
THE HOYA
CONCERT REVIEW
@POPPY/TWITTER
YouTube enigma Poppy impressed her fans last Friday, Feb. 7, at U Street Music Hall with a powerful stage presence and display of personality. However, her vocals failed to rise above the screamo-style, guitar-backed beats that dominated the show, unfortunately marring the entire performance with inaudible lyrics and poor balance.
Eccentric YouTuber Poppy Falls Flat Vocally at U Street EMMA GINSBERG Hoya Staff Writer
In a live performance that exuded almost as much sinister energy as her YouTube videos, the enigmatic Poppy presented her newest album, “I Disagree,” at U Street Music Hall last Saturday. Although the show was undeniably a display of the quirky and confident personality her fans have consistently loved, Poppy’s vocals occasionally fell short during the brief set. Poppy, born Moriah Rose Pereira, began her journey to fame back in 2015, starting with the strangest videos the internet has ever seen — short and zany art videos featuring a recurring cast of mannequins — followed by the release of her first EP, “Bubblebath” in 2016, which featured cheerful bubblegum pop and satiric vocals. However, the Poppy that performed at U Street is far different from her pastel persona of the mid-2010’s. “I Disagree” is Poppy’s first collaboration with Sumerian Records, known for their roster of metal bands, and features a sound that is notably closer to screamo than pop. Poppy is an unconventional pick for U Street Music Hall to feature. Her grunge sound stands out among their lineup of
indie or alternative artists such as Anna of the North and Glass Animals. In spite of this contrast, Poppy certainly did not fail to draw a crowd to the venue. Poppy boldly began her set with her title track “I Disagree,” prompting huge cheers from the throng of fans. The audience consisted of everyone from middle-aged fathers with their young child to teenage girls with brightly-colored hair. Poppy’s opening song got the entire group throwing up rock-and-roll signs and jumping to the music. Its chaotic percussion and heavy metal combined with Poppy’s high singing voice made for a dynamic opening experience. The artist herself was dressed according to the macabre theme, with her hair twisted up into short, two-tone pigtails, black lipstick and an all-black leather dress. This look, alongside the grimy eye makeup and masks of the male lead guitarists, set the tone for the remainder of the concert just as much as the opening number did, which was a clear departure from her pop past and a heavy focus on her new metal direction. Poppy’s third song in the set was “Fill the Crown,” also from “I Disagree.” The band got the audience clapping along to
the beat, and, since the entire crowd knew the lyrics by heart, their voices ultimately drowned out Poppy’s airy vocals on this particular track. The futuristic beat combined with Poppy’s nonchalant and high tone spotlighted her personality more so than her vocal talent. Predictably, Poppy had very few moments of connection with the crowd, as her cryptic nature is a major appeal of her performance. However, when she did acknowledge her fans, she used the same creepy, familiar voice of her YouTube videos. Hearing her say, “Hi, D.C., it’s nice and warm in here,” was chill-inducing. As the artist continued with her set, the show became increasingly dynamic, including flashing red and white strobe lights during her performance of “Anything Like Me” and intense dancing from Poppy herself during “Sit / Stay.” Although her voice may have wavered during the concert, Poppy’s stamina never seemed to dim. The strongest moment of the entire show came with yet another song from “I Disagree,” titled “Sick of the Sun.” This piece slowed down the concert, giving Poppy a chance to catch a breath and display her vocals at their best. Poppy’s whis-
pers at certain points in the song and the vocal accompaniment of the male guitarists made this number a major highlight, which stood out from the fairly uniform theme and tone of the concert as a whole. The audience clearly felt the shift in energy too, as they waved their hands to the slow beat. The end of the show came quickly since Poppy chose to highlight only songs from her newest album. Not one single note of bubblegum pop graced the ears of these concertgoers, and, although none of them seemed disappointed by the lack of traditional Poppy standards, it did mean that the show was relatively uniform. Poppy even closed with her opener, demonstrating how much the artist wants to distance herself from her previous genre. While Poppy did exhibit versatility and quirkiness, the short show did leave something to be desired with its complete focus on her latest album. Ultimately, Poppy’s show was made by her admirers. The loyalty and enthusiasm of her fans carried her performance in spite of its shortcomings. Perhaps seeing their idol in person gave them slightly more insight into the puzzle that is Poppy.
FRIDAY, FEBRUARY 14, 2020
THE HOYA
B11
ART REVIEW
‘Portraits of the World: Denmark’ Explores Artistic Communities MICHELLE BROWN Hoya Staff Writer
Four smartly dressed old men, with their sage beards to match, carefully study a work of art that lies out of frame. A portrait of these Kunstdommere — “art judges” in Danish — by Michael Ancher is the centerpiece of the National Portrait Gallery’s current exhibition “Portraits of the World: Denmark,” which uses the idea of how artists depict themselves as a window into 20th century American portraiture. Critically, the exhibit explores artists’ identities and self-image, encouraging viewers to consider artistic communities as constantly changing and shaping each other. Ancher’s “Kunstdommere,” with its beautiful depiction of famed artists — including Denmark’s well-known Holger Drachmann, Peder Severin Kroyer, Laurits Tuxen and Jens Ferdinand Willumsen — thoughtfully represents themes of community, collaboration and rivalry between artists. The piece sets the tone for the exhibit’s look at very aesthetically different, but perhaps not emotionally different, New York City artistic communities in the early to mid-20th century, which are also highly collaborative and crossinfluential communities. Unfortunately for a casual visitor to the gallery, the title of the exhibition is quite
misleading; it concentrates not on Danishportraiture, but uses Danish realist Ancher’s famed work as context and inspiration for an exploration of American portraiture. However, the exhibit succeeds in comprehensively illuminating disparate styles and time periods, from rough etchings on paper around the time of WWI to late ’80s colorful lithographs that make use of the third dimension. The broad range allows viewers to follow progressions in American modernist art and exposes them to different perspectives on the same type of communities. The colorful yet moody painting “Zum Brauhaus” by George Biddle in 1933 is a more modern and less stylistically realistic reinterpretation of “Kunstdommere,” depicting four of Biddle’s artist friends, including his sculptor wife, at a speakeasy called “Zum Brauhaus.” The painting is a caricature-esque depiction of pretentious types engaging in latenight conversation about art. It cleverly suggests that culture is situated in the underground scene, away from daylight and the mainstream of American life. Borrowing the concept of Ancher’s “Kunstdommere” but imbuing it with a contemporary, American energy is Hans Namuth’s 1951 photograph “Barnett Newman, Jackson Pollock and Tony Smith.” What is consistent is the interaction of
great artists, as both works depict friendship alongside rivalry. Namuth’s photograph, though, celebrates giants of modern art whose unconventionality defined abstract expressionism and won them great fame: Newman with his single-line paintings, Pollock with his paint splatters and Smith with his minimalist, geometric sculptures. The work is impressive for forcing viewers to consider the interaction between huge artists rather than imagining each artist in their own vacuum. This is a remarkable aspect of the exhibit as a whole; it is able to create portraits of artists as people, rather than enigmatic fixtures of history. Though most of the exhibit’s artists are men, it does include works by Peggy Bacon, Mabel Dwight and Marion D. Freeman. Peggy Bacon’s 1925 print “Frenzied Effort” depicts a crowded room of male and female artists studying and sketching a nude model. Though off-center, the model is a clear focal point of the print and is accentuated by slightly thicker and darker lines. The community Bacon depicts is one joined by dedication to their craft. One particular artist type cannot be distinguished from the crowd in “Frenzied Effort,” as the figures all differ in dress, age and gender. The print places women artists on equal footing to male artists, which is significant for the year in which the piece was created.
Departing from the early 20th century depictions of artistic communities is Red Grooms’ 1987 sculpted paper print celebrating abstract expressionist Willem de Kooning. It offers a tone and character that is strikingly different from the others, as it focuses on the particular influence of one remarkable artist, de Kooning, rather than depicting him in conversation with other artists. Entitled “De Kooning Breaks Through,” the pun is comically obvious as the print depicts de Kooning on a bicycle literally breaking through the painting. Those familiar with some of de Kooning’s work will recognize references like de Kooning’s “Woman and Bicycle.” The bright colors and cartoon-like elements illuminate the idea that de Kooning uses mundane popular images as high art, a concept reinforced by Grooms’ own work. “Portraits of the World: Denmark,” in spite of its title, takes viewers on a tour of artists’ self-image in 20th century American portraiture. With “Kunstdommere” as its grounding piece, the exhibit encourages consideration of the identities of artistic communities. While art pieces are often categorized and perceived in view of the artist who created them, “Portraits of the World: Denmark” encourages consideration of artists as members of a community in motion building off each other with cross-decade influence, rather than a set of stationary and isolated figures stuck in one style and time.
KUNSTDOMMERE (ART JUDGES) BY MICHAEL ANCHER, 1906, OIL ON CANVAS/THE DANISH MUSEUM OF NATIONAL HISTORY, HILLERØD, DENMARK, ON LOAN TO THE NATIONAL PORTRAIT GALLERY, WASHINGTON, D.C.
Danish artist Michael Ancher’s imposing portrait “Kunstdommere” forms the foundation of the National Portrait Gallery’s exhibition “Portraits of the World: Denmark,” which is not centered on an exploration of Danish art, but rather a collection of 20th century American modernist portraits that convey themes of community, collaboration and rivalry among artists.
ILLUSTRATION BY: TARIKA KUMAR/THE HOYA