FILM The vampire superhero film “Morbius” is so bad it will suck the life out of you. B4
FILM “The Lost City” is a fun adventure that showcases the star power of Sandra Bullock. B6
BOOK Emily Henry’s latest project, “Book Lovers,” marks her best romance novel to date. B7
April 22, 2022
Student Playwrights Take Center Stage The student-written Donn B. Murphy One-Acts Festival returns to Poulton Hall
Sophia Maiorino and Emily Smith Hoya Staff Writers
ILLUSTRATION BY: TIMOTHY GOH/THE HOYA
The Donn B. Murphy One-Acts Festival Spotlights GU Student Playwrights This year’s festival showcased the best of what the Georgetown theater community has to offer, with plays directed, written and performed entirely by students. Sophia Maiorino and Emily Smith Hoya Staff Writers
Every April, Georgetown University’s Mask and Bauble Dramatic Society, known for producing classic plays like “Much Ado About Nothing” and musicals like “Into the Woods,” gives its students the opportunity to put their creativity to the test through the Donn B. Murphy One-Acts Festival (DBMOAF). Taking place April 7 and 8, April 10 and April 21 to 23 this year, the annual studentwritten one-act festival, in which student playwrights compete to have their shows displayed, was founded in dedication to Donn B. Murphy, who emphasized the importance of student-written works during his time as a Georgetown University teacher and direc-
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tor. The dedication gained new meaning this year, as Murphy passed away April 3. Held in Poulton Hall, the festival featured three student-written shows, ranging from 15 minutes to 1 hour and 30 minutes: “Duty Free As A Way of Coping,” “Huelga!,” and “Grand Courses.” Put on with the support of Mask and Bauble, DBMOAF has provided a home for decades of homegrown Georgetown talent and for those who work to make the festival a possibility every year.
Opening Curtain
Each of the three plays featured in DMBOAF has distinct lessons, but they also have overlapping themes, which the creators hope will leave an imprint on the audience. According to Anjali Britto (SFS ’22), “Duty
COURTESY MAGGIE CAMMAROTO
The annual One-Act Festival, put on by the Mask and Bauble Dramatic Society, featured three studentwritten shows. While fitting complex stories into only one act can be challenging, these students went above and beyond to dazzle audiences.
Free” does not have a linear plot. Rather, it focuses on an international student who is stuck in the United States working at an airport during the COVID-19 pandemic. The student feels like she is in limbo, watching other people travel while she is stuck. When watching her own show, Britto said she found herself reflecting on how she has changed throughout the pandemic compared to her pre-pandemic self. For her, her play reminds of the strange frozenness of time during lockdown in her home in India. “Time is so weird. Like, on many levels. On one level, it’s like every day seems kind of like the same, you know, you’re not really doing anything at all. It’s just kind of Groundhog Day, every day,” Britto said. For Ashanee Kottage (SFS ’22), an actor in
THEHOYA.COM | FRIDAY, APRIL 22, 2022
“Duty Free,” audiences will understand the multifaceted themes of the play that reflect the intricate emotions of the pandemic. “I hope audiences feel the hope it suggests but also feel the trauma and crises the pandemic caused and continues to cause,” Kottage told The Hoya. “Shop Girl is losing her mind, but she’s staying strong.” Meanwhile, “Huelga!” tells the story of the work done by Mexican American activists in 1970s Houston, Texas, to fight for educational equity. Sabrina Perez (COL ’24), who plays an outspoken activist named Yolanda López, wanted the audience to learn the history of the movement. “The fact that I didn’t even know about the movement before I read the script was just so sad — sad that such an important and inspiring movement is overlooked in so many history courses,” Perez said. “I hope the audience can see the fight of the Mexican American activists in Houston and how much of an impact they were able to make by not just giving up!” “Grand Courses” focuses on the individual as it follows a teenage boy who is struggling in his life and has trouble opening up to others. With infused comedy elements, “Grand Courses” teaches the audience how taxing bottling up your feelings can be. As the producer of all three of the shows, Abby Hames (COL ’24) did not originally look for a connecting theme for the festival but found one as she worked with each cast and crew. “For me personally, the connecting theme was coming of age and finding strength in difficulties, despite each show having its own very different difficulty,” said Hames, “whether that be the ‘Huelga!’ schools and its political discourse, or ‘Grand Courses’ and growing up in a new generation, or even the absurdist ‘Duty Free’ and the feeling of being left behind.” Ultimately, Mask and Bauble’s one-acts festival speaks to Georgetown students’ ability to persevere and pursue what they love. For Kottage, despite all the production complications, the finished product is worth the journey. “That is what DBMOAF is all about: our work, written by, designed by, performed by students,” Kottage said.
Behind the Scenes
Despite being only about 15 minutes to an hour each, these shows took weeks of effort to make it to the stage. For Hames, the most difficult part of the process is the brief nature of each play. “I think the challenging part was making a story that is interesting for one act because there’s no break in between. So the biggest thing for us was making the story engaging from a personal standpoint,” Hames said. Similarly, student playwrights made an effort to make their stories relatable to their audiences while still maintaining their authentic voices. Searching for inspiration for
her script, Britto drew from her own experiences as an international student navigating airport travel to put together her one-act play “Duty Free.” “When COVID happened in 2020, a friend and I, the minute we got that email, we’re making plans to leave the country and go back home. That kind of craziness was not something that I’ve experienced before,” Britto said. “Hearing about borders closing, all of that got me thinking about ‘what if someone gets stuck between two borders, like they don’t have any work, they can’t go back, they can’t keep going?’” “Duty Free” is a 15-minute stream-ofconsciousness play that centers around the main character’s internal monologue while she is stranded at the airport. “The way I like to talk about it is like, it’s a play about nothing really, because nothing really happens. Just a lot of thoughts,” Britto said. Unexpected issues arose in making props for “Duty Free.” As performance day neared, Kottage realized there were no props for the show. Kottage had to work through the night alongside the production team to build perfume boxes for the play by hand. “A small group of the directing and production staff and myself stayed up all night measuring dimensions of perfume boxes,” Kottage said in an interview with The Hoya. Obstacles also appeared in the casting process, specifically in creating an accurate makeup of inclusion close to source material. For instance, “Huelga!” originally called for a large Latinx cast, but the short time frame for production limited the time available for auditions. With less time to call back potential actors, fewer Latinx actors were able to participate as Maggie Cammaroto (COL ’22), the director of “Huelga!,” had hoped. Adjusting to the circumstances, Cammaroto had to slightly alter the plans for the 45-minute musical. “Because the original show called for a large group of Latinx performers, we eventually had to rewrite the script just because we didn’t get the Latinx actor participation that we needed to fill out those roles,” Cammaroto said. “We rewrote it and had it done two weeks before opening, so we had two weeks to redo all the choreography and learn new music and block the whole show.” With a production team of students, piecing together the different elements of the show became an entirely collaborative experience. In producing “Huelga!,” musically inclined students focused on composing the soundtrack while experienced writers crafted the lyrics, according to Cammaroto. The final one act of the festival, “Grand Courses,” was a comedy drama telling the story of a struggling young man working at a mini golf course. The script included long monologues that challenged the actors, according to Perez, who acted in both “Huelga!” and “Grand Courses.”
FRIDAY, APRIL 22, 2022 | THEHOYA.COM
COURTESY MAGGIE CAMMAROTO
Each student-written one-act required intense rehearsals and behind-the-scenes work, includuing script reading, preparing props and designing sets to meet the specific needs of each play.
Memorizing lines in the monologue-heavy play was especially difficult for the actors since they had limited time to learn them, Perez said. “It was a lot of pressure to have to learn in a short amount of time,” Perez said. “It actually didn’t feel like too short a process because of how committed everybody was. I love all the shows that I’m involved in, so that also motivates me to learn my lines.”
Casting Call
Rounding out Season 170 of Mask and Bauble’s production slate, this year’s DBMOAF was a crowning experience to the theater careers of many Georgetown students. Throughout her time as an undergraduate student, Cammaroto has participated in 10 productions across campus, including with Mask and Bauble, Nomadic Theater and the Georgetown Department of Performing Arts as an actor and director. Throughout these productions, Cammaroto said she found a home in the theater community at Georgetown, and especially during this year’s DBMOAF production. “It is all about the people you are working with because you really have to trust people, trust their intelligence and be able to work with other people really well,” Cammaroto told The Hoya. “I think because of that, be-
cause we are working so closely with one another, we are all really close.” Like those onstage, those who work tirelessly behind the scenes to put on theater productions share similar joys to the sense of community that DBMOAF brings. For Hames, the theater serves as an escape from academics. Hames has found that Georgetown’s close-knit theater community is reflective of the students’ creativity outside of the classroom. “I think our theater scene proves that we are not just an academic space because we are focusing on the performances and the production. It is not like you go to class and you have homework,” Hames said in an interview with The Hoya. “I am coming from a STEM perspective, so I would say it’s a nice break in that you do not have to play by the rules. There aren’t really rules to being creative.” Perez was excited to be part of something that was written by a fellow student. “Being able to highlight student-written work and put that on is so unique and something that I care a lot about. It gives student writers a platform to see their shows come to life that may not have ever,” Perez said. Through this sense of community, these students are able to face the tough challenges of what comes ahead — all while creating lifelong bonds with their castmates.
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MORBIUS MOVIE/FACEBOOK
‘Morbius’ is ill-fated, poorly conceptualized and lacking in substance. Even with Jared Leto headlining, this Marvel vampire flick marks one of the worst movies of 2022.
FILM
‘Morbius’ Will Literally Suck the Life Out of You Directed by: Daniel Espinosa Starring: Jared Leto, Adria Arjona
Clayton Kincade Guide Reviews Editor
Jared Leto, fresh from terrifying audiences around the world with his horrendous, goombaesque interpretation of Paolo Gucci in “House of Gucci,” has a new method-acting terror up his sleeve: sucking every last drop of blood out of audiences in pursuit of being the worst vampire put to screen, ever. In what can only be described as an embarrassing move to try and steal popculture thunder from Robert Pattinson’s superior bat in “The Batman,” “Morbius” is the latest attempt of Sony Pictures in trying to revitalize their shared superhero licenseship with Marvel Studios. Following the anti-hero structure of films like “Venom,” “Morbius” is yet another ill-fated and illconceptualized endeavor in spoon-feeding audiences pure garbage. “Morbius” follows the story of Michael Morbius (Jared Leto), a genius scientist
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infected with an incurable blood disease. Working with colleague Martine Bancroft (Adria Arjona) — with whom Morbius is notso-subtly infatuated — Morbius tries to cure himself and his childhood friend Milo (Matt Smith), of their shared, fatal disorder. In his pursuit of a cure, Morbius believes that infusing human blood with bat blood will lead to his cells being able to function without daily medical assistance. However, following a botched experiment on a cargo ship, Morbius turns into a vengeful, superpowered monster that must consume human blood to survive. If you are looking for anything of substance in “Morbius,” look elsewhere. While “Morbius” bills itself as a horror movie, the only jumpscare that will haunt audiences for decades to come is Jared Leto’s multiple shirtless scenes, where he often lustfully licks his bloody hands. This is your cue to leave the theater — or shut off your TV— and never look back.
Nonetheless, if you have an ironclad soul and continue to watch the travesty unfold, “Morbius” holds many rotten surprises. Unfortunately, the aftertaste is often literal. Disgustingly, “Morbius” engages in constant gore, with artificial blood being consumed, painted on windows and sucked out of waking bodies. These moments are not in service of horror. Instead, they leave a sick impression of a role-play gone horribly wrong. But just like high schoolers who questionably role-play American wars in pursuit of “historical accuracy,” “Morbius” is an extended exercise in how much Hollywood can get away with without studios in charge giving a firm “no.” In the face of an awful script, terrible CGI and embarrassing performances, it is baffling that “Morbius” was released in its final cut. However, it should come as no surprise to a culture that views superhuman films as an irresistible cash cow ready to be milked. Though these films are seemingly immune
to criticism, “Morbius” has been universally panned by critics — rightfully restoring a small amount of dignity to humanity. Even in the face of laughable awkwardness, the film’s greatest sin is that it is painfully banal. Plotlines are not thoroughly developed, in addition to multiple continuity and logical errors that make it frustrating to watch. Your time is better spent taking a long nap. Nonetheless, the only brief spark of life in “Morbius” is Smith, who desperately tries to breathe excitement into an unsavable script. Still Smith’s energy — combined with his insane, incomprehensible villain plot-line — eventually reaches the same level of lifelessness as Morbius, placing them both as unfortunate dogs who decided to run with the fleas. In a final, devastating blow, “Morbius” ends by setting up yet another installment for the character. If any sense strikes the Sony executives in charge, this possible sequel should be left on the cutting room floor.
THEHOYA.COM | FRIDAY, APRIL 22, 2022
BETWEEN THE COVERS
Romance Novels Must Contend with Realities of Trauma Melinda Reed Columnist
Every once and a while, the romance genre abandons fantasy in favor of real, difficult issues. With the #MeToo movement gaining traction, it makes sense that romance stories are beginning to stray from the typical fairytale depictions of relationships. This trauma — specifically sexual trauma — is becomming so common that it has permeated a genre originally intended to lack substance. In “Unbreakable Kimmy Schmidt,” the protagonist, a survivor of kidnapping and assault, begins therapy and goes to her “happy place.” Inevitably though, each time Kimmy goes there, violence breaks out, the sky darkens and she has blood on her hands. Kimmy’s trauma can’t be compartmentalized, even when she finds wholesome love with a man
from her GED class, and it diffuses everywhere with no concern for her dream life. Interpersonal violence is unfortunately such a fact of life that we cannot escape to a “happy place” without some sort of darkness following us. Chances are, if you identify as female, you or someone you know has been a victim of abuse or assault. Because — if you’ve read this column before, say it with me — the romance genre is by, for and about women, it has become a place for authors to write the world they want without ignoring the world that is. There are so many wonderful books in this microcosm of the literary industry, and they tend to crossover a number of genres — some even earning their way to the regular fiction section instead of the seedy romance shelves in the back. Some winners include: “Evvie Drake Starts Over” by Linda Holmes, “One to Watch” by Kate Stayman-London, “Get a Life, Chloe Brown” by Talia Hibbert. For now, I want to talk about “The
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Flatshare” by Beth O’Leary. In the novel, Tiffy Moore is a thirty-something woman in desperate need of a place to live after her most recent breakup with her on-again, off-again boyfriend. She shares a flat with Leon Twomey, a night shift nurse, who lives there during the day while she stays there at night. It’s a strange and awkward premise but despite this, the pair start to form a friendship through the notes they leave each other around the apartment. Meanwhile, Tiffy is still processing her breakup. It does not help that her ex-boyfriend seems to be showing up at random places, like he wants her to remember him even though he left her for someone else. Those moments are when memories start coming back to Tiffy, ones she had long forgotten: how he would try to resolve a fight by forcing himself on her; how he controlled every aspect of her life; the things he would say that made her feel small and worthless. Tiffy remembers the fear, selfhatred and insecurity that defined a relationship she had idealized for so long.
By Lindsey Powell
SAM JONES
‘TONY HAWK: UNTIL THE WHEELS FALL OFF’
SWEDISH HOUSE MAFIA ‘PARADISE AGAIN’
The life and career of professional skateboarder Tony Hawk are examined through old footage and numerous interviews with several of Hawk’s skateboard contemporaries like Stacy Peralta in this new documentary. Although the film provides an in-depth perspective on Hawk’s rise to fame and highlights his influence on the skateboarding world, it lacks relevant commentary from today’s professional skateboarders.
The second album from the Swedish electrohouse supergroup is a long-awaited follow-up to their 2012 album “Until Now.” Although the album possesses an ultramodern sound, it lacks smooth transitions between some of its featured songs. However, some of the standout songs on this new album include “Lifetime” and “Moth to the Flame.” @SWEDISHHOUSEMAFIA/TWITTER
SUPERSHY AND TOM MISCH ‘SOMETHING ON MY MIND’
HBO
FKJ FEAT. CARLOS SANTANA ‘GREENER’
This new single from English neo-soul musician Tom Misch is the product of his new electronic project in collaboration with his own alter ego, Supershy. Misch’s new passion project as Supershy is the result of his love for electronic dance music and his interest in exploring the genre. The track features an electronic flair accompanied by Misch’s soulful vocals over a steady beat.
The first song from FKJ’s highly anticipated album “V I N C E N T,” titled “Greener,” was slated to release June 10, but released early on April 7. The song features guitar riffs from legendary guitarist Carlos Santana and evocative lyrics like “Cause it’s always greener on the other side.” Santana’s guitar skills do most of the heavy lifting, as FKJ’s vocals float over the instruments with ease.
@TOMMISCH/TWITTER
FRIDAY, APRIL 22, 2022 | THEHOYA.COM
Tiffy is a survivor of domestic violence, and without patting itself on the back, “The Flatshare” shows how an abusive relationship can change a victim’s sense of reality. Butittakesspace,timeandhealthyrelationships to return to the real world. In the middle of a romantic comedy, O’Leary unravels this mystery for Tiffy and allows her to heal — with the help of a male lead who understands that her trauma will not disappear with one good cry. It’s telling that this is the ideal man women create for themselves. I have written before about howmaleleadscanbeunrealisticintheirperfection and that’s still true, but male understanding of and respect for the healing process that needs to happen after trauma is achievable. It should be the standard, not the exception. Women are rewriting the fairytale with every romance novel. Maybe it’s time to ask why our new Prince Charmings are defined not by their castles or sword-fighting skills, but by their willingness to listen, learn and help the princess through the dark times.
FRENCHKIWIJUICE/FACEBOOK
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@LOSTCITYMOVIE/TWITTER
“The Lost City” is a fun adventure that represents the best of the romance genre. While the film sometimes defies common sense, Bullock still shines in her performance.
FILM
‘The Lost City’ Showcases the Enduring Stardom, Talent of Sandra Bullock Mason Stempel Senior Guide Editor
No matter how bad a rom-com is, its negative qualities will, more often than not, be canceled out by the presence of Sandra Bullock. Hollywood has long had Scream Queens — actresses known for their starring roles in horror films — but Sandra Bullock is a different kind of ruler. Shall we say… a Dream Queen? Bullock has been acting since 1987, and many of the jewels atop her crown are true diamonds of the romantic comedy genre. “The Lost City” is Bullock’s first foray back into the genre since 2009’s “All About Steve.” And, fortunately, it’s a triumphant return fit for rom-com’s Dream Queen. “The Lost City,” starring Channing Tatum and romantic comedy master herself Sandra
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Bullock, is a fun, albeit silly, adventure that uplifts the romance genre and satisfies with its love story, themes of grief and opening up to love again and innuendo-riddled script. The film opens with successful romance author Loretta Sage (Bullock) lying on the ground of an earthen temple with the golden-haired Fabio of her creation, Dash McMahon (Tatum). The context of their tryst, at first, appears rife with romantic tension, but ultimately it is revealed that the pair is instead being held hostage by the villains of Sage’s newest novel. A final reveal shows that this entire scene is just in Sage’s head — her attempt to come up with the perfect ending to her book. The switch from lighthearted sensual to life-or-death serious and back to lighthearted again sets the tone for the humor of the
entire movie, which is riddled with sexual innuendoes to break up the fast-paced action and tension. Throughout the film, Sage and Alan Caprison (the model behind Dash, played by Tatum sans the blond Thor wig) traverse through the jungle while also battling through the tangles of their developing emotions and personal struggles. Sage is a former archaeologist, burnt out from writing romances that do not reflect reality, still healing from the death of her husband and work partner. She rarely leaves her home, preferring to soak in the bath and remember the beautiful times she and her husband shared. Their former archaeological discoveries inspire the settings and historical authenticity of her work, leading to the movie’s villain, a caricatured British bil-
lionaire played by Daniel Radcliffe, to hunt her down for her knowledge of a hidden ancient treasure. While Sage’s fictional character Dash fights off bad guys and monsters, his real-life counterpart Alan Caprison (not pronounced like the juice brand) fights off the misconceptions of those around him, including Sage. As a heartthrob model who is on the cover of every one of Sage’s romance novels, Caprison leans into this Fabio persona to impress Sage and to prevent himself from crumbling under pressure. But Caprison also wants to prove that he is more than a pretty face, insisting that he accompany Jack Trainer (a cameo role from Brad Pitt) when the ex-military action-hero spoof jet sets to save Sage. “The Lost City” has charm, but it is not without its faults. Sage’s publicist, Beth Hatten (played by Da’Vine Joy Randolph), could arguably fit the “Black best friend” trope, since her storyline revolves around getting Sage back. But then again, every character’s arc centers on Sage. The film exoticizes non-American cultures and offers glimpses of inaccurate archaeological practices, but hey, these Brits are evil, so it makes sense. Some of the events of “The Lost City” defy common sense and reality, and some plot points are formulaic for the genre, but it does uplift the romance genre in a world where it is often degraded on account of being favored by women. There are multiple lines about romance’s financial success, with Hatten retorting that it is the genre that makes the most money in sales per year. Further in the film, when Sage expresses her disillusionment with writing “meaningless” happy endings, Caprison emphasizes the importance and intelligence of romance readers, inspiring Sage to finish her novel with a renewed sense of clarity. While Tatum presents a good romantic interest, the romance is a little half-baked between the action sequences and Sage’s healing process, but Bullock’s masterful acting could make audiences believe she has chemistry with a soggy log. Despite its moments soaked in secondhand embarrassment — like when Sage plucks leeches off of Caprison’s bare butt — “The Lost City” offers a good time for viewers because of the charm and emotional control displayed by its star.
THEHOYA.COM | FRIDAY, APRIL 22, 2022
EMILYHENRYBOOKS.COM
Following the lives of two competing literary agents, Emily Henry’s newest romance novel ‘Book Lovers’ relies on well-konwn tropes to tell a dynamic enemies-tolovers story.
BOOK
‘Book Lovers’ Uses Tried and True Tropes to Create a Dynamic Romance Alexandria Henderson Hoya Staff Writer
If you have ever watched a Hallmark movie and wondered what happens to the uptight corporate girlfriend who is left by the male love interest for the bubbly small-town protagonist, then I come bearing good news: Emily Henry has answered your question. Henry’s third adult romance novel, “Book Lovers,” follows the life of Nora Stephens, a cutthroat literary agent who has platinum blonde hair almost as icy as her heart. After a series of unfortunate breakups, wherein Stephens finds herself on the unfavorable side of the romance tropes she knows all too well, she has all but decided to swear off looking for love. And she most definitely is not looking for it in brooding Charlie Lastra, a successful editor and her professional nemesis. However, it is just Nora’s luck that a month vacationing with her sister in the small fictional town of Sunshine Falls, North Carolina leaves her bumping into Charlie left and right. In line with the ever popular enemies-to-lovers plotline, Nora and Charlie’s continual and annoying runins escalate to something more. The narrative brilliance of “Book Lovers” lies not only in Henry’s mastery of pacing, but in the
novel’s keen sense of self-awareness. In a book centered around subverting tropes, Henry repeatedly succeeds at breathing new life into otherwise banal plot elements. The setting of “Book Lovers” is indulgently cliché; Sunshine Falls embodies the quintessential small-town experience including gossip, family drama and cheesily named local businesses such as the favorite town bar, “Poppa Squat.” To top it all off, Nora’s sister even creates a small-town checklist for her and Nora to complete that seems handcrafted to land Nora in Charlie’s company. Henry leans into this and pushes clichés in order to further the plot by contrasting the characters with the overused setting. The descriptions of the city-dwelling pair braving the countryside then add necessary levity to the seemingly hackneyed setting. Nora describes herself as the “foil to the Good Woman.” In her quest to disrupt literary norms, Henry elegantly characterizes Nora as a cynical anti-heroine to deconstruct sexist stereotypes rampant in contemporary society. Henry tackles how powerful women are often seen as bitchy, cold and otherwise unpleasant while their male counterparts receive no such criticism. Nora’s exboyfriends serve as a commentary on men who fear women that are their equals. Her past rela-
FRIDAY, APRIL 22, 2022 | THEHOYA.COM
tionships provide a stark contrast to her connection with Charlie, who treats her like an equal. Henry has developed a fiercely loyal following for her character-driven novels and “Book Lovers” is no exception. Charlie and Nora, Henry’s most well-rounded main characters to date, effortlessly deliver the snarky, humorous banter that her readers have grown to love. Henry’s refreshingly modern dialogue is shown in the pair’s expertly exchanged barbs via their work emails. Their backand-forth dynamic is enhanced by the fact that Charlie and Nora are cut from the same sarcastic, workaholic cloth and therefore equally matched. Their embodiment of two sides of the same coin also allows Henry to seamlessly blur the line between love and hate as their antagonism evolves into flirtation. These characters understand each other to the very core, allowing them to embrace both their own and each other’s fallibility. The end result is a flawed, incredibly human element in their relationship: an element that many other romance novels lack and that is sure to resonate with readers. However, “Book Lovers” shines the brightest in its very ability to poignantly speak to universal experiences of being a reader. Authors love to write books about books — after all, they know the audience they are pandering to. The novel’s title IS the target audi-
ence. There is an earnest understanding of what it means to love books from all sides of the industry. Henry provides an insider perspective on the publishing industry from Nora and Charlie’s respective agent and editor positions. Henry even throws in a few good-natured jabs at the volatile temperaments of the authors publishing teams work with—all of this is done, of course, with the intent of showing how much passion and care is put into the development of every book that lands on shelves. “Some books you don’t read so much as live,” Nora says in an internal monologue. Henry perfectly captures the aspect of the reading experience that keeps her readers coming back for more — they will want to eat and breathe “Book Lovers.” In an almost meta-literary experience, Henry is able to artfully articulate the feelings experienced by her readers as they progress through the novel. True to her no-nonsense form, Nora refuses to start a book until she reads the last page and determines whether the novel is worth committing her time. While Nora’s ending-first method may be necessary for other stories, rest assured, “Book Lovers” is well-worth the investment starting from page one. “Book Lovers” will be available everywhere May 3, 2022.
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SOUNDS OF THE DISTRICT
A Cappella Spring Sing Rings in Warmer Weather on the Hilltop Hoya Staff Writer
Just days before Easter break, Georgetown’s a cappella community celebrated the warming weather with their annual Spring Sing Showcase, cohosted by Superfood and The Saxatones. The April 10 showcase featured six a cappella groups: the Georgetown Chimes, The Capital G’s, The Phantoms, The GraceNotes, Superfood and the Saxatones. Each group performed a set of three songs, with selections ranging from the classic “Danny Boy” to more modern hits such as “Teenage Dream.” The showcase featured both vocal and emotional range and kept the audience of Gaston Hall, packed with Georgetown students and family members, engaged for the entirety of the show. Dressed in the springtime whites, purples and oranges, the groups lit up the
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Ice hockey fans will not want to miss this thunderous battle between the Washington Capitals and their out-of-state rivals, the New York Islanders. Head to Capital Arena on April 26 to watch this highly anticipated match unfold! Tickets are on sale now.
MLK LIBRARY EXHIBITS
901 G St NW
The Martin Luther King Jr. Memorial Library is one of D.C.’s hidden historical treasures. Come explore the library’s permanent exhibit “Up From the People: Protest and Change in D.C.,” which serves as a tribute to Dr. King’s legacy and connection to local activism. Tours of the exhibit are held every Tuesday at 12 p.m.
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Emily Smith is a first-year in the College. Sounds of the District appears online and in print every other week.
By James Pocchia
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COURTESY LIBRARY OF CONGRESS
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and confidence. Not only did the groups provide musical entertainment, but they also ensured their sets were visually appealing, with coordinated outfits and passionate movement from both soloists and the background singers. Their enthusiasm spread to the crowd, who felt their spirit and became even more invested in the show. Between the performances, jokes from host DJ Outler (COL ‘22) and heartwarming senior recognitions, the two-hour show flew by. The showcase flowed perfectly with a professional polish and was an exemplary display of the Georgetown a cappella community’s talent. As the cherry blossoms bloom and snow begins to feel like a distant memory, Georgetown students are coming out of their hibernation and recovering from the somberness of winter. Spring Sing was the perfect way to start off this new season while ending the a cappella season on a high note.
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COURTESY MASON STEMPEL The Saxatones performed in historic Gaston Hall April 10.
THIS ISSUE’S QUIZ CHOCOLATEHOUSEDC/FACEBOOK
Emily Smith
stage with powerful vocals. Reactions were lively and varied: The Saxatones’ rendition of Alicia Keys’ “Fallin’” resulted in booming cheers from the audience, while Superfood’s performance of Taylor Swift’s “Don’t Blame Me” had everyone dancing in their seats. On the other hand, the Chimes’ solemn “Danny Boy” left the hall dead silent in awe until the end of the tune. The skillful arrangements of these pieces particularly stood out. The lead vocals were stunning with their intricate harmonies and the beatboxers of every group formed the backbone of the songs with their impeccable volume and consistency. The harmonies and crescendos in “Erase Me” and “Zombie” were just as, if not more, astounding than the main vocals. Every group kept in perfect unison and maintained a balance that was easy to overlook because it blended together so well. At the last a cappella showcase February 25 and 26, The Cherry Tree Massacre, the groups seemed a bit shaky on stage due to the pandemic’s cancellation of prior live performances. However, at Spring Sing, the groups came into their own and mastered Gaston Hall with enthusiasm
THE 5TH DC CHOCOLATE FESTIVAL
4101 Reservoir Rd NW
After a two-year hiatus due to the COVID-19 pandemic, the D.C. Chocolate Festival has returned! Visit La Maison Française at the Embassy of France to enjoy an evening of delectable chocolate sampling, educational opportunities, and beautifully lit scenery. Tickets are available for purchase online now!
Want to find out what Georgetown building you are? Check out the Guide quiz to find answers.
THEHOYA.COM | FRIDAY, APRIL 22, 2022