LIFE
8 November 13, 2020 RCC Theatre performs virtually
“Try to see the brilliance of the artist, instead of making a value judgment of the person.” - James Ijames
Students read through ‘Kill Move Paradise’ ROLINDA ESPINOZA STAFF REPORTER
Theater students at Riverside City College are continuing to showcase their art form despite COVID-19, most recently telling an eye-opening tale about the realities of being Black in America. RCC Theatre live streamed a performance of “Kill Move Paradise” on Nov. 6. The play follows four young African American men whose lives have just ended. The four characters, Isa, Griff, Daz and Tiny are confronted with the harsh reality that they died as a result of social injustice and discrimination. To transfer to the afterlife, the group must come to terms with the experiences they faced in their past life. Isa, the group leader, first meets soon-to-be father Griff. Shortly after, the duo becomes a trio when they meet Daz. To round out the group, Tiny, who is noticeably smaller and younger than the rest of the group, enters the picture. Tiny is first amused by the idea of “America” until he realizes he had been shot while playing in the park with his friends. His realization is a turning point in the play where the sweet and innocent boy becomes angry with the country that failed him.
“There are many things viewers of the show should take away,” Jessie Nganga, the actor who portrayed Tiny’s character, said. “The first being the fact that for multiple years on end, African Americans have been viewed by America as a form of entertainment, whether it is through athletes or throughout the film industry.” The audience plays an interactive role throughout the play and represents “America.” They are made to observe and judge the four men. “Viewers of this play should realize how horrible the perceptions of America have been toward the African American people and those of different cultures,” Nganga said. The cast and crew faced a series of complications during production because of the COVID-19 pandemic and accompanying social restrictions. Live performance is not currently an option, so the show was adapted and presented as a read-through of the original play. “COVID-19 has impacted many of us, both through big and small situations alike,” Nganga said. “The fact that I cannot be in-person to perform hands down one of the most powerful plays I’ve done so far hurts.” Like many of us during the COVID-19 pandemic, the cast battled uncertain and inconsistent Wi-Fi connections.
The full show was recorded in one take despite the chance of technical difficulties. Even without these issues, there are other anticipated challenges that accompany live performances. “I would say that the biggest issue was being at the mercy of Zoom and people’s internet connection,” said Ali Muhammad, who portrayed Isa. The cast worked around these obstacles and the performance ran smoothly, allowing the performers to deliver an incredible show. The actors of “Kill Move Paradise” want the audience to know that it’s okay to be uncomfortable and question authority. “There is a line I have in the show where I say, ‘dead men don’t protest,’ and I want the audience to connect with the struggle of the characters and be inspired to do something,” Muhammad said. RCC Theatre is offering two additional productions this month that touch on social justice on the RCC Theatre Facebook page. They will perform “A Mans world,” by Rachel Crothers, Nov. 13 at 7 p.m. The show is set in the home of a New York artist based on writer Frank Ware. The play touches on double standards between men and women. “Blood at the Root,” by Dominique Morisseau, is based on the Jena Six and will be performed Nov. 20 at 7 p.m.
IMAGE COURTESY OF ALI MUHAMMAD
SCREENSHOT COURTESY OF RCC THEATRE Khari Butler, top left, plays Grif, Ali Muhammad, top right, plays Isa, RJ Marshall, bottom left, plays Daz, and Jesse Nganga, bottom right, plays Tiny on Nov. 6.
Dark novel changes directions in film New adaptation of ’90s movie takes more realistic approach KYIESHA CHAVEZ STAFF REPORTER Roald Dahl’s 1983 children’s novel “The Witches” begins with the statements “this is not a fairy tale” and “witches are real.” Following that is the frightening story of witches who are actually demons and share one thing in common: They all hate children. The novel does a good job of acknowledging some of the darker parts of our childhood, portraying the characters in a brutally honest way. People who don’t like children think they smell bad and strangers with candy have bad intentions. The first film adaptation, released in 1990 and directed by Nicolas Roeg, brought that terrifying imagery to life with Anjelica Huston as the Grand High Witch. While it performed poorly in the box office, it has been a favorite for kids and adults for the past 30 years. The 2020 adaptation was released at the perfect time on HBO Max, just a week before Halloween. It starts with a monologue
ILLUSTRATION BY KYIESHA CHAVEZ “The Witches,” released Oct. 22, is directed by Robert Zemeckis.
modeled after the book: the narrator speaking in a classroom full of children. The first thing you realize about the narrator is the fact that he’s voiced by Chris Rock. When I came to terms with that, it changed the tone of the movie. Hearing his voice was the first sign that director Robert Zemeckis decided to take this iconic film in a completely different direction. It’s no longer the terrifying ’90s dark comedy movie that gave me nightmares as a kid, but much more colorful and with lighter intentions. Another key difference is the updated cast. While the original film had a predominantly White cast, this new adaptation was a bit more diverse. The main cast includes Anne Hathaway as the Grand High Witch, Octavia Spencer as Grandma, Stanley Tucci as hotel manager Mr. Stringer and Jahzir Kadeem Bruno as Hero Boy. We also come to find out that the narrator is the voice of Hero Boy as an elder. This cast difference is also noticeable in that the ’90s version
was set in Norway, while this new version takes place in Alabama during the late ’60s. Moving the story from Europe to America changes the dynamic and makes it more relatable for an American audience. This is similar to the movie adaptation of another Dahl novel, “Matilda.” The last difference is that Roeg deviated the ’90s film ending from Dahl’s original novel — turning the mouse boy back into a human. Zemeckis decided to keep the original ending, with Hero Boy remaining a mouse for the rest of his life. Even with all the changes to fit Zemeckis’ directing style, I found the film to be quite enjoyable to watch with the family. Though I do prefer the sheer nightmare-inducing horror in Roeg’s film simply due to the old CGI technology, Zemeckis’ new version appeals to the younger generation with a more realistic approach. Instead of the witches peeling off a mask to reveal a scary face, they look just like any normal adult but twisted into something we can’t trust. What’s scarier than that?
