WEEKEND
T H E U C S D G U A R D I A N | T H U R S D A Y, O C T O B E R 8 , 2 0 1 5 | W W W . U C S D G U A R D I A N . O R G
What’s in Store?
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99 Ranch
Location: 7330 Clairemont Mesa Blvd. A strong scent of hoisin sauce, a familiar odor of a fish market intermingled with a delicate waft of glazed BBQ pork buns straight from the oven, linger in the air, and I’ve never felt more at home. Coupled with seeing rows upon rows of childhood snacks — ranging from shrimp chips to lychee jellies — you can bet this Chinese-American girl was in no rush to leave. 99 Ranch is an ultimate trifecta of the odd, the delicious and the downright questionable, making it both a delicacy to some and a bazaar to others. If you just so happen to be a 99 Ranch virgin, don’t be intimidated by the crazed shoppers pushing carts like they were in Shanghai traffic or the glass containers filled with intestines, fish heads and tubs of congealed blood. Instead, think of it as an educating and expansive experience. At least for me, I’ve got 99 problems but this ranch is most definitely not one. by Brittney Lu // Lifestyle Co-Editor
Trader Joe’s Location: 8657 Villa La Jolla Dr.
PHOTO BY OLGA GOLUBKOVA/UCSD GUARDIAN
Sick of dining hall food? The UCSD Guardian lifestyle writers head to local grocery stores, with different goals in mind, to give you the ultimate La Jolla food-shopping experience that’s as diverse as the “ethnic foods” aisle.
Ralph’s
Positioned between a mom-and-pop-esque store and the upper echelons of Wall Street grocery chains, Trader Joe’s has become one of the most prominent commercial international markets. Largely concentrated in California, its own name is conscious of its existence. That is to say, Trader Joe’s — despite its appropriation of the Caribbean — offers that one-size-fits-all aisle of international cuisine that isn’t your status-quo fried chicken and Wonder bread. Vegan tikka masala, pesto salmon and dim sum? You got it. Ionized water and exotic blends of granola? Okay. Alcohol? Only for the legal agers. Now, it’s sensible to think that chain markets get the bad rep and rap about questionable authenticity and that, somehow, it’s processed all in a factory a la Sinclair. But before the matter of its “chain quality!” comes rupturing through the air, everyone should read the fine, point eight, Times New Roman font: All of Trader Joe’s products are of independent labels owned by the store and organic. Repeat that last word: organic. by Christian Gella // Senior Staff Writer
Continental Deli
Location: 8657 Villa La Jolla Dr.
Location: 4150 Regents Park Row
Ralph’s is sure to appear on any list of La Jolla’s grocery stores. What it lacks in originality, it makes up with proximity, cost-efficiency and sheer bulk of food. But even a generic supermarket has its particularities — and Ralph’s has its share as well. You might not know that past midnight, leftover pastries are packaged and sold at half-off. Additionally, there is a discount shelf by the dairy section that sells more baked goods along with other clearance items at half price. While stocking up on snacks, keep in mind that both hummus and cheese are hidden in two different locations — behind the bread aisle and by the kosher aisle. And don’t forget to stop by the Starbucks kiosk, Golden Spoon or sushi counter by one of the entrances, and turn grocery shopping into a “wonderful pastime” — literally anytime since the store, including the pharmacy, is open 24 hours a day. Ralph’s will never be especially exciting. But it does have a lot to offer, and with careful inspection, no doubt much more. by Adam Fisher // Staff Writer
Located next door to La Jolla’s all-time favorite, Regents Pizza, Continent Deli is a place you may have passed a thousand times but never dared to go inside. Indeed, this Eastern European place might seem intimidating for a newcomer, especially because of its notoriously mediocre customer service. Workers at the deli tend to run two extremes — stereotypical Russian ladies will either fire a million questions at you before you even get a chance to familiarize yourself with bizarre names on boxes, jars and cans or ignore you after they realize you do not speak Russian. However, do not let initial intimidation discourage you from getting acquainted with Eastern European treats that you will never find anywhere else in the area. Continent Deli presents a wide assortment of imported non-perishables to restock your strategic reserves as well as deli items made fresh on the spot. Whether you would like to get some pilaf rice “for here” or take rye bread, bologna and bags of delicious, one-of-a-kind Russian and Polish candy to go, Continent Deli will help you cross the gastronomic ocean and discover a new culinary terra incognita. by Olga Golubkova // Lifestyle Co-Editor
PLAY REVIEW
Phantom of the opera Mackintosh’s “The Phantom of the Opera” turns the classic production into a musical spectacle. Directed by Laurence Connor Written by Andrew Lloyd Webber Starring Chris Mann, Katie Travis, Storm Lineberger Runs Oct. 7 to Oct. 18 Location The Old Globe Release Date April 10
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his year is the 25th anniversary of the longestrunning Broadway musical “The Phantom of the Opera,” and the “spectacular new production” by Cameron Mackintosh has finally arrived in San Diego. The difficulty of completing the show both vocally and technologically, along with the audience’s high expectations, make it a huge challenge to develop a new version that is comparable to the original production, which is still
being performed in New York and London. Yet the majority of those who have seen the show claim this production is the best since the 1986 musical by Sarah Brightman and Michael Crawford. With the help of new technology, this production does an even better job in terms of bringing incredible visual enjoyment to the audience. The story is still the same impressive love triangle that centers around Christine Daae (Katie Travis),
a beautiful yet naive soprano; the Phantom (Chris Mann), a doleful, complicated musical genius and Raoul Vicomte de Chagny (Storm Lineberger), Christine’s other suitor. In this version, however, it has become more intense, tragic and glorious. While the plot remains unchanged, it is the thrill of stage effects and passion in the songs that makes the show sublime. One thing that captures the public’s attention is the stage design, which has definitely improved in accordance with today’s audiences’ taste. There is a huge, cylindrical fixture that rotates the stage, changing the backgrounds in a much more effective way. This largely reduces the time of interval between every two scenes. The iconic chandelier is, of course, hanging above the audience. The blinking crystal chandelier is even more extravagant and closer to the audience than the ones in previous
PHOTO COURTESY OF ALASTAIR MUIR
versions of the play. As a result, the audience feels like they are a part of show when the chandelier falls down – they can’t help screaming, though there is no real danger. Later in the show, an even more striking stage effect is used: real flames and sparks suddenly appear on the stage when The Phantom is infuriated, enabling people to realize what a dangerous figure he is in the story. While the orchestration and music is the same, the new cast performs the songs more energetically, and the music is made more affettuoso in the new production. This contributes to the intensity of the show and constantly excites the audience. Nevertheless, the original version is more captivating in the actors’ graceful voices and sophisticated acting. The new version would have been more impressive vocally if the emotions of the characters were
conveyed more meticulously. A more sentimental performance with a slower pace from time to time would provide a break for the audience from all the excitement the play brings. This is indeed a spectacular production, and it is energetic, funny, thrilling and touching at the same time. It is very likely to attract new audiences who have not seen “Phantom” before with its unprecedented visual effects and expressive performance. Travis and Mann know how to create a refreshing and romantic ambience in the show by bringing more youth to the classic story. They are trying something different with a more striking visual aspect, while respecting the long-loved original.
— Yidian Huang
Staff Writer
Q&A
Mark Emerson from “Phantom of the Opera” INTERVIEW BY YIDIAN HUANG // STAFF WRITER
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s an actor in “The Phantom of the Opera,” UCSD alumnus Mark Emerson introduces his view on the spectacular new production of the ever-popular Broadway classic that is currently touring across North America. The cast will be performing in San Diego from Oct. 7 to Oct. 18. Mark plays the Auctioneer and understudies Monsieur Andre, one of the principal roles in “Phantom,” and is a part of the male ensemble.
Guardian: This is a “spectacular new production” of “The Phantom of the Opera.” How is the production “spectacular” and “new”? Mark: This is a different production than the previous one, which is the brilliant original production that’s on Broadway. It is in honor of the 25th anniversary of the [musical], and it’s still the same great score that everyone has yearned for and fallen in love with, but it [has] different design aspects and it’s got all the technology that’s been updated for 2015. So the chandelier does some pretty spectacular things. And it’s being directed with a slightly different sensibility. It’s a little bit more naturalistic, and a little bit more toward today’s audiences. Guardian: What is your favorite part of the show? Mark: I feel really lucky that I have a pretty full part of the show that
I do every night. As the Auctioneer, I introduce and call in the chandelier, which is the iconic fixture in the show. You’ll see when you see the show that our chandelier sends from the ceiling and I get to be on stage when that iconic overture is played. That’s my favorite part.
Guardian: What kind of life experience has helped you portray your character? Mark: I definitely couldn’t have done the show without my MFA training from UCSD, that’s for sure. I got my MFA in acting from the UCSD program and spent three years there. You know, it is one of the most renowned and highly regarded acting programs in the country. I spent three years studying acting, voice training, physical training and all of those aspects just prepare you for anything that’s thrown at you. We do “Phantom of the Opera” eight times each week, every single week and I’ve done the tour for almost three years. So I have been trained in the show eight times each week, every single week, for three whole years. This allowed me to have that endurance both vocally and physically. The training also brought me the artistic chops to find new things and to make it seem like you are creating these people and the circumstances in the moment. That is something [for which] I definitely got the tools in my UCSD training.
PHOTO USED WITH PERMISSION FROM MATTHEW MURPHY
Guardian: How’s working on “Phantom” compared to the things you’ve worked on in the past? Mark: I mostly have been doing small plays around the country, plays in New York City, for friends and for almost no money. This is quite shocking, and [it’s a] blessing to be able to go across the country to all these truly spectacular theaters that have between 1,500 and 3,000 seats and different performance stages to perform on. It’s very different from my normal acting days in New York City. It’s being able to meet people, a lot of kids across the country. Many teenagers are very excited about Broadway shows coming to their towns — they can’t come to New York to see all the shows they want to see. They love theaters and musicals. Now they get their chance to see what they want to see. This is also the exciting part of touring. Guardian: What inspired you to become an actor? Mark: In high school I was always in the bands and the choir. One
year they did a musical and I was a drummer in the band. They needed someone to play the drums for the production of the musical. I watched everybody have fun every night. We got one line as the band to say in the show. The feeling of being a part of the show was exciting for me, and it made me want to audition for the next show that they had. That got me into performing, and once I started doing it, I just felt it was a natural fit for me. It was fun to perform with my friends and to explore all these other characters. And then I went to undergraduate at Northwestern University, outside of Chicago. I was a theater major there. Just seeing the musicals in Chicago and having my mind broadened by what kind of different plays there are out there was really inspiring to me and kept me wanting to pursue acting.
Guardian: Do you have any specific advice for aspiring actors studying at UCSD? Mark: It is a great idea to get training as an actor, and they have great training at UCSD. It is the matter of trying out all the different tools that acting teachers can provide you with, and finding which ones are helpful to you. Try to get as much experience as you can, figure out what works for you, what doesn’t work for you, try to get as much work as you can, which is really, really difficult. Foster your relationship with people you are going to school with — a lot of them are the people you end up working with later on. I worked with a lot of UCSD grads in New York City and those relationships are really important.
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T H E U C S D G U A R D I A N | T H U R S D A Y, A P R I L 9 , 2 0 1 5 | W W W . U C S D G U A R D I A N . O R G
WEEKEND PHOTO COURTESY OF ACESHOWBIZ
FILM REVIEW
effie gray The famous triangular love affair in Victorian England comes to life with Thompson’s controversial script. Directed by Richard Laxton Starring Dakota Fanning, Emma Thompson, Greg Wise, Tom Sturridge Rated PG-13 Release Date April 3
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onsider a vulnerable woman in the Victorian era of England, living a lonely life with a cold husband, while her own family in Scotland is only reachable through letters. How would she react to such a miserable life? Oscar-winner Emma Thompson, intrigued by the famous unconsummated marriage between the art critic John Ruskin and his teenaged wife Effie Gray, presents a film that tells this disputable story from
a feminist and subjective standpoint. Gorgeous in the sceneries and costumes, “Effie Gray” provides an alternative explanation for the oddness of the marriage and especially Ruskin himself, who has been considered a mystery for centuries. Effie (Dakota Fanning), a 19-year-old girl from Scotland, begins to have a suppressed life in her new home in London, as John (Greg Wise) fails to give Effie enough love and attention. The situation is wors-
ened by the fact that John refuses to consummate their marriage. When the Ruskin couple heads to Scotland, along with one of the Pre-Raphaelites, Everett Millais (Tom Sturridge), who is going to paint John’s portrait there, the trip becomes the catalyst of the mutual attachment between Effie and Everett. Back in London, Effie decides to take control of her own life and consults her only trusted companion, Lady Eastlake (Emma Thompson), regarding the possibility of the annulment of her marriage. “Effie Gray” is visually enjoyable as a well-produced period film. Its captivation lies in the beautiful countryside sceneries of Scotland and the fabulous costume design. The exquisite cast easily attracts the audience, and their penetrating acting is no disappointment.
Moreover, Thompson has written the screenplay in an appropriate language that is subtle and implicative, which suits the historical context of the Victorian period. Yet, the film can be too subjective, as it accentuates the heroine as a pure victim surrounded by manipulative and selfish elders, with the exception of Lady Eastlake, and as a perfect young woman, who could be idealized. Throughout the film, there is no one single fault that can be found on the heroine, though she looks endlessly sorrowful, ill and even confused. Contrarily, the film has made Ruskin an absolute villain who is cold, cruel and contemptible, while in real life he was also a successful social thinker and philanthropist. “Effie Gray” suggests that the essential reason why Ruskin is
behaving in a queer way comes from his intimidating parents’ aggressive education. Nevertheless, reality could be much more complicated than this story that Thompson introduces to us. Instead of discussing the reactions of the society to the event, she simply approaches the matter from Effie’s psychological point of view and underscores the female vulnerability of the time as a whole. Despite the depressing and emotional atmosphere the film creates, there are jocular moments of comedies from time to time. But if you find slow-paced movies oppressive, you might think these 108 minutes in the theater extremely long and tedious.
— Yidian Huang
contributing WRITEr
VOTE ON TRITONLINK.UCSD.EDU THRU FRIDAY, 4pm ELECTION RESULTS AT ROUND TABLE PIZZA, 4/10, 5:30pm FOR MORE IMFORMATION, VISIT AS.UCSD.EDU/ELECTIONS OR CONTACT ASELECTIONS@UCSD.EDU
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T H E U C S D G U A R D I A N | T H U R S D A Y, N O V E M B E R 5 , 2 0 1 5 | W W W . U C S D G U A R D I A N . O R G
S A N D I E G O A S I A N F I L M F E S T I V A L
WEEKEND
ART BY IRENE LUU
The Beauty Inside
Baek Jong-Yeol’s “The Beauty Inside” (2015) is a meditation on love and identity; a surrealist waltz between romantic drama and high-concept sci-fi. Based on Intel and Toshiba’s 2012 social film, “The Beauty Inside” revolves around furniture designer Woo-jin (portrayed by an array of actors), who wakes up every day in a different body, ethnicity, age and gender. Struggling with a constant sense of loneliness and an inability to maintain relationships, Woo-jin immerses himself in his work in order to find meaning in his life. When he meets Yi-soo (Han Hyo-joo), a furniture sales agent, Woo-jin falls in love almost immediately. The film follows their developing relationship as he takes to increasingly desperate measures to stay in the same body, afraid that if he changes, he’ll never be able to see her again. What follows is a moving story tinged with humor and shaded in emotional depth. “The Beauty Inside” is unusual in its premise but complex in its oddity; a truly bittersweet exploration of love. — DEREK DENG Contributing Writer
Made in Japan
Documentaries are best suited to digging up hidden nuggets of gold that have been glossed over by the years. The story of Tomi Fujiyama is such a treasure; one that has finally been brought to light. The truth is, she was Japan’s first female country-singing star in the 1960s. Yes, it’s no joke. She grew up singing western music, began performing in Las Vegas and finally reached the pinnacle of her career at the Grand Ole Opry in Nashville. She stood on the same stage as the likes of Johnny Cash, receiving a standing ovation on a night that would forever be emblazoned in her mind. This is the account of her return to that hallowed ground over 40 years later. It’s not an easy road, but along the way Tomi wins us over with a smile that lights up the room and a true ART BY ELYSE YANG passion for music that few others can claim. — TYNAN YANAGA Senior Staff Writer ART BY JENNA MCCLOSKEY
An
The impatient and downhearted middle-aged owner of a “Dorayaki” (Japanese pancake) shop is looking for an assistant, and a 76-year-old lady comes to apply for the job. Adept at making extraordinarily tasty “An” (red bean paste), the lady is hired despite her age and crippled hands. The new and much better taste of An soon attracts an unprecedented amount of customers, yet a surprising turning point of the film comes along. Will they be able to continue working together and maintaining the business? As the opening film for the Un Certain Regard section at the 2015 Cannes, “An” is a tender and scenic film that discusses the meaning of life and the relationship between humans and nature. Sceneries of sakura blossoms, close-up shots of Japanese pastry and the philosophy of respecting everything (including red beans) all contribute to the uniqueness of the story. It is a warm movie that leaves you misty-eyed, contemplative and empathetic. — YIDIAN HUANG Staff Writer
Time flows like an unending river and our ability to cope with it determines whether we float or sink. “Mountains May Depart” forces your hand with this realization. To director Jia Zhangke and many in China, the passage of time has passed by at too swift a rate. Instead of setting this concern in the forefront, Zhangke anchors us in late 1999 with Tao (Tao Zhao) and two friends vying for her attention, poor miner Zhang Jinsheng (Yi Zhang) and pro-capitalism Liangzi. The ensuing drama is spread over decades and destinations, letting a family networked with long-standing memories of grudges and debts steadily unravel. The daily processes of life are always captured by the wary camera of Jia Zhangke, often straying away and focusing on the minutiae in life that we often use as no more than reference points. Thirty years pass and the only constants left standing besides time are actions. Humans are creatures of habit, passing on the same recipe and bringing up the same stories, generation after generation. It’s not complacency after a certain point — it’s comfort. — SAM VELAZQUEZ Editorial Assistant
Out of My Hand
Who would have ever thought a small Liberian film would be featured at a premiere Asian film festival? And a film with such an understated power, ruminating on the American Dream. This is the case with writer/ director Takeshi Fukunaga’s “Out of My Hand” — an incredible film chronicling the journey of Cisco, a Liberian rubber tapper struggling to escape the sufferings of a prevailingly hostile world. Bursting onto the cinematic scene with his first narrative feature, new talent Fukunaga films with such sure-handed instincts that he might as well be a master veteran. The film’s cinematography, brimming with quietly gorgeous images, is perhaps only outdone by Liberian non-actor Bishop Blay in his restrained yet nuanced leading role performance. Winner of Los Angeles Film Festival’s Grand Jury Prize, “Out of My Hand” may still be a lesser-noticed film at SDAFF, but it’s a hidden gem you will not want to miss. — BRANDON YU Contributing Writer
ART BY CHRISTINA CARLSON
Taxi
ART BY JENNA MCCLOSKEY
Mountains May Depart
“Despite my heartfelt wish, this film has no credits.” Thus concludes Jafar Panahi’s “Taxi.” The words are disturbing. They should be. Panahi, banned in 2010 by the Iranian government from directing any films, has, yet again, responded with a beautiful “fuck you” that is both a celebration and an accusation. To start with the latter, “Taxi” is itself an act of political dissent. The film follows Panahi himself pretending to be a taxi driver, conversing with a number of passengers as he drives across Tehran. Panahi exposes Iran’s repressive law of “distributable films” by laughing at it. Indeed, “Taxi” should be seen as a reductio ad absurdum of Panahi’s ban and persecution. After multiple arrests, a six-year jail sentence, and being prohibited from leaving the country, he’s still there: dressed as a cabbie, making movies with a smile in his face. “Taxi,” with its passionate social criticism, turns into a celebration of art and the will to rebel. The film has no credits. Who cares? The point is that it exists. ART BY CHRISTINA CARLSON — MARIO ATTIE Senior Staff Writer