Slow-moving “V”Confuses Rather than Intrigues
November 4, 2009
Published by Ozarks Unbound.
By Bethany Larson
Ozarks Unbound
Ozarks Unbound
“Where were you when JFK was assassinated?”
“Where were you on 9/11?”
“Where were you this morning?”
These are the questions ABC’s heavily marketed “V,” a remake of the 1980s miniseries, asks the audience at the beginning of its pilot episode.
The first two questions evoke a sense of community — these historical, change-inducing occasions are ones that all Americans have a connection to because of their impact on, well, everything. By simply posing the third question, the powers behind the show are equating that whatever happened “this morning” is a scenario as monumental as the other two.
In the slow-moving pilot, we learn that what happened “this morning” is that The Visitors, or V’s, arrived. Their looming space crafts hover above 29 of the world’s major cities, and Anna (Morena Baccarin), the attractive spokeswoman for the V’s, politely informs the world in her calm, velvety voice, that her people only need help and are not dangerous.
“We are of peace. Always.”
Within this episode, there are three major story arcs: a televised interview between Anna and journalist Chad Decker (Scott Wolf), the recruitment of human teenagers to become Peace Ambassadors for the physically attractive V’s , and a clandestine meeting of various characters that presents a different view of the V’s and their goals.
As simple as that sounds, this episode is confusing. Characters are rarely introduced by name and the audience has to rely on the characters’ relationships with other nameless characters to figure out what role they play.
Then, we are exposed to a jump-cut-driven narrative taking us in and out of different scenes that are never fully explained. Although this provides an intimate glimpse into the lives of the characters whose names we don’t know, it proves to be more annoying than intriguing.
In the most interesting sequence of the episode, we see three characters, Erica Evans (Elizabeth Mitchell), Father Jack Landry (Joel Gretsch), and Ryan Nichols (Morris Chestnut) gather at a top secret meeting because they have been nominated — for what, we’re not sure. They’re then instructed on how to determine the difference between a human and a V — the V’s have no skull.
After this, a man, Georgie (David Richmond-Peck) begins telling the people assembled that the V’s have been on Earth for years, that they clone human flesh, have set up a sleeper cell terrorist group, and plan to exterminate the human race by winning its devotion and positioning themselves as the saviors of mankind.
All of this is juxtaposed with the Decker and Anna interview, where Anna tells the world that the V’s hope to open Healing Centers that provide universal health care in every major city in the world.
Then, 51-minutes into the episode, we finally get some action.
As Erica and Father Jack meet, this blue floating orb comes into the room and throws darts at people. After this, a group of supposed humans runs in and begins attacking those gathered. As Erica is attacked by her co-worker Dale Maddox (Alan Tudyk), he gets a cut on his head, and she sees that he has no skull–instead, there is green reptilian skin.
In another plot nuance at the end of the episode, we learn that Ryan is actually a V that has deserted his people to live peacefully among the humans, begging the question, who else isn’t human?
Although the show does raise interesting questions about stereotypes, trust, and ethics, the pilot drags by and confuses, rather than intrigues, the audience.
Judging from the opening tone of the episode, this invasion of green lizards with cloning abilities is supposed to be a generation defining event that will impact history.
We’ll see about that.
30 Rock Review
October 30, 2009
Published by Ozark Unbound.
30 Rock’s comedic essence returns in time for Halloween | Cultural Critique
BANNER, CULTURAL CRITIQUE — BY BETHANY LARSON ON OCTOBER 30, 2009 AT 11:49 AM
By Bethany Larson
Ozark Unbound
Ozark Unbound
In this week’s “30 Rock,” the show finally leaves the heavy handed political messages behind and returns to the quick-witted, intelligent dialogue we learned to expect from the show.
In “Stone Mountain,” the third episode of the new season, we learn that gays throw the best Halloween parties, the myth that celebrities always die in threes isn’t a myth, and that Southern folks aren’t as wholesome as they are purported to be.
The majority of the episode is dedicated to Liz and Jack’s continued search for a new TGS actor. Because Jack (Alec Baldwin) believes that TGS needs to make a larger effort to appeal to Middle America, he and Liz travel to Kenneth’s hometown of Stone Mountain, GA, when Kenneth tells them that a comedy club is located there. This is rational since Georgia is so obviously Middle America. (Did you get the sarcasm?)
This foray to the South allowed Fey and the rest of the writing team to slam fast-food joints and the congeniality of the South. And it was funny.
Fey’s Liz Lemon, a major junk food junkie, was delighted to find a Fatty Fat’s Sandwich Ranch and order their specialty burger, which includes the enigmatic “chuckle”–turns out that this ingredient is the portion of the pig between the tail and the anus, as explained by Kenneth. Despite her terrible dietary habits, Lemon’s Manhattan constitution cannot handle the greasy, chuckle burger.
With Liz indisposed, Jack visits the Stone Mountain Laugh Factory and discovers Rick Wayne (Jeff Dunham) with his hillbilly puppet. Jack immediately signs him, without Liz’s approval, and Liz learns of the decision via the local news anchor who matter-of-factly says “Some Catholic guy hired Rick Wayne to be on TGS with a black fella.”
Stereotypical and offensive? Yes.
Funny? Absolutely.
The side bar of Tracy Jordan’s (Tracy Morgan) fear of being struck down by “The Rule of Three” when two other celebrities suddenly die brings two cameos (Betty White and Jimmy Fallon) to the show, but little else.
Also, this particular week is Halloween (for those of you who haven’t noticed) and NBC dictated that their two-hour Thursday night comedy block be Halloween-centric. To fulfill this edict, TGS’ group of quirky male writers, Frank (Judah Friedlander, who will be at the U of A November 21st), Toofer (Keith Powell), and Lutz (John Lutz) decide that this year will be the year that they throw an epic Halloween party–the problem is, they don’t know how.
So, when they are informed by the hot secretary, Cerie (Katrina Bowden), that gay guys throw the best Halloween parties, the writers decide to be nice to the airhead TGS actress Jenna (Jane Krakowski) because the gays love her, and the desperate writers want to use her to get an invite to the gay Halloween bash.
What made this episode particularly funny was the debunking of the Romantic idea of the South– you know, the one where everyone below the Mason Dixon line is charming, classy, and wholesome?
Jack insists that this is true, and is shown the contrary via Rick Wayne and his puppet, who make terrible fun of Liz when she finally sees his act. (I think the line was “ferret-faced slut”) Jack, appalled at this reprehensible demeanor, screams, “You’re supposed to be nicer, but you’re just terrible. Just like the people in New York!” This revelation is supposed to be illuminating and earnest, but it just illustrates Liz’s point that, “Americans are the same everywhere.”
But, the greatest thing about this episode: the two very well-placed, subtle jokes that finally brought the essence of Emmy-winning “30 Rock” to this new season.
The first was a scene between Jenna and the writers that took place in the men’s restroom. In this brief scene, Jenna walks in and quickly observes, “They painted the ceiling in here.” Then there is a jump cut to the next scene, leaving the audience to ponder that gem of a line.
The second joke was a little less subtle, but perhaps more intelligent. Playing on both the ideas of the founding of Georgia and the immigration surge of the early 20th century through Ellis Island, the name Sexcriminalboat is applied to both Georgia and Manhattan on opposite ends of the episode’s run-time.
Stereotypical and offensive? Yes.
Funny? Absolutely.
"Dracula" Review
October 25, 2009
Published by The NewsHouse
Review: Upstate New York Ballet’s “Dracula”
October 25, 2009 – 1:51 pm
Upstate New York Ballet’s “Dracula” is a performance full of manic grace.
“Dracula” opens with Jonathan Harker (Marco Abdelnor) in a nightmare, surrounded by ghosts and demons. As Jonathan writhes in terror on the bed, the corps de ballet surrounds him, frantically working their arms and hands in and out above him. Occasionally, individual dancers break away from the corps to perform a solo of pirouettes and extensions, or the entire corps leaves Jonathan’s bed to cover the stage in chaotic movement.
Accompanied by Philip Feeney’s gothic score of pulsating bass lines, screaming strings, and bellowing organs, from the moment the curtain rises, the audience knows that this is not a typical ballet.
Bram Stoker’s Dracula, a dramatic tale of seduction, loss, and revenge, lends itself to the stage well. But, telling this story through only dance and movement must be a daunting challenge. Nevertheless, Upstate New York Ballet and choreographer Katrina Jade tackled “Dracula” eight years ago, when they first premiered this ballet. In the second revival since its 2001 debut, Upstate New York Ballet presented “Dracula” at The Landmark Theatre Saturday night.
Jade’s choreography juxtaposes long, classical lines and sharp, dramatic angles to satisfy both elements of classical ballet and gothic storytelling necessary for “Dracula.” These conflicting styles work well together, as the roles of those still human incorporate the more classical, and those playing the undead perform seductive, sharp choreography, evoking a sense of otherness.
The contrast of these styles are clearly seen in the choreography for Lucy Westenra (Marysa Dalton) and Mina Murray (Morgan McEwan), characters who are bitten and transformed by Dracula (Brandon Alexander). Before their encounters with the Count, both women dance with the long, fluid lines of a classical sensibility. After they are seduced and bitten, their movements become frantic, sharp, and much more sensual.
The cast of “Dracula,” with the exception of the lead performers and the Vampire Brides (Rebecca Buller, Kristen Goldrick, and Hayley Meier), is comprised of dance students and some non-dancing males playing important roles. The gaps between the technical skills on stage are apparent, as the professional leads share the stage with less seasoned dancers. However, several of the older dance students in the corps, particularly those en pointe, show promise as their technique is sound and they still have time to develop emotive acting skills.
The non-dancers, though lacking classical dance skills, were able to convey the story through their body movements and facial expressions, and were enjoyable to watch in their roles as Lucy’s unsuccessful suitors (Quincy Morris, played by Thomas Callaghan and Dr. John Seward, played by Jeff Garlow) and as Dr. Van Helsing (Larry Martin).
Luckily, the professional dancers made up for the lost momentum in the dance narrative. Dracula (Alexander) is intense and fierce in his movement, and his masculinity trumps the other male characters. Jonathan Harker (Abdelnor), a technically solid dancer, plays his role as a man under Dracula’s thrall well because he allows Dracula to be the more masculine dancer.
The Vampire Brides, my personal favorites, show off their capabilities as classical technicians through their flexibility and extension, but also perform the more contemporary sharp, sensual movement with manic grace. Much like the Vampire Brides, Lucy (Dalton) and Mina (McEwan) adeptly show their classical technique, their emotive capabilities, and perform the less classical choreography, proving to the audience that they are professional dancers because they can do it all, and do it well.
Upstate’s “Dracula” proved to be a fun night for dance, giving the audience both the beauty of ballet and the visually interesting non-classical choreography. The blending of these styles in Jade’s choreography not only told the story of “Dracula,” but showcased the range of movement a classically trained dancer is capable of performing.
"30 Rock" Review
October 23, 2009
Published by Ozarks Unbound.
“30 Rock” political humor not as smart as it thinks this season | Cultural Critique
BANNER, CULTURAL CRITIQUE — BY BETHANY LARSON ON OCTOBER 23, 2009 AT 12:45 AM
By Bethany Larson
Ozarks Unbound
Ozarks Unbound
“ 30 Rock,” NBC’s Emmy award winning comedy written by Tina Fey, has a reputation for derisively making fun of its network and (for now) parent company GE. Due to its well-placed pop culture references, intelligent satire, and the great delivery of the show’s cast, every episode of “30 Rock” is usually make-you-snort hilarious.
That is, until now.
The first two episodes of “30 Rock” are crammed with jokes that are more scatter shot than smart satire.
In the fourth season’s premiere episode, aptly titled “Season Four,” Fey makes it clear this season’s dialogue will be politically driven.
The episode’s major premise is that Kenneth (Jack McBrayer), the moralistic Page, goes head-to-head with the high-powered Jack Donaghy (Alec Baldwin) when Donaghy, under pressure to cut spending, nixes overtime for the NBC pages, but keeps his bonus that includes more than a few zeroes.
Kenneth organizes all members of the Page Program to strike until Donaghy concedes to Kenneth’s one demand–which, by the way, isn’t to reinstate overtime; it’s for Donaghy to sign a piece of paper declaring himself a liar.
The “jokes” in the first episode are supposed to make light of the current economic situation. We see Jack firing people so he can slim down the budget, while making sure that the budget for straws stays intact.
He also refers to the President as “Comrade Obama.” Although the latter did make me laugh, I can’t seem to find anything funny in firing people from their jobs, even in the realm of satire.
The second episode “Into the Crevasse” continues with the political jokes.
The staunchly Republican and capitalism-loving Donaghy tells Liz Lemon (Tina Fey) “Your President is a Kenyan and smokes cigarettes.” Later in the episode, Donaghy’s arch-nemesis Devon Banks (Will Arnett) returns to the show as a government official who weaseled his way into the Obama Administration by befriending the Obama daughters.
There are also many references to the failing American auto industry (Donaghy calls them the “buffoons from Detroit”) and ruminations on why taking a corporate bail-out is un-American.
Beyond the political humor, there are four other story arcs within this 30-minute episode. Pop culture references are made to Michael Jackson (Tracy Morgan declares that it is too soon to reference him), George Orwell’s paranoid novel 1984, FOX’s “American Idol,” the 1984 film Amadeus, and to the current vampire craze. (I assume that the repetition of the year 1984 isn’t a coincidence)
This episode was cramped. And, more than that, it felt clunky.
Fey seems to be channeling MTM Enterprise’s theory of “if you reference a lot of different things really quickly and somehow tie them in together, the show will be deemed sophisticated,” (à la Hill Street Blues and St. Elsewhere) [Editor’s Note: and Fox’s Family Guy].
She hasn’t quite mastered the finesse of such a technique.
We can only hope that Fey either masters it soon or returns to her old Emmy winning tricks.
Dracula: Not Your Typical Ballet
October 22, 2009
See this article published and illustrated with some awesome pictures (thanks to my friend Janna) at The NewsHouse.
At a time when vampires rule screens big and small, why not let them rule the stage as well?
On Saturday, Upstate New York Ballet will do just that, performing their adaptation of Bram Stoker’sDracula.
The story of Dracula, full of drama, suspense, and intrigue, lends itself well to dance. Its inherent tension is reminiscent of the plots in ballet classics Romeo & Juliet and Giselle. But this ballet looks far from classical, trading smooth, elegant lines for broken, dramatic angles. To bring new life to the old choreography, Upstate has brought choreographer Katrina Jade home.
A native of Central New York, Jade currently resides in Los Angeles and is the founder and artistic director of Faux Pas Dance Company. A self-proclaimed “vampire fanatic,” Jade choreographed Upstate’s original Draculaproduction in 2001 when Artistic Director Kathleen Rathburn approached her with the idea.
“I was all for it,” Jade said. “I felt I had been preparing my whole life to create this.”
For her, choreography hinges on the perfect music, which she found in Philip Feeney’s dramatic, gothic score.
“I listen to the music, close my eyes, and see the steps in my head,” Jade said “When I heard the score it started to come to life for me.”
Like Jade, dancer Marysa Dalton agrees that music is the key. Playing the flirtatious and sexy “Lucy Westenra,” Dalton allowed the music to prepare her for the role. A native of New Zealand, Dalton was a member of the Royal New Zealand Ballet’s corps de ballet and performed in their adaptation of Dracula.
“To date it was my favorite ballet,” Dalton said. “That production had blood and gore, and it was just a fun ballet to do,”
After moving to New York City a year ago, Dalton came to Upstate’s Dracula auditions in September and learned she had secured the role of Lucy only a week before beginning rehearsals in Syracuse. Because of the lack of preparation time, she relied on the music.
“It just gets you in the role,” Dalton said.
Aside from the score, Jade allowed the dancers to inspire the choreography.
“I take what I see them doing and create choreography from that so the movement is organic to their bodies,” she said.
She believes that if the dancers are comfortable with their choreography, they will focus more on their performance than getting the steps right, which is vital for this show — just ask Dracula.
“Dracula is one of those stories that everybody knows and everyone has their own idea of who the character is,” said Brandon Alexander, who plays the iconic role. “You just have to make it your own.”
To do this, Alexander, a company member of the Rochester City Ballet, watched film interpretations of vampires to prepare him for the role.
“I rented the movie Dracula and I’ve been watching Interview with the Vampire to study how those actors move and transform,” he said.
Overall, he believes that Dracula is a good fit for him.
“He’s a very easy character to dive into,” and hinting at a performance infused with more Lestat than Edward Cullen, Alexander added, “You definitely get the scary, angry side of him,”
For Jade, the measure of Dracula’s success will be if the audience can feel the emotion of the performance.
“I want the audience to be taken to a different place,” Jade said. “I want them to be involved in the drama.
“And I want them to get chills.”
Bethany Larson 