4B — Thursday, December 8, 2016
the b-side
The Michigan Daily — michigandaily.com
The adult prequel to the
famous story of “Peter Pan,”
the Tony-award-winning play
“Peter and the Starcatcher,”
will be performed tonight at the
Power Center. With more music,
more tech and more
collaborations,
the University of
Michigan’s Theatre
Department
is
prepared to take
the
audience
on
a
new
kind
of
journey.
The story beings
with
an
orphan
named Boy, soon to
be named “Peter.”
He and a few other
orphans
set
sail
on the ship titled
“The
Neverland.”
On this voyage, Boy
meets Molly, the daughter of
the Starcatcher Lord Aster. He
and Molly discover a mysterious
treasure chest which they soon
learn cannot fall into the lap of
evil pirate captain Black Stache.
“This story involves rich and
fabulous characters,” director
and School of Music, Theatre
&
Dance
professor
Gillian
Eaton said in an interview.
She said the original story of
Peter Pan was written among
other “outrageous stories of
adventures” that all involve
“children and danger.” With
300 individual props, a small
pit orchestra and an intricate
set, this has been one of the
most demanding performances
the theater department has put
on.
“We
are
the
Theater
department, not the Musical
Theater
department,”
Eaton
said. But as a play with musical
scores, it became “a wonderful
challenge for the actors.”
One of the stage managers,
LSA Senior Jacqueline Saldana,
added that cross departmental
collaboration
is
an
intense
accommodation they have had
to incorporate, especially among
lighting, props and costuming.
With new opportunities
for the actors
and
a
tech-
heavy
show,
Peter and the
Starcatcher can
be
considered
a “simple, old
fashioned story
with
modern
technology,”
assistant
student director
Marty McGuire,
an
SMTD
Sophomore,
said.
For
cast
members
the
experience of preparing for this
performance has been unique
for several reasons:
“This is different from any
other show I’ve done while at
Michigan. It’s an opportunity to
explore something new with my
classmates, and it means a lot to
be able to create this exciting
world with them.” said David
Newman, an SMTD junior who
plays Lord Leonard Aster
“The best part about Stache
is that he sometimes cares more
about proving to the audience
that he’s the ultimate villain
over the other characters on
stage, breaking the forth wall
like it’s his job,” said SMTD
junior Jeffrey Fox, who plays
Black Stache.
“Everyone
(the
cast)
is
always engaged in enhancing
the audiences experience of the
story we are telling,” said SMTD
senior Sten Eikrem, who plays
Robert Flacon Scott.
“Molly’s deep duality is what
makes her so enjoyable to play.
Her faith in humanity and
her youthful ignorance is still
very alive.” said SMTD senior
Kourntey Bell, who plays Molly
Aster.
“Playing Peter has been an
amazing
experience,”
said
SMTD junior Brooks Inciardi,
who plays the Boy/Peter. “I’ve
been thrown around, dropped
off mountains and flown. J.M
Barrie, the author of ‘Peter
and Wendy,’ said it best when
talking to a group of actors
before opening their play for
the first time: ‘All you need is to
adorn yourself with the spirit
of a child.’ That is what I do
every night and what I hope the
audience will leave with.”
In
our
interview,
Eaton,
McGuire and Saldana got to
the root of why this show puts
itself in its own category. They
discussed childhood adventure
–– that feeling of living life
on the dangerous side. Eaton
looked out to the set stage and
asked, “Remember how you
would dream of flying?”
And
I
did.
Smiling,
I
reminisced about the time I
asked my Mom for a Wendy
nightgown for my birthday, and
then another one for Christmas.
She would ask me why my room
was so clean, and I told her that
I wanted it to be spotless for
Peter Pan when he came to the
window.
The inner child in me lit
up as the actores more deeply
discussed
this
performance,
the concept of taking chances
and the reason why Peter and
the Starcatcher is performing
here on campus. It is made for
the audacious kid that is still
deep within all of us, itching to
experience one more journey
while we are still young.
Prequel to ‘Peter Pan’
flies into Power Center
ERIKA SHEVCHEK
Daily Arts Writer
Flashy high-tech play from SMTD to open this Thursday
Senior thesis ‘White Snake’ will slither
into Walgreen, your heart and your soul
Enduring love story sheds light on urban legends and emotions alike
A classic legend that renders a
story of love, courage and truth
will travel from ancient myths and
traditional oral storytelling to an
adaptation set for the stage at the
Power Center.
This weekend, School of Music,
Theatre & Dance Senior Gregory
Strasser directs Mary Zimmerman’s
“The White Snake”
as his senior thesis.
“The
White
Snake”
tells
the
story
of
a
serpent spirit who
transforms
into
human form as a
beautiful
woman
and travels to the
mortal world with
her friend Green
Snake. Eventually,
she falls in love and
the play embarks
on a journey of
romance, exploring our inherent
desire as humans to give and receive
love. White Snake, played by SMTD
junior Shenell McCrary must find
the strength to seek something she
has never before found — someone
who accepts her and loves her fully
for who she is.
“It is a timeless romance, because
the entire play is about being seen
for who you truly are,” Strasser said.
“The White Snake” originally
premiered
at
the
Oregon
Shakespeare Festival in 2012 and
later at the McCarter Theater in
Princeton. It is an adaptation of an
ancient Chinese legend, but has
been reimagined for the American
stage. As the story has evolved
over time and moved through
different places, the characters
have changed, but the fundamental
theme of the importance of love is
woven through every piece of this
tale.
“What the playwright has done
in this particular adaptation is
show that she wants to honor all
the different interpretations of
‘The White Snake,’” Strasser said.
“Throughout the play, the narrators
will pause the action and they’ll say
‘that’s one way the story could have
gone, but here’s another way the
story could go too.’ ”
The play’s visual landscape forms
through the characters’ creations,
rather than a complex design for the
set, costumes and props.
“We are trying to find as many
things to touch into the magic
of
theatricality,
without
having
to
rely on the magic of
technicality,” Strasser
said.
“Everything
we are trying to do
is generated by the
actors.”
How much the cast
has managed to create
is remarkable.
“Together,
the
ensemble has built
a boat, a cloud, a
labyrinth, a thousand-
hand goddess, two
gigantic snakes; choreographed a
battle between the elements; and
found a way to physicalize a forest
and a storm,” Strasser said.
He explained that these creations
have emerged because he has taken
a step back and has left the actors
with the opportunity to create, the
product of this freedom has been
incredibly rewarding for Strasser
and the cast. Beyond the visual
elements of this show, they grapple
with complex themes and questions
that Zimmerman’s script offers.
“There’s actually one really
magical line in the play that I think
sums up the author’s intent really
well, which is ‘all forking paths
lead to the same destination,’”
Strasser said. “You can make so
many different choices in your life
that no matter what, at the end of
the day you’re going to reach the
destination.”
Strasser’s decision to direct
this play for his thesis came from
traditions of his childhood, as
this Chinese legend was one of
his bedtime stories. When he
shared this with his mom, who
is an immigrant from China,
her response sparked Strasser’s
analysis of a central question in this
piece: who has the power to tell this
story?
“She said, ‘You know you have to
use Chinese people in it, because it’s
a Chinese story.’ I wasn’t totally in
agreement with that,” Strasser said.
“I understand if you’re going to tell
a story from a certain perspective,
especially if it has racial identity as
a major theme of it, then you better
cast it that way. But in this case,
racial identity isn’t the theme of
this show. The theme of the show is
love. And everybody can experience
love.”
Strasser’s inclusion of different
identities and voices has helped
him preserve the fundamental
truth of this play: that love
is available to all. This story
showcases its beauty in many
forms. The cast emphasizes that
everyone has the right to tell a
story and everyone has the right to
hear a story. This piece unites all
people through these differences.
“The reason I love this play is that
it demonstrates the universality
of human spirit, which is that we
want to be loved and we want to be
truthful about how we are loved,”
Strasser said. “You don’t need to be
Chinese to be that. You don’t need to
be anything to be that. That is just a
human thing.”
Overall
Strasser
said
his
directing experience was both
rewarding and exciting, including
experimentation
with
different
ideas and perspectives and an
honest look into some of the most
beautiful and painful aspects of the
journey to find love.
“There are so many people who
are so afraid of being seen as who
they truly are and I think it’s the
most courageous thing that you can
do to come out and say: ‘Love me
and take me as I am,’ ” Strasser said.
“And it’s even more courageous for
the person to respond and say: ‘I do
love you.’ ”
BAILEY KADIAN
Daily Arts Writer
“Peter and the
Starcatcher”
Dec. 8 @ 7:30 p.m.
Dec. 9 & 10 @ 8
p.m.
Dec. 11 @ 2 p.m.
$28/$22 General
12$ Student
Power Cent
Versatility and the jack of all trades
In our daily devotion to reach
greatness, we as a culture, have
come to realize we cannot be just
one thing. The world is no longer
satisfied
with
one-dimensional
beings
who
offer
mastery in just one
area out of the vast
dimensions composing
our world. There has to
be more to us than just
one feature. We have to
be good at our craft, but
also knowledgeable in
the areas surrounding
it and complementing
it — even in areas barely
related to what we
know.
The process of becoming well
rounded emerges in stages; you
start at one place and gradually
prepare to take on more, little
by little. It’s kind of like learning
a language; first you get the
grammar
down,
sentence
structure, then vocabulary. Then
you
move
towards
adopting
the
conversational
elements of language
and
start
learning
about
the
culture
surrounding
it.
However, one language
isn’t enough. Now that
you’ve gained fluency
in one, it’s time to
move onto the next. Be
well-versed in many
languages
so
that
you can display your
versatility.
You’re not just working towards
becoming the best writer. Or the
best singer. Or the best actor. Dancer.
Musician. Director. Producer. You’ve
got to be working towards acquiring
a wide range of skills.
Resumes have to offer bits and
pieces of what compose the whole.
If I want to be a great writer, I
have to learn how to become a
great editor, a great reader and
a great critic. The etymological
history of this term dates back to
1764, as “well-rounded” was to be
“symmetrically
proportioned.”
One aspect of us can’t weigh too
heavily on the other parts. It’ll
offset the balance. It’ll force us to
admit we can’t do A, B and C. Only
A. Yet, it seems that isn’t enough.
Lin-Manuel Miranda, a name
you’ve probably heard nonstop
lately, provides a beautiful example
for what a well-rounded person
really looks like. He is referred
to as an actor, rapper, composer,
playwright and writer. Miranda
does all of this and does it well,
offering the paradigm for a well-
rounded artist. Best known for
his lyrics and music for “Into
the Heights” and “Hamilton,”
Miranda’s
artistry
displays
dimension. While doing many
things, each aspect of his holds
immense value.
Sometimes in the process of
taking on too much, we wear
ourselves thin and the value of
each part starts to dwindle. In this
way, we become beings who do a
lot of things, but each at a subpar
level — not the best or even close to
the best.
We’ve become a people who
have to acquire more than one
skill to prove we can do the thing
we claim to know best, the best. In
this process, we learn it requires a
willingness for each of us to jump
into anything for the sake of gaining
deeper knowledge towards what
originally provoked our passion.
There is a distinction worth
making between what exists as a
choice and what we force ourselves
to do to become more dynamic.
Sometimes one path leads to
another and you may discover
that your interest in singing may
lead to an interest in playing an
instrument. Either way, there is
a choice whether to divert or not
from familiarity. The expectation
has already been set. Our culture is
just waiting for us to reach it.
As students, we see this type of
thinking play out in almost anything
— careers, jobs, internships — we
want to offer more than the person
next to us and it is vital towards
developing our craft.
Agent Leslie Barany writes in
a letter to aspiring artists: “Stop
aspiring and start doing. This will
keep you very busy but it can’t be
helped. In my opinion, this is how
you might, possibly, have a shot at
becoming a good artist.”
We have to be motivated to
know a lot about what surrounds
us in our artistry, the fields outside
of our specific studies and even the
people around us who are different
than ourselves.
To become a well-rounded
individual, we have to start doing.
Greatness is not purely expertise
in one area, but it is appreciation
and knowledge of everything
surrounding it. In this, you can
tap into a new level of richness and
beauty towards what you already
know and love — offering more to
your pursuit while understanding
all that surrounds it.
Fashion in the time of President-elect Donald Trump:
the politics of dress and identity in today’s day and age
The role of the fashion industry in our national political discourse
On Nov. 18, women’s clothing
designer Sophie Theallet released
an open letter on her Instagram
denouncing
Melania
Trump,
the future first lady. Theallat,
who designed many of first lady
Michelle
Obama’s
stunning
gowns
throughout
President
Barack Obama’s administration,
wrote that President-elect Trump
campaign’s values and actions did
not align with those of her brand.
In addition to Theallat’s letter
about Melania, attention to Ivanka
Trump’s
own
collection
has
increased. Some claim her brand,
which promotes strong women in
the workplace, is contradictory to
the words and actions of her father,
the President-elect. In response
to this, a California-originated
campaign
#GrabYourWallet
is
urging
customers
to
boycott
Trump
brands,
as
well
as
pressuring retailers to remove the
brands from their shelves. Over
200 million people have tweeted
with the hashtag, and Shoes.com
and Bellacor have both dropped
the Trump name from their
merchandise.
These
recent
happenings
represent
the
much
larger
sentiment of the fashion industry
throughout this past election.
Much of the fashion industry,
including Vogue Editor-in-Chief
Anna
Wintour
and
designer
Diane von Furstenberg, supported
Clinton and fought for her win.
With Donald Trump taking office
soon, fashion’s relationship with
politics just got that much more
interesting.
Upon
reading
about
these
new forms of protest, I began to
wonder about the relationship
fashion should hold to politics.
Theallat
herself
noted
that
involving her brand with the
recent election may not be a smart
move business-wise. However,
she also noted that it was a
family business and she wanted
to promote what she believed
was the right thing. But patrons
of fashion pushed back, arguing
that style and politics should not
intermingle and remain separate
in their individual worlds.
Why shouldn’t brands, and
designers,
take
a
stance
on
these issues? Furthermore, as
consumers, how do we continue
to connect style with candidates
with whom we don’t necessarily
agree? Does an opinion, popular or
unpopular, control our willingness
to buy from that brand?
Frankly, it is not uncommon
for brands to take a stance in
current
affairs,
and
fashion
almost always plays a role in
any overtly-public phenomena.
We cannot pretend that the two
worlds do not coexist, and that
the everyday brands we touch
and care about don’t influence
us immensely. First ladies have
often been under the scrutiny
of the public and media: Jackie
Kennedy, Hillary Clinton and
Michelle Obama have all drawn
attention as fashion symbols of
their times. Furthermore, people
relate certain styles to politics,
such as the pantsuit that has been
synonymous with Hillary Clinton.
ISOBEL FUTTER
Daily Arts Writer
“The White
Snake”
Dec. 9 @ 7 p.m. &
11 p.m.
Dec. 10 @ 7 p.m.
Walgreen Studio
One
Free
BAILEY
KADIAN
COMMUNITY CULTURE COLUMN
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