Arts & Entertainment

Coming soon: 'Fiddler on the Roof'

Shoreline continues a tradition of great musicals

Ericka Berg
A & E Editor

Fans of the classic musical, “Fiddler on the Roof” will have the opportunity to sing along to the show tunes “If I were a Rich Man,” “Miracles of Miracles” and “Sunrise Sunset” when the musical debuts this month in the SCC Campus Theater (600 Bldg). The show runs for two weekends in May (21-22 and 27-29); all shows begin at 7:30 p.m.

“Fiddle" tells the story of a Jewish family on the brink of change in turn-of-the-century Russia. Patriarch Tevye struggles to maintain his family traditions while confronted by the modern ideas of a new world, and the extreme anti-Semitism in Russia in 1905. When he is challenged by his daughter’s insistence on marrying a poor tailor rather than the middle-aged butcher that he’s arranged for her, Tevye must choose between her happiness or his old world traditions.

The story goes beyond Tevye’s family conflict to also address universal issues of assimilation, persecution and poverty. Whether or not theatre-goers are familiar with “Fiddler,” the timeless themes of family conflict and tradition should appeal to a broad range of audiences.

Written by playwright Joseph Stein (Zorba, The King of Hearts), “Fiddler” is the musical adaptation of a play created by Arnold Perl (1957) called “Tevye and his Daughters. The characters in both productions originated from the popular writings of Russian born author Sholom Aleichem.

“Fiddler” first premiered on Broadway on September 22, 1964. The show ran 3,242 performances when it debuted, and Stein won the Tony Award for best musical. A movie version of the musical (starring Zero Mostel) appeared on screens in 1971.

Susan Dolacky, Musical Director for SCC’s campus production, chose “Fiddler” because she felt that the story is still relevant in today’s world, and that its universal themes are still relatable. There were also a large number of returning students who had performed in the campus musical Cabaret and in the Opera Workshops. Fresh from their previous experiences, these enthusiastic students were ready to take on more.

Consisting of 35 cast members, “Fiddler” is a big stage production with a colorful and lively ensemble. “I’ve always loved the bigger shows; the hardest thing is working with a small stage but somehow we make it look big,” said Dolacky.

Dolacky started preparing for “Fiddler” last summer. Auditions took place at the end of winter quarter, and were open to both SCC students and the community. Three high school students and a woman from the community were also accepted into the production.

The cast and production crew are working hard in preparation for opening night on May 21. To help students get into their roles, SCC history professor Julie Hofmann-Kemp talked to the cast about Russian history circa 1905. She discussed what was going on politically and socially and how these things affected the lives of Jewish peasants.

During spring break SCC choir students traveling to Ireland for a workshop took their scripts and practiced on the plane. “The students are just getting into their roles, there’s an enthusiasm that really has grown;” said Dolacky. “Everyone is working so hard; you can just feel the energy.”

Shoreline students can see “Fiddler on the Roof” at the Campus Theatre for only $8.00 (with SCC student I.D). Don’t pass up a deal like this to see one of the great works of American theatre. In contrast, tickets for “Fiddler” are starting at a whopping $100 for the NYC Broadway production. With that said, go see SCC’s production of “Fiddler” before it’s gone.

Small town bares its teeth in 'Dogville'

Film Review

Ericka Berg
A & E Editor

Danish director Lars Von Trier’s latest film is a stark and emotionally brutal drama that offers very little comic relief. At almost three hours long, this film requires stamina. However, theatre-goers willing to brave its length will be treated to a compelling story that pits a small community against a beautiful outsider seeking refuge in the depression-era township of Dogville, U.S.A.

Written and directed by Trier (Breaking the Waves, Dancer in the Dark), “Dogville” is part of a planned trilogy of stories set in the United States. The entire film was shot theatrical-style on a sparsely decorated soundstage. The township is denoted by chalk outlines sketched onto the stage with a few props scattered about. The church, mulberry bushes and even the town dog are mapped out in chalk. Having no actual walls or doors, the actors pantomime their way around the stage. The treatment of a major film as a bare-bones theatre production is initially disconcerting. Trier explains that his minimalist setup helps to keep the audience focused on the characters rather than the surroundings.

“Dogville” starts off cheerfully enough. In the beginning, the town is portrayed as an idyllic little community peopled with amicable civilians who work hard and live simple lives. Their uncomplicated existence consists of going to town meetings at the local church, harvesting apples from the orchard and keeping up with the local gossip.

The mood in the town soon changes with the arrival of a mysterious stranger on the run from gangsters. While walking home one placid evening, Tom Edison Jr. (Paul Bettany) hears gunshots. Shortly after, he discovers Grace (Nicole Kidman) hiding out from her pursuers. Tom is supposedly the town’s creative genius (hence the name). He’s an impotent writer who immediately adopts Grace as a source of inspiration. The next day at the church meeting Tom encourages the reluctant townsfolk to help hide Grace. In exchange, she agrees to work for them. It seems like an ideal solution, and Grace’s natural charm and desire to please quickly win over the fearful locals. However, the cheerfulness ends when the police come knocking for Grace. Soon after, the townsfolk bear their teeth, and start making bigger demands in exchange for her protection.

“Dogville’s” storybook drama is broken down into ten chapters that unroll at an excruciatingly slow pace. The voice of John Hurt narrates throughout the film which only adds to the monotony. Just when you think it’s over, another chapter begins. The supporting cast, consisting of an impressive list of actors ranging from Lauren Bacall to James Caan, helps add color to the starkness.

Of special note is Nicole Kidman’s daring performance as Grace. The minimalism of “Dogville” is a departure from her usual blockbuster roles. In Trier’s film, Kidman is stripped down to the bare essentials. With drab clothing and little make-up, she successfully transforms herself into a modest working-class woman. Trier doesn’t put her on pedestal either. Instead, he portrays her as a flawed human who is undone by the belief that her goodness will change the citizens of Dogville.

Trier has been criticized for depicting his female protagonists as victimized martyrs. In the case of “Dogville,” it’s hard not to cringe at the sight of Kidman repeatedly abused at the hands of the townsfolk. At the same time, we wonder why she doesn’t get the hell out of there. Things veer toward the ridiculous when the town tries to prevent Grace from escaping by chaining her to a heavy fly wheel which she then drags around. However, Grace is no sacrificial victim. She has a deadly secret that the town will pay for.

For Trier, “Dogville” is not about victimization. It’s about how power is misused, and how good intentions can turn bad. “The idea behind Grace’s treatment at the hands of the townsfolk was that if you present yourself to others as a gift, then that is dangerous. The power that this gives people over the individual corrupts them,” stated Trier in a press release.

“Dogville” is a heavy handed film that spends too much time elaborating on its vision of morality. At the same time, the story teases and entices the viewer towards an unexpected ending that had the audience cheering and clapping. Trier (who admits to a fear of flying) has never set foot on American soil, but this didn’t stop him from making an engrossing story that transcends conventional filmmaking. To appreciate it, though, you’ll have to sit through all 177 minutes of it.

SCC Students get to show-off talent in campus art show

Ericka Berg
A & E Editor

Once a year, Shoreline art students get the opportunity to show off their work at the annual Student Art Show. This yearly event showcases a potpourri of paintings, drawings, photography, ceramics and sculpture.

The student show is a chance for budding artists to break-out of their studios. For many, this will be the first time that their work is displayed in a gallery. This is a proud moment for many aspiring artists and their instructors.

“The student exhibitions have been consistently excellent since I have been the Gallery Director. Shoreline students take a lot of pride in their work and it really comes through in their exhibits,” said SCC art instructor Natalie Niblack.

The Student Art Show will be held on campus from May 16-Aug 15 in the SCC Art Gallery located in the Administration Building (Bldg. 1000). A reception and awards presentation will take place on May 20 from 4:00-5:00 p.m.

A & E Briefs

Campus Events

Pop Recital Friday, May 14, 12:30 p.m. Music Building (Bldg. 500) Room 818
The Music Department presents a recital featuring pop vocal and instrumental students.

Seventh Annual SCC Student Art Show May 16-Aug 15 SCC Campus Gallery Administration Building (Bldg. 1000) Gallery Hours are Mon- Fri 8-5 p.m. Shoreline art students will showcase their latest work at the Shoreline Community College Art Gallery. Paintings, drawings, photography, ceramics and sculpture will be featured. A reception and awards presentation will be held on May 20, 4:00-5:00 p.m.

Fiddler on the Roof May 21-22 and May 27-29, 7:30 p.m. Campus Theater
Book by Joseph Stein Original Music and Lyrics by Jerry Bock and Sheldon Harnick The SCC Music Department presents the campus production of this masterpiece of American musical theater. Director: Greg Morales /Producer Musical/Director: Susan Dolacky Conductor: Teresa Metzger Howe Choreographers: Holly Eckert, Karn Junkinsmith

Off-Campus Events

29th Annual Seattle International Film Festival (SIFF). May 21-June 1 SIFF brings unique films from every corner of the globe to Northwest filmgoers. The festival includes gala premieres, new films from first-time and well-know directors, sneak previews and special archival programs. Audiences see many films months before they reach general distribution and many that will never be seen here again.
Tickets will be available to the public on May 9th. Lines are long so buy your tickets in advance. Contact www.seattlefilm.com for more information.

Live show overshadows Stellastarr album

Music Review

Coral Wanless
Ebbtide Correspondent

If you took a B-52’s cover band, exaggerated the vocals, and added a dash of watered-down punk-guitar riffs, you’d come out with Stellastarr* of New York.

The band’s self-titled debut release on RCA opens with the haunting “In the Walls.” Soft, fast guitar chords introduce the song followed by a low-key bass line and mellow drum beat; lead singer Shawn Christensen follows form with his gentle, airy vocals. The chorus is much more dramatic and driven, backed by bassist Amanda Tannen’s vocals. “In the Walls” makes the listener anticipate quite an amazing album. Unfortunately, this listener was let down.

The rest of the album sounds like what can best be described as a romp through a sunny rose garden; pleasant and bright at times but full of thorns. One of those thorns is Christensen. His voice is so exaggerated that many times throughout the album I found myself wanting to be watching the old “Love Shack” video. I’m not a fan of either the B-52’s or bands that sound just like other bands.

Another thorn in this sunny, rose-filled garden is the ever-present light and airy female background vocals. It works on the first song, I’ll give you that. After that it becomes an annoying redundancy. The harmonies are not creative and Tannen seems to only be able to sing a total of three notes. The album is no match for Stellastarr*’s live show.

After several minutes of weaving through the sardine-tight Crocodile Café on Saturday night, I finally managed to find a good standing spot. To my surprise, Stellastarr* kept my interest throughout the show. They opened their set with the album standout, “In the Walls.” The music is much more exciting live than on their CD.

The facial expressions of guitarist Michael Jurin were enough to keep me entertained. His mouth dropped wide open when he sang and his eyes bugged out of his head. Other times he looked as though he were in physical pain. I imagined he was giving birth to a small extraterrestrial via C-section.

Despite Jurin’s hilarity, the big sleeper hit was singer Christensen. He wailed into his microphone and frantically rocked himself along with his guitar from side-to-side without restraint. Most notably, however, he didn’t sound like he was trying too hard. In fact, I found his vocals to be rather inviting. I even caught myself grooving to a few songs.

If nothing else, Stellastarr* is catchy and upbeat. Their music is truly feel-good for those who want to feel good. In any event, Stellastarr* is worth the live show.

Stellastarr drummer talks about inspiration, their tour

Coral Wanless
Ebbtide Correspondent

On April 24th I had the opportunity to interview Arthur Kremer, drummer of the New York based band Stellastarr*. The band headlined a show that same night at downtown’s Crocodile Café with supporting acts The Killers and Evening. For the whole interview visit the Ebbtide online at http://www.shoreline.edu/ebbtide/archive/v39/15

CORAL WANLESS: How it this tour going for you guys so far?

ARTHUR KREMER: Great, it’s been very good. I don’t know if it’s because we’re headlining or what but we seem to be enjoying it a whole lot more. Our support is really awesome.

CW: How would you say your live show differs from your CD?

AK: It’s more intense. We don’t have an elaborate light show or pyrotechnics. That’s just not us. At this point we just want to give what we have; our heart on a plate.

CW: Your music is a total 80’s throwback. Musically speaking, do you have a lot of 80’s influences?

AK: It’s just the way it came about. We’re not going to sit around and say, “Oh, let’s toss this song; it doesn’t sound 80’s enough.” We just make music and whatever comes out, comes out… To me everything is an influence. It’s really more about when I hear an artist that does a great song; it’s the beauty of the song that’s really inspiring. It’s not like I want to steal that drum part. It’s like, they did something creative and that’s inspiring to me.

CW: What music are you listening to right now?

AK: There’s a band out of New York called Body of Sound. It’s music for the future, really. It hasn’t been understood yet. And actually, I think our support is really awesome. I’ve been listening to them the whole tour.

AK: When we first started four years ago, yeah, it was really hard. Nobody would book us back then. It was very hard to A: gain an audience and B: to have that audience come back. We busted our ass trying to win them over. There was a point where you couldn’t walk a street in New York or get into a cab without seeing a Stellastarr* sticker. So yeah, we really worked hard for it. We’d also get hot girls to do our mailing list so people would sign-up.

CW: Do you have anything else you want to say?

AK: Um yeah, people should always wash their fruits or vegetables.