Photo Courtesy 182 Productions – “To Fool The Eye,” an adaption of Jean Anouilh’s “Leocadia” was performed in Drexel’s Mandell Theater beginning Feb. 14. Despite great visuals, the play lacked real depth.

“To Fool The Eye,” 1812 Productions’ adaptation of Jean Anouilh’s “Leocadia” by Jeffrey Hatcher, does admittedly feature visuals worthy of the play’s title. A rotating backdrop, clever lighting, quality costume design and a variety of visual gags are all executed very well and contributed a great deal to the production value of the show. However, the plot of Hatcher’s play also seems to be intent on deceiving the audience — the show makes grand gestures, commenting on the nature of love, memory and illusion — but feels largely unsubstantial.

After watching the characters meander about without accomplishing much for a good deal of the first act, the audience finally learns that the young Amanda, mysteriously summoned to the old, eccentric duchess’s house, was called to imitate the deceased lover of Prince Albert. The prince attempts to relive his brief tenure with the woman by repeatedly going to the same places and performing the same activities he once did with her. The whole story feels convoluted and poorly paced — the characters’ justifications for their actions are rarely explained to satisfaction, and after the dragging beginning, the character development in the latter half of the play feels extremely rushed. I was deeply unsatisfied with how the play progressed and felt like the saccharine ending was not well justified.

Additionally, “To Fool The Eye” never explores any of its themes to fruition. Is it a commentary on the folly of an aristocratic lifestyle? A reflection on the purpose of memories? A lighthearted romantic comedy? “To Fool The Eye” exists somewhere in the middle, never exploring these ideas fully. This makes for a lot of loose ends and unsatisfactory resolutions. Even for a play as absurd as “To Fool The Eye” is meant to be, much of the development doesn’t feel real. On top of that, much of the humor fell flat for me. It felt contrived much of the time, absurd for the sake of absurdity.

Despite all this, “To Fool The Eye” was not without its charms. I found the acting generally good, though a bit over the top (but I suppose that’s the point). The play did elicit a few chuckles from me, and I did like the previously mentioned set design. The performance was well executed, but I would simply suggest picking a better production next time. The show will be running through March 3 in Mandell Theater, though I can’t fully recommend attending.

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Where can you find a necklace worth $31 million? Only at the Grammy Awards! This year’s show was not one to forget easily, and it had countless moments that everyone was gossiping about the next day. The night kicked off on the red carpet, where celebrities discussed which designers they were wearing and had their elaborate dresses showcased on the 360-degree camera. Carrie Underwood happened to be the lucky lady who got the privilege of wearing the multimillion-dollar necklace.

Photo Courtesy: The Recording Academy –  Justin Timberlake performed “Suit & Tie” with Jay-Z at the 55th Annual Grammy Awards. He also debuted “Pusher Love Girl,” which will be featured on his upcoming album.

The first act of the night was Taylor Swift singing her smash hit “We Are Never Ever Getting Back Together.” The performance included a man strapped to a spinning wheel and her attempt at a British accent, which we all know was a little shot at her most recent ex-boyfriend, Harry Styles of One Direction.

Later in the evening, Justin Timberlake made his return to the music scene after seven years away and performed his new song “Suit & Tie” with Jay-Z and an entire band behind him dancing and jamming along. Another notable performer was Carrie Underwood, who performed “Blown Away” and wore a dress that looked straight out of the future, with lights, flowers and leaves appearing and moving along it throughout the song.

There were also several amazing duets throughout the night. British singer and beautiful lyricist Ed Sheeran sang “A Team” with his idol, Elton John. It was just Sheeran on his guitar and John on his piano, but it was truly a magical moment onstage. Maroon 5 and Alicia Keys had some of the best vocals of the night, combining their songs “Daylight” and “Girl on Fire” into one perfect collaboration.

Near the end of the show, a tribute was made to Bob Marley by Bruno Mars, Sting, Rihanna, and Marley’s two sons who look identical to him, dreadlocks and all. This seemed to be a crowd favorite. Swift, among many other artists, could be seen in the audience singing and clapping along.

Many awards were handed out, and while some were expected, others were real shockers. Gotye won Record of the Year and Best Pop Duo/Group Performance with Kimbra for “Somebody That I Used to Know,” which we should all know by heart after hearing it endless times over the last year. Mumford & Sons took away the coveted Album of the Year for “Babel,” while fun. scored Song of the Year for “We Are Young,” as well as Best New Artist. Even after having a baby, Adele is still going strong, winning Best Pop Solo Performance for “Set Fire to the Rain.” This was one of the bigger surprises of the night because even Adele didn’t expect to receive this award. Kelly Clarkson won Best Pop Vocal Album for “Stronger,” which was well deserved with her talented voice. Keeping up the good reputation of “American Idol” winners, Underwood won Best Country Solo Performance and Best Country Song for “Blown Away.” The Black Keys took over the rock world with Best Rock Performance and Best Rock Song for “Lonely Boy” and Best Rock Album for “El Camino,” while newcomer Frank Ocean won Best Urban Contemporary Album for “Channel Orange.”

The night ended with some very deserving artists going home empty-handed. However, that is the beauty of the Grammy Awards; there’s always next year.

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The Pennsylvania Ballet, despite its short 50-year history, is currently ranked as one of the best American ballet companies. One of the staple characteristics of this company is its fascination with George Balanchine. This season, a lot of productions the company did were Balanchine adaptations, such as “The Nutcracker” and “A Midsummer Night’s Dream.” Not many people know that the founder of Pennsylvania Ballet, Barbara Weisberger, was actually a student of Balanchine’s. The company’s favorite was featured once again last week, accompanied by choreographies by Christopher Wheeldon and Twyla Tharp. The three-piece performance ran Feb. 7-10 at the company’s own Merriam Theater.

Photo Courtesy: The Pennsylvania Ballet” –  The Pennsylvania Ballet’s recent performance at the Merriam Theater featured collaborative work from choreographers George Balanchine, Christopher Wheeldon and Twyla Tharp. Pieces include Balanchine’s “Square Dance,” Wheeldon’s “After the Rain” and Tharp’s “Push Comes To Shove.”

The work of these three dynamic choreographers gives an idea about the contemporary ballet with Balanchine’s “Square Dance,” Wheeldon’s “After the Rain” and Tharp’s “Push Comes To Shove.” The performance represented the most important trends in contemporary choreography. “Square Dance,” originally written in 1957 and revived in 1976, is a collocation of classical ballet and American folk dance. Yet, because of its use of point shoes and maintaining the classical body frame, it is still considered to be ballet. Balanchine redefined ballet by juxtaposing classical sharpness of movements and rigid metrics of sequences with folk traditions of square dancing. In that regard, his ballet is very mathematical and clear, especially with the solo roles performed by the highly compatible Brook Moore and Jong Suk Park.

Wheeldon’s “After the Rain,” on the other hand, is a much newer piece. It was written for the New York City Ballet and premiered in 2005. It consists of two parts: one, set to Arvo Part’s “Tabula Rasa,” is a very focused yet serene composition performed by three couples. The second part, often performed separately, features Lauren Fadeley and James Ihde. In this lyrical pas-de-deux, Wheeldon and Part contained a lot of wistfulness and tenderness, creating a very emotional, even poignant piece. In the next composition from 1992, “Push Comes To Shove,” choreographer Twyla Tharp brings a sudden turnaround of the emotional deck. The piece starts with a ragtime-style dance featuring the brilliant Alexander Peters and his two female sidekicks: Evelyn Kocak and Brooke Moore. After that, the ballet proceeds to a more traditional composition. For that reason, “Push Comes To Shove” is considered to be the most famous example of a “crossover” ballet, or one that merges classical and modern dance. An interesting feature of Tharp’s piece is the omnipresence of hats, which testifies even more to Tharp’s crossover tendencies, which introduces the vaudevillian tradition that the piece carries on.

Interestingly, Balanchine, Wheeldon and Tharp are often placed side by side in performances like this. Together, they represent the most prominent movements of the contemporary ballet.

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The Drexel University Dance Program kicked off its winter concert, “Surrounding Us,” Jan. 24 at the Mandell Theater, and it is safe to say that it was fierce, weird and heartwarming. The concert had 11 choreographed numbers. Eight of them were created by students, two were by faculty, and one was by local professional Leah Stein, the director of Leah Stein Dance Co.

Poto Credit Ken Chaney  - The Drexel University Dance Program’s winter concert “Surrounding Us” started  Thursday, Jan. 24 in Mandell Theater. The deep yet unusual performance featured pieces choreographed by students, faculty and a local professional.

The concert started with the piece “Dear Bailey,” choreographed by senior dance major Patricia Betz. The piece began with silence, save for the faint sound of galloping horses. The dancers lifted each other up, pranced around the stage and danced phenomenally. These first few moments really highlighted the flexibility, fluidity and strength of the female form. Suddenly streamers fell from the ceiling as “You” by Gold Panda started playing. Immediately the performers synced up with a joyful playfulness as more streamers shot out of the ceiling and the music amplified.

The second piece, “Proficiscitur,” which is Latin for “sets,” was choreographed by junior biology and dance major Erica Henn. The first word that comes to mind with this piece is anemone. For the majority of the piece, the dancers were on their knees sliding around in groups. What was mesmerizing about the pieces was that all the dancers waved and slid around in sync, even when they couldn’t see each other. One would think that dancing was impossible without moving around on legs, but the piece’s soloist, senior Karlee Markarian, proved otherwise. With only her arms, Markarian performed moves similar to ballerinas while the sets of dancers in the background followed her lead. The choreography definitely leads the audience to believe that Henn is a biology major. The synchronization can easily be compared to the beauty that exists in biological systems. When one dancer made a motion, the rest followed like rows of dominoes falling on each other to make a grand reaction.

The following piece, “Playing with Shadows,” choreographed by junior Victoria Vardilli, was all about the legs. It was nice juxtaposition on the part of the director to have this piece follow “Proficiscitur,” which hardly used any leg movement. Dancers ran around the stage spinning and slowing to make kicking movements while others exited the stage. As soon as one dancer left the stage, another ran in from the opposite side, jumping and kicking simultaneously with a partner. The combinations mixed perfectly with the tunes of Death Cab for Cutie and The Killers.

The last of the fierce pieces was “When Sounds Collide,” choreographed by junior dance major Catherine Natter. The piece began with three motionless women onstage. One danced to the description of her typical day from beginning to end with the sounds of urban life in the background. The other two dancers followed the same pattern as more dancers entered the stage. The piece did not have any kind of music but instead featured everyday background noises. Overall the piece was a great example of the universality we all have in our lives. Every person in any heavily trafficked area experiences people coming at them from every direction. It’s a systematic chaos that we have grown accustomed to as residents of a large city. The piece ends with dancers making a gasping pattern that dies out as they exit the stage one by one.

One of the strangest pieces of the concert was “Overtone,” choreographed by Stein. The piece involved dancers doing trust falls around the stage with no music. Everyone wore green and surrounded themselves with each other, dancing synchronously. So many dancers moving on different parts of the stage made everything seem so convoluted that I just had no idea what was happening. All I could do was watch with an arched eyebrow while trying to make sense of the performance.

The heartwarming performances were “Unseen,” choreographed by senior dance major and recently crowned Miss Philadelphia Lauren Bilski, and “What’s Inside,” choreographed by senior dance major Heather Otten.

Bilski’s piece was a one-woman performance that narrated the plight of an unseen woman in a big city. Bilski’s movements beautifully captured the pain in solitude and reassured everyone that everything will be fine in the end.

Otten’s piece started with senior dance major Erica Pike warning the audience of the evils of mortals. It seems like it would be sad, but the white-blue feathery dresses the dancers wore proved otherwise. The dancers flowed around the stage as one dancer spoke and danced her fears, only to be swept up in the comfort of her comrades. Overall, the number was extremely positive with its message of perseverance.

Kudos to the Drexel Dance Ensemble for putting together a spectacular concert. The title of the concert was evident in the performances, as dancers truly did surround each other in every manner

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Drexel’s own freshman dance ensemble marked the weekend of Jan. 26 with the annual FreshDance Winter Concert at Mandell Theater. This time the freshmen dancers performed “New Episode,” a performance consisting of five pieces, diverse in their styles and atmospheres.

Photo Courtesy Arin Segal –  Drexel’s freshman dance ensemble FreshDance kicked off their winter concert “New Episode” Saturday, Jan. 26 .The performance featured five pieces, ranging from classical to contemporary dance styles.

FreshDance is an ensemble open solely to freshmen in order to provide performance opportunities and deeper understanding of dance to everybody, regardless of their major.

This winter’s “New Episode” was a blend of contemporary, classical and modern dance. The five different pieces did not seem to be interconnected, and switching between different styles and tempos as the performance proceeded was supposed to bring a change of mood. As the ensemble’s mission states, it is an expression of the belief that “all genres of dance are valid avenues for development.”

One can go about developing his or her understanding of dance in FreshDance in different ways. Firstly, each of the pieces in “New Episode” tells a story. There is “The Heart of The Matter” by Drexel dance program director Miriam Giguere, which is about the importance of people who accompany us throughout life. There is also “I Awoke to Find Myself Standing in the Rain” by Meredith Rainey, which is about suddenly realizing how our lives have led us to where we are standing now. Freshman mechanical engineering major and dancer Charles Pildis, when asked what the piece signifies to him, said:

“We’ve all had at least one point in our lives when we get so caught up in moving forward that eventually the present hits us like a brick wall, which can be scary.”

Finally, there is “Somewhere I Have Never Traveled” by Mina Estrada, a dance based on a romantic poem by E.E. Cummings, where the poet compares his feelings for a woman to rose petals. “Pas de Quatre” by Jules Perrot is a classical composition written in the late 19th century for the most prominent ballerinas of the Romanic Age and is one of the works that break the mood of the entire performance. Clearly, the intertextuality of dance and poetry, as well as using dance as a means of storytelling and allusion, encourages students to experience dance as a form of art.

Secondly, the ensemble provides students with opportunities to learn how to choreograph. All the works mentioned above were choreographed or reconstructed by Drexel’s faculty members. The last one, titled “CHAIRish,” was a chance for students to try their own choreographic skills. In the end, senior dance majors Claire DeLiso and Kathryn Porkka came up with a goofy, feel-good dance to the “Crazy Frog” tune with a sequence of movements imitating a person sitting on a chair, which is ultimately about cherishing life.

In a natural manner, some performances were better than others: Drexel is not a ballet school, and thus it was the classical dance part that turned out to be the weakest. Yet a point worth remembering is that even a technical college like Drexel has a community of artists, and it’s always great to see opportunities for them to embrace their artistic interests.

“Being a mechanical engineering major, I feel privileged that Drexel still allows me to perform as a dancer,” Pildis said.

And it is truly fantastic.

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When most people hear the word “opera,” they think “opera house.” Yet that mistake shouldn’t be made in Philadelphia, home of the Academy of Vocal Arts, the only tuition-free vocal school in the United States that regularly provides its students with opportunities to perform before a wider public. This inconspicuous little building located just off Rittenhouse Square opens up its gates to reveal an even more unobtrusive yet pleasantly intimate room that you never would have thought was the opera hall. No props, no curtain, no orchestra and no fancy costumes (at this point you can forget about the smoke machine altogether). Instead, you get just opera.

Photo Courtesy Local Arts Live  - Philadelphia’s Academy of Vocal Arts, the only tuition-free vocal school in the U.S. ran ”Eugene Onegin” Jan. 15-22. The opera is adapted from Alexander Pushkin’s novel of the same title.

“Eugene Onegin” ran at the Academy Jan. 15-22, and it was a great opportunity to get acquainted with this Russian classic. Adapted from Alexander Pushkin’s novel in verse by Peter Ilyich Tchaikovsky and Konstantin Shilovsky, the opera is a window into Russia’s divided society in the beginning of the 19th century. It is a story of a young girl from the country, Tatyana (Chloe Moore), tormented by her love for Onegin (Stephen Barchi), an older dandy from St. Petersburg, and his overt rejection after she’s confessed her feelings to him. Remarkably, it isn’t until Tatyana marries Prince Gremin and starts appearing in high society that Onegin notices her and weeps over turning her down years before.

Maybe the realities of Russia in the 1820s seem hard to relate to for 21st-century college students in cosmopolitan Philadelphia. However, as Tatyana sings in lyric soprano, “I’m here alone. No one understands me, my mind is weak, and I have to die in silence,” doesn’t it remind us young women of the relatively recent drama and turmoil of high school? It’s comforting to see how few things have changed, and quite honestly, it can be hilarious, too.

The Academy performing “Onegin” is the quintessence of pure opera without the “side effects.” Instead of an orchestra, there is a one-man piano accompaniment by Ghenady Meirson. Instead of props there are simple wooden chairs, and only the change of lighting indicates when the curtain is supposed to be up or down.

However, despite this crudeness of packaging and awkward translation in the supertitles, the Academy’s reputation for equipping students who wish to become opera soloists is being lived up to year in and year out. This time is no different. All of the singers’ heart-moving interpretations and technical proficiency make us forget that we are in an operatic school and not a professional company. All of the vocalists, especially Margaret Mezzacappa as Filippyevna and Patrick Guetti as Prince Gremin, made the small-scale “opera house” tremble with applause.

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Drexel’s Concert Band held its fall performance Dec. 2 in Mandell Theater. The large and dynamic group, consisting of more than 70 students from almost every major, gave a performance just as varied as the band’s membership. Led by Wesley Broadnax, the ensemble covered a vast array of musical periods spanning over five centuries, including composers such as Giovanni Gabrieli, Richard Wagner and Dmitri Kabalevsky.

The Drexel Concert Band, led by Dr. Broadnax, played music spanning five centuries during their fall performance in Mandell Theater Dec. 2. The enensemble of over 70 students from several majors honored Dr. Moss, the band’s deceased conductor, during the show.

One of the most notable pieces was Wagner’s “Trauersinfonie,” a funeral march written to honor one of Wagner’s predecessors, Carl Maria von Weber. The piece, solemn and smooth, is a stark contrast from Wagner’s most famous pieces — large, booming operas that burst with power and grandeur. The concert band’s rendition was beautifully sobering, yet the distinct tonal quality of a brass and woodwind band upheld the traditional Wagnerian strength in a subtle way.

Early into the concert, Broadnax addressed the audience, bringing to their attention that the concert would serve as a tribute to the late Myron Moss, a pillar of Drexel’s music program. Moss died suddenly July 2 from a heart attack. Broadnax, Moss’ personal friend and successor as conductor of the concert band, spoke fondly of the educator, saying, “These students up here were his life.”

Bassoonist and senior physics major Mary Chessey delivered a heartfelt speech after the intermission. Having pooled together thoughts and memories of Moss from his students, Chessey composed an overarching yet detailed account of some of the ways Moss touched his students’ lives.

“The overwhelming theme of the input from the students in the concert band about Dr. Moss was that he had an amazing capacity to care for us and mentor us on an individual level and surprise us with the details he remembered about our personal lives term after term,” Chessey said. “His passion for music and music education fueled his drive for succeeding in other areas and encouraging students to do the same. He was a compelling leader who lived the lessons he taught and inspired as many students as he could reach along the way.”

The band then played excerpts from the “Finale from Symphony No. 3” by Gustav Mahler, one of Moss’ favorite pieces, according to Broadnax. The performance of the highly spiritual and touching piece was pristine yet emotional. With its delicate and resonating melody, the tune played with the sort of sweetness that evokes memories, making it easy to see why Moss loved the piece so much.

The band finished with Ron Nelson’s “Rocky Point Holiday,” an upbeat piece from the late 1960s. Ending with the light piece was a solid choice, which supported Broadnax’s intention of using the concert not just as a tribute to Moss but as a celebration of his life and work. It is obvious that the concert band has retained the talent and dedication that Moss encouraged and has continued to grow and thrive under Broadnax’s care and instruction. Undoubtedly, Moss would have been proud.

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The “Spectacular” was conducted by Macelaru, who was just promoted to associate conductor in November. Macelaru conducts nonsubscription concerts and covers music director Yannick Nezet-Seguin. Alston is a well-known storyteller, narrator, instrumentalist and singer who has been featured in many acclaimed venues throughout the world. The Pennsylvania Ballet II dancers also made an appearance. The dancers of the Pennsylvania Ballet II are preprofessional dancers who are instructed daily by William DeGregory. They rehearse and dance with the Pennsylvania Ballet main company for larger shows.

Macelaru and Alston brought a new perspective to the classic Christmas tales we grew up listening to. Alston narrates the tales while Macelaru brings the magic in the stories to life by providing a beautiful soundtrack.

No Christmas spectacular is complete without incorporating Peter Tchaikovsky’s “The Nutcracker.” Although Alston’s narrating and the orchestra’s music are world class, no re-enactment of “The Nutcracker” would be complete without ballerinas in toy costumes prancing around the stage. The Pennsylvania Ballet II dancers smoothly flowed with the music and truly brought the vision of Tchaikovsky to life. The Arabian princess was a spectacular sight who made splits appear to be effortless and comfortable.

After spending some time in Russia with “The Nutcracker,” the conductor took us to France with “Farandole.” The Christmas song “Farandole” was fast paced and pumped with Christmas spirit. It’s definitely a song to play when the family gets a bit too merry with eggnog.

After spending some time in France, Macelaru took the audience to his home country of Romania with Johann Strauss’ “Eljen a Magyar!” In the middle of the piece, a roar went through the audience as Santa Claus came by. Santa took the stage, gave Macelaru a teddy bear and took over the role as conductor.

Alston then brought the audience home with “’Twas the Night Before Christmas” with Santa strolling about in the audience. After feeling the merriment, the orchestra and Alston did a sing along to “Deck the Halls,” “Jingle Bells,” “The Holly and the Ivy,” “Frosty the Snowman,” “Up on the Housetop,” “Rudolph the Red-Nosed Reindeer,” “Joy to the World” and “We Wish You a Merry Christmas.”

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The show opened with a performance by indie rock outfit Ra Ra Riot, which proved to be an excellent, if not entirely musically congruent, opening act. Combining a superb rhythm section (particular kudos to bassist Mathieu Santos, who nearly stole the show for me with his inventive and technically adept playing), charming strings, a charismatic frontman and a stalwart guitar player keeping things together, the band brought a significant amount of energy to its performance. The crowd responded very positively to the opening act; the volume of applause they received seemed to be too great for that of the warm-up band. However, the set was hindered to some degree by the poor sound of the Electric Factory — oftentimes I couldn’t even be sure that the guitar was plugged in. Regardless, Ra Ra Riot exceeded any expectations as an opening act, possibly even upstaging the main act.

However, once Ra Ra Riot concluded its set, the venue became extremely crowded. Between the dubstep blaring as Passion Pit’s gear was set up; the almost exclusively teenage crowd; and the combined smell of alcohol, perfume and sweat, the atmosphere began to resemble that of a fraternity party. After some time, the lights went down, and the crowd absolutely roared as Angelakos and company took the stage. While the frontman wandered about the stage, interacted with the audience and showed off his impressive range, his backing band formed a semicircle behind him, playing their parts with little vigor or emotion. Indeed, while most of the band members have been together since 2008, it certainly did not come across in their performance. While the instrumentalists played their parts to perfection, they barely seemed to acknowledge each other — they largely stood in place and provided music for Angelakos to sing over. Watching Passion Pit after Ra Ra Riot was a study in contrasts. Ra Ra Riot seemed like a bunch of friends having a great deal of fun onstage together, trading off instruments and joking around. Passion Pit seemed to be all business, with the possible exception of the lead singer, who genuinely did seem very happy to be there.

Despite this, the crowd didn’t seem to really notice or care about the band’s dynamic or figuring out how the musicians onstage created the sounds that emanated from the speakers (a problem I have with live electronic music that I alluded to earlier). Instead, the audience seemed to treat the occasion as simply a big party, responding very well to the massive choruses, the very impressive light show and the endless amount of hooks and booming basslines that Passion Pit provided for them. Despite my curmudgeonly attitude toward their performance, they did seem to provide those in attendance very effectively with what they came to see. Energy abounded in the Electric Factory throughout their performance, proving Passion Pit to be talented entertainers — at least for those who go to Passion Pit concerts.

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[/media-credit] Wyatt Cenac of “The Daily Show” performed a stand-up routine at the main auditorium for the 13th Annual CAB Comedy Show, one of many laugh-filled events during Comedy Week.

Wyatt Cenac of “The Daily Show with Jon Stewart,” who announced Nov. 26 that he will leave the show in December, came to Drexel Nov. 17 to headline the 13th annual Drexel comedy show. The show, presented by the Campus Activities Board, showcased Cenac as well as fellow Daily Show writer Travon Free and Drexel student Josh DeCristo. For almost two hours, the trio of comics entertained the jam-packed Main Auditorium with their hilarious stand-up routines.

The night started out with Drexel student Josh DeCristo warming up the crowd. DeCristo is a senior computer science major who won the CAB comedy contest to get the opening slot in the show. He poked fun at actor Nicholas Cage, Facebook and his weather professor. DeCristo worked past his nervousness after his first couple jokes hit home.

After energizing the crowd, Free took the stage. Free had gained some Internet fame by writing and starring in the YouTube series “The Gentleman’s Rants,” and he recently landed a job as a writer on “The Daily Show.” Free covered his days growing up in the infamous Compton neighborhood and his recent move to New York City. Interacting with the crowd at one point, Free joked around with a couple in the front row over the course of his routine. Closing with a very funny story of how he got banned from a Starbucks once, Free handed over the microphone to Cenac.

The capacity crowd erupted as Cenac took the stage and began his headlining set. He opened by thanking the basketball team for defeating the University of Pennsylvania earlier in the day so that he didn’t have to do the job of cheering everybody up. Over the course of more than an hour, Cenac covered a wide range of topics with an air of knowing exactly what he was doing. He compared children’s toy stores to strip clubs and reflected upon his irrational fear of khaki pants. One well of laughs that Cenac kept dipping into was a list of his own silly observations that he saved on his phone and would tweet if he had a Twitter account.

In a cool, calm and collected manner, Cenac stood behind the microphone stand as joke after joke hit home. Anecdotes about being misunderstood as a male nanny in his new apartment building and comparisons of the city of Dallas to Khloe Kardashian even brought some members of the audience to tears. Cenac had the audience eating out of the palm of his hand by the end of his set, and when he finally walked off the stage, the crowd was left applauding and shouting out for more.

The night ended with DeCristo coming back out to thank Cenac and Free for coming out, leading to another round of applause.

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[/media-credit] Kevin Lyman, the creator of the Vans Warped Tour, spoke at Nesbitt Hall Nov. 15 about the concert tour and producing world. The event included a question and answer session with Lyman and a screening of Warped Tour documentary “No Room for Rockstars.”

The event began unexpectedly when the first students to arrive were surprised to see Lyman himself sitting on stage while they snatched up front-row seats. In a very approachable manner, Lyman opened up the floor to questions before the night formally began.

Questions were asked regarding Lyman’s favorite bands, advice on how to advertise garage band music, and  his thoughts on the current stage of the music industry. He seemed very easygoing, and after a brief introduction by James Hamalian and Levine, the event commenced.

Lyman thanked everyone for coming and began by saying that he had a great time talking to some classes at Drexel that afternoon. Unfortunately, the night got a little scrambled with technical difficulties setting up the movie, resulting in an hourlong delay. Lyman tried his best to fill the gap but had to change things around considerably because his talk somewhat depended on the audience viewing the documentary. Despite the unexpected issues, Lyman was very determined to press on.

Lyman started off with a little of his background and how he got started in the music business. Growing up in California, Lyman was surrounded by music. After graduating from the California State Polytechnic University, Pomona, he got into the music business by working as a promoter and stage manager at clubs around the area.

Once he had built up a reputation, he got a shot at managing the Lollapalooza festival in Chicago. After getting one taste of the big concert scene, Lyman was determined to try and set up a tour of his own. He set up the Warped Tour, a name he borrowed from a now-defunct magazine for mostly punk rock bands. Surprisingly, the concert struggled in its first year.

But after getting the sponsorship of Vans, the Tour steadily grew to become one of the biggest in the country. As the tour grew and expanded, so did the number of genres that the tour showcased. Lyman talked about how he gave some prominent artists their first shot on the Warped Tour, including Kid Rock, Eminem and even Katy Perry. The Warped Tour is the longest-running tour in the country and has been steady since 1995.

Lyman said that he would wait until after the movie to give his closing remarks, and once “No Room for Rockstars” got up and running, the audience finally got to appreciate the inner workings of the Warped Tour. The documentary highlighted a few bands on the tour from three years ago. Bands included Never Shout Never, Mike Posner, Forever Came Calling and Suicide Silence, whose lead singer, Mitch Lucker, died in a tragic motorcycle accident just two weeks before Lyman’s visit.

The film seemed to be a hit with the audience and really gave everyone an appreciation for how much work goes into such a monstrous undertaking. Near the end, Lyman ran out of time and concluded by apologizing for the technical difficulties earlier that night and recounted the heart and soul he pours into organizing the tour.

Lyman stayed after to pose for pictures, answer questions and autograph memorabilia.

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New Jersey natives The Gaslight Anthem performed Nov. 27 at the Electric Factory with opening act The Menzingers. “Handwritten,” The Gaslight Anthem’s latest album, was released in July 2012.jo

The Gaslight Anthem thrashed the stage of the Electric Factory Nov. 27 amid a full house of fans. The five-piece act from New Brunswick, N.J., was supported by Chester County native Matthew Ryan and punk band The Menzingers from Scranton, Pa.

A soft, ambient chord, surrounded by gritty, desperate vocals brought the crowd together at 8 p.m. as Ryan took the stage. Outside in the smokers’ section, fans of all breeds huddled in the cold. A family of three recollected on “Angry Johnny and the Radio,” a creation of Gaslight Anthem frontman Brian Fallon from the album “Senor and the Queen.” They tried to convey the memories and emotions that the song captured, and though I had my own interpretations, it was generally agreed that the band’s songwriting set them apart from the overly cliche “radio rock” that floods the music industry.

Don’t believe me? Ask Bruce Springsteen.

The Boss has shared the stage with Gaslight many times in recent years, and the New Jersey natives often share stories, words of advice, and praise for each other’s work.

With influences ranging from the Boss to The Clash to Pearl Jam, The Gaslight Anthem kicks stereotypes in the teeth and bends and blends genres to create the unique sound that has carried through their five studio albums.

After The Menzingers pumped up the crowd, barreling through their 13-song set and leaping all across the stage, The Electric Factory buzzed with anticipation. A group of three stood by the door, hardly able to contain their excitement. When asked which song they wanted to hear most, a unanimous “All of them!” was all they could muster, until they later decided that the older songs were definitely more desirable. These guys traveled from Cleveland just for the love of music.

Next to them stood the principal of a local middle school, bouncing on the balls of his feet, waiting to hear the music that resonated with so many different groups of people.

Recent college graduates sat at the bar, enjoying the free tickets that they won from Radio 104.5, the concert’s sponsor.

They cheerily talked of the newest Gaslight Anthem album, “Handwritten,” which features some of the most moving guitar riffs and tortured screams that the boys have ever put together. Masterfully recorded and mixed, this album pulls further away from the original records that feature very straightforward songwriting and lo-fi recording.

Fallon (vocals and guitar), Alex Rosamilia (guitar), Alex Levine (bass) and Benny Horowitz (percussion) took the stage and rocked through the night.

Their 26-song set paused rarely, only to thank the other musicians and to lead the crowd in a remorseful chant about the loss of the NHL hockey season and playoff beards everywhere. Always entertaining, extremely well-spoken, and pitch-perfect throughout, Fallon led his band through classics like “Miles Davis and the Cool” and “The Backseat.” About halfway through, something magical happened. “Angry Johnny and the Radio” went into an interlude, and out came a cover of Bon Iver’s “Blood Bank.”

The crowd went nuts. Sweaty bodies pulsated and swayed, clapped and cheered, and showed the artists the enthusiasm that we Philly fans are capable of showing. The crowd surfers rode atop the energy, and eventually the band had to remind everyone that nobody likes being kicked in the head, so they needed to keep the dancing on the ground.

As usual, this did little to deter the rowdy fans, and new hits like “Mulholland Drive” and “Blue Dahlia” weren’t helping.

After collaboration with Ryan for “I Can’t Steal You” and “Astro Zombies,” a Misfits cover, The Gaslight Anthem ended on a high note, belting out “Great Expectations.” An exhausted crowd left with great memories, a few bruises and a renewed respect for the music that brought them there.

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[/media-credit] Conor Oberst of Bright Eyes and Monsters of Folk performed Nov. 18 at Verizon Hall in the Kimmel Center. Opening for Oberst was indie artist Daniel Johnston .

Johnston, somewhat of a cult icon in the indie scene, began the evening. He rose to national notice when MTV featured him as a prominent member of the Austin, Texas, New Sincerity movement in a 1985 episode of “The Cutting Edge.”

The New Sincerity movement was founded as an antithesis to the perceived irony of the postmodernist music culture and the cynicism of musicians and writers at the time.

Johnston’s songs are earnest, whether joyous or grateful or heartbroken. His lyrics are simple, with beautiful comparisons and messages. Though his optimistic songs are almost saccharinely sweet, his angst-filled works bring to light his struggles with schizophrenia and bipolar disorder, lifelong conditions that have often threatened his success and safety. At this show, he was fortunately in good spirits and seemed to enjoy conversing with the animated audience.

Though several of his fans loudly requested it, Johnston did not perform “Devil Town,” a song Oberst covered for his compilation, “The Late, Great Daniel Johnston.” However, Johnston and an unnamed friend belted through a satisfying set, including covers of John Lennon’s “Jealous Guy” and “You’ve Got to Hide Your Love Away.” They also sang some of his best-known songs: “Walking the Cow,” “Life in Vain” and “True Love Will Find You in the End,” which received an overwhelming surge of cheers from the crowd.

The fact that Johnston, who offered a powerful but sparse performance, dominated such a prestigious venue as the Kimmel Center was something wholly special to see. The audience took any chance they could to shout out their love for him.

Oberst stepped out onto the stage to a fervent, awestruck round of applause. Oberst has been slightly tweaking his setlist throughout this tour, but he played arguably his best collection of songs in Philadelphia.

Audience members could be heard beforehand wondering to each other whether he would play only his solo work or delve into the canon of the four bands he primarily performs and writes with.

These include emotional indie band Bright Eyes; the Mystic Valley Band, the subject of the documentary “One of My Kind,” which recently reunited to the surprise of almost everyone and released a blistering track about the Trayvon Martin case earlier this year; and Monsters of Folk, a supergroup featuring Bright Eyes collaborator Mike Mogis, My Morning Jacket’s Jim James, and She & Him’s M. Ward.

The concert featured a majority of Bright Eyes songs, accompanied by Cox’s vocals and Brodin on the vibraphone. The show began with “The Big Picture” from 2002’s “Lifted or The Story is in the Soil, Keep Your Ear to the Ground.” To the audience’s palpable delight, this was followed by “First Day of My Life,” which is arguably the most well-known Bright Eyes song and an indelible romantic indie classic. A new song, “Common Knowledge” (preceded by a few jabs at Mitt Romney), was followed by two Mystic Valley tracks, “Lenders in the Temple” and “Cape Canaveral,” which earned some cheers from the highest tier in Verizon Hall with the lyric “Victory’s sweet, even deep in the cheap seats.”

“At the Bottom of Everything,” another fan favorite, is a song that sounds as good live as it does on record, as is “Shell Games” from the last Bright Eyes album, “The People’s Key,” stripped to its bones. Closing out the concert with “Breezy,” the encore started almost immediately with “Lua,” with Cox taking on a few verses. “Waste of Paint,” a song about love, faith and art, was a fitting closer, as many of Oberst’s songs touch upon these themes, and the piece is markedly inspirational for many fans and listeners.

This is the third time I have seen Oberst live, and each time I have left the venue moved, delighted and wanting just one more song.

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[/media-credit] All Time Low played to a sold out crowd at the Theater of Living Arts Nov. 17 during their “The Rock Show at the End of the World” tour. Several bands opened up for All Time Low, including The Downtown Fiction, Hit the Lights and The Summer Set.

The band formed in 2003 and got its first big break on the Van’s Warped Tour, playing there from 2006 to 2009 before returning to the tour this past summer. Since 2006 they have recorded five studio albums, started an exclusive fan club called The Hustler Club, and built up a huge following, especially here in Philly.

The show opened with a small band from northern Virginia called The Downtown Fiction. They were a great opening act because lead singer Cameron Leahy has an unparalleled stage presence. He is so in touch with the band’s music and has the dance moves to prove it. The Downtown Fiction is best known for its single “I Just Wanna Run,” which was the last song in the set. I’m not sure I would enjoy seeing them on a headlining tour, but they were definitely enjoyable as an opener.

Next to take the stage were pop-punk superstars Hit the Lights, led by frontman Nick Thompson. You may know them by their popular songs: “Body Bag,” “Speakers Blown” and “309.”

Hit the Lights is the type of band that demands the attention of everyone in the room, whether or not you know the group’s songs. To show their appreciation for the crowd, the guys brought out longtime friend and Philadelphia legend Shane Henderson of Valencia to sing “Drop The Girl” with them. That moment was definitely the highlight of the set to me and to everyone else in the crowd who hadn’t seen Valencia since their farewell show last year.

The last opener was The Summer Set. I have seen The Summer Set over five times, and I must say that their live show doesn’t impress me. Though the band’s albums are upbeat and peppy, none of these aspects transcend into their stage presence, and seeing them live usually lets me down. One awesome thing about The Summer Set, however, is Jess Bowen. Not only is she the only woman in the band and one of the only women in this music scene, but she’s also the singer and the drummer. The Summer Set is great to listen to with your volume all the way up while driving in your car, but I wouldn’t suggest wasting money to see them live.

Finally, it was time for All Time Low. When the lights went dark, screams filled the TLA. Alex Gaskarth, Jack Barakat, Rian Dawson and Zack Merrick emerged from backstage and played the lead single off of their newest album, “Don’t Panic,” titled

“The Reckless and the Brave.” As the set continued, they played a good mix of songs from “Nothing Personal,” “Dirty Work” and “Don’t Panic.” In the midst of all the music, the audience was showered with the band’s banter and bathroom humor, including jokes about a certain popular boy band.

“F— One Direction, I’m all Directions!” lead singer Gaskarth said.

All Time Low then treated the audience to two songs from its 2006 EP. “Coffee Shop Soundtrack” and “Jasey Rae” have always been popular songs within the All Time Low fan base, and they seem to induce the most crowd-surfing and moshing during the set. During “Coffee Shop Soundtrack,” guitarist Barakat handed out guitar picks to crowd surfers flying over the barricade, including myself. Halfway through the set, Gaskarth decided he wanted to have an elbow-licking contest. The three people he pulled onstage to lick their elbows got to watch the rest of the show from backstage.

During “If These Sheets Were States,” a song about missing someone while being in a long-distance relationship, Gaskarth noticed a boy in the front row on Face Time, so he took the phone and sang directly to the girl on the other end.

After the song was over Alex asked the boy about the girl on the phone, and he said she was his girlfriend who lives in California.

It was a touching moment to see someone connect to the band’s lyrics and apply them to a personal situation. For the encore, the band played “Time Bomb” and “Weightless” before closing the show with their most popular song, “Dear Maria, Count Me In.”

Over the years, All Time Low has built up a reputation for onstage antics, and it really adds to the experience of  their show. They truly transform their recorded music into a rock ‘n’ roll experience. All Time Low will return to Philadelphia for a spring tour in 2013.

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[/media-credit] The Drexel Players kept Mandell Theater laughing with their presentation of the Tony Award winning musical “The 25th Annual Putnam County Spelling Bee.” The show opened Friday, Nov. 9 and weekend showings will continue through Sunday, Nov. 18.

“The 25th Annual Putnam County Spelling Bee” is a humorous musical based on an improvisational play, “C-R-E-P-U-S-C-U-L-E,” by Rebecca Feldman. The 2005 Broadway production (directed by James Lapine) was nominated for six Tony awards and won two, including Best Book.

The story takes place at Putnam County Middle School, where six colorful and competitive preteens compete in the spelling bee. Four audience members are also picked before the show begins to participate as contestants in the spelling bee along with the six others. As with all spelling bees, contestants are slowly eliminated. But as the bee develops, the characters are slowly but surely introduced to the audience. By the end there is only one winner, but you’re going to have to see the show for yourself to find out. The answer might surprise you!

Bill Fennelly, an assistant professor in the theater program at the Antoinette Westphal College of Media Arts & Design, is making his directorial debut at Drexel with this performance. Fennelly is backed up by an A+ team that includes lighting design by Barrymore Award winner Thom Weaver, sound design by Nick Kourtides, choreography by Barrymore-nominated Jenn Rose, set design by Ian Guzzone and costume design by Lauren Perigard.

The role of Rona Lisa Peretti is portrayed by profession guest artist Emily Kleimo. Other starring roles are portrayed by Will Poost, Allison Brobst, Dan Toll, Connor O’Leary, Corey Fedorowich, Sophie Hirsch, Heather Hodgkins and Julie Mercik.

If you enjoy musical comedies, this performance is guaranteed to keep you entertained and laughing all throughout the night.

The Drexel Players are a student-run organization that works in conjunction with Drexel University’s Department of Performing Arts to produce quality theater and provide service for the community.

The Players produce three mainstage shows each year: a musical, a play and a professional show, as part of the Mandell Professionals in Residence Project. Students participate in all aspects of theater performance and production, including acting, directing, design, costumes, lighting, sets, sound, publicity and box office. Auditions take place in the spring and the beginning of each fall term for incoming students.

Tickets are $15 for the general public, $10 for general students and $5 for all Drexel students, faculty and staff (valid ID required).

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Philadelphia’s own Pennsylvania Ballet Co. has recently added “Giselle” to its performance list, with shows running Oct. 18-28. This classical ballet was first performed in a Parisian theater in 1841 and tells a haunting and woeful tale of love’s joyous beginnings and its bitter end.

[/media-credit] The Pennsylvania Ballet Company presents the classical ballet “Giselle,” originally performed in Paris in 1841. The ballet is running at the Academy of Music until Oct. 28.

Soon, a hunting party, which includes the Countess, comes to town, and Giselle dances for them, moving in bouncing, joyful ways, often smiling and curtsying between dance moves. One of Giselle’s jealous lovers finds Albrecht out and presents him to the hunting party. The two fiancees, Giselle and the Countess, realize what has happened. The Countess remains cool; Giselle goes insane, running around the stage, pointing frantically at nothing in particular, and then — *spoiler alert* — she collapses and dies, presumably because of her weak condition.

Act II’s setting is a graveyard, in which Giselle, and every other girl in the village who died before marriage, is buried. A fog machine helps set the dark atmosphere of the scene, and dead tree limbs hang menacingly over the gravestones erected in one corner. The girls appear onstage as brides, wearing long, white gowns and tattered veils. They are called “wilis.” This references Slavic folklore; they are, generally, wandering spirits. A sort of Queen, who stands to one side of the group and directs them to kill any man who visits the grave, conducts these undead brides. When the jealous lover comes to lay flowers at Giselle’s tomb, the undead brides fly to him and cast a spell on him. This spell causes him to dance until he dies from exhaustion. They then dispose of the body by dragging him across the stage and to, presumably, a grave where all the others who have met this fate are buried.

Albrecht soon comes to lay flowers at her grave as well, dragging his feet and often covering his eyes from grief. The same fate surely awaits him, as did the other lover. However, Giselle turns to the Queen of the Wilis and supplicates for his release, often throwing her hands up and falling to her knees. Though he caused her grief and death, she does not want any harm to come of him. Clearly, feminism was not a central theme to the ballet. Giselle and Albrecht take turns begging the Queen, who eventually grants him pardon. The two lovers, one an undead bride and one a very alive Count, embrace and part ways, Giselle to her grave and the Count back to his life of splendor. She sinks slowly and gracefully to the ground and glides backstage, leaving a distraught Albrecht staring at her gravestone, almost resignedly.

This ballet, first and foremost, is very bizarre. A mid-19th-century French ballet is not what most would usually connect with zombie brides putting hexes on unsuspecting men. However, there is something important to remember: Folklore and mystic beings were much scarier and much more real to people in past times. Today, we have horror films, crime shows and a general overexposure to media, which numbs us to “scary” ideas like “wilis.” However, 171-plus years ago, this idea may very well have been frightening to the audience. They may have had to peek through silk-gloved fingers, hands to their faces, or hide behind someone else’s hoop skirt. It’s hard to say.

The ballet’s choreography was incredible. Several times during the ballet, a dancer would perform a difficult move so many consecutive times that the audience would erupt in applause. Much of the dancing was done in pairs or groups, signifying the importance of unity, which is so protected in the second act. Likewise, the orchestra pit was amazing. The musicians’ sound carried the movements of the dancers beautifully, and they produced a rich, full sound that filled the whole room. The props used were minimal, which was good, as it did not detract from either the dancing or the story being told.

Stage design was also sparse, the first act depicting a simple farm village and the second a spooky graveyard. The dancers’ attire was simple, owing to their farm-villager statuses in life. Many wore plain blue or white dresses, or, as in the case of the second act, simple white bridal gowns.

For any who are interested in seeing “Giselle,” tickets begin at $15. There are still two shows Oct. 27 and 28, but tickets are selling out fast!

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Drexel’s Department of Performing Arts brought the program “What Makes A Masterpiece?” to Mandell Theater Oct. 4. The program featured a lecture from dance performer, critic and NYU professor Deborah Jowitt, followed by a performance of “The Farewell” by renowned performer and part-time Arcadia University professor Janet Pilla.

[/media-credit] Dance performer and NYU professor Deborah Jowitt lead a lecture at the Drexel Department of Performing Arts program “What Makes A Masterpiece.” Jowitt discussed aspects of dance that deserve being called masterpieces. The lecture was followed by a dance performance by Janet Pilla.

“Great art stays with us,” Jowitt said, describing the haunting and solemn painting before moving on to the aspects of great dance works that deserve the accolade “masterpiece.”

In moments of both serious appreciation of dance and playful jokes with the audience, Jowitt explained that masterpieces are creations that feature many different elements, and it is how these elements come together that makes a performance truly a masterpiece. Music, lighting, costume, stage design, choreography — these all must come together to create something truly worthy of such high praise.

Jowitt used several examples of masterpiece dance in her lecture. George Balanchine’s “Apollo,” accompanied by a YouTube video of the performance, featured a young Apollo and his three muses, who would flit about him in dainty, small steps. This lighthearted scene, according to Jowitt, is a prime example of dance that incorporates poetry and music.

The next example was of “Appalachian Spring,” choreographed by Martha Graham. This, Jowitt said, is a masterpiece because it takes the plain, often boring subject of frontier life and makes it beautiful and at times even comical.

Another piece, “Lilac Garden,” is the love story of a woman, her husband and both of their lovers. The dancers’ movements are subtle and graceful.

“This is not a masterpiece because of a big, thundering ending,” Jowitt said. “This is a masterpiece because it is both exquisite and sad.”

Following the lecture was a performance of “The Farewell,” a piece with four distinct sections — earth, love, youth and life — meant to be memories for the female character, looking back on her life. Each section is preceded by poetry, projected on a screen onstage, by Pauline Koner, the choreographer and original performer. This dance is a solo work, following the memories of one character.

The props are minimal: a screen onto which the poetry is projected, a long elastic band stretching flat across the stage, and a piece of rope that curves in an arc on the floor to the left of the stage.

Janet Pilla, the dancer for this piece, appears onstage first in a long, dark red dress, very somber and serious. Her movements are at times very abrupt and at other times very flowing and graceful. She stays very close to the floor of the stage, all of which are symbolic of the “earth” portion of the piece.

The “youth” section features Pilla in a shorter, light pink gown. She smiles, as if to herself, and makes use of jumps and twirls. The section is very lighthearted and goes at a much faster pace than any of the others. She gathers one half of the rope and coils it up, signifying the end of her memories of her youth.

Next, Pilla appears onstage in bright scarlet colors, signifying the “love” portion of the dance. She moves slowly and deliberately and coils up the other half of the rope, signifying the end of her memories of love in her life. She then takes the rope and removes it from the stage.

The “life” section, or “last farewell,” features an immense struggle for the dancer. She wears all black to represent her own passing and tugs at the elastic band, weaving herself around it. The band is slowly lifted up to signify her passing and her soul elevating as Pilla slowly disappears into the shadows and leaves the stage.

In a question-and-answer segment after the performance, Pilla revealed that her main objective for the piece was to understand the inspiration behind it. In this case, it is a memorial for the choreographer’s dance instructor, Doris Humphrey. Jowitt agreed, saying the piece felt introspective because it focused on the memories one relives before death and how this is both soothing and painful.

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[/media-credit] Sally Mayes, a Broadway legend famous for her performances in “Welcome to the Club” and “She Loves Me,” ender her three-day residency at Drexel with a sneak peek of her newest work “Southern Stories” on Oct. 5.

If you don’t know Mayes, let me take a moment to introduce you to her. Mayes made her Broadway debut in April 1989 as Winona Shook in Cy Coleman’s “Welcome To The Club.” She is best known for her performance as Ilona Ritter in Jerry Bock’s Roundabout Theatre revival of “She Loves Me.” She has also appeared as Mrs. MacAfee in the television movie version of “Bye Bye Birdie.” In between her roles on and off Broadway, Mayes appeared in episodes of “Sex and the City” and “Law and Order: Criminal Intent.” In 2003 Mayes returned to Broadway as Aunt Corene in the musical “Urban Cowboy.”

Mayes won a Theatre World Award for her performance in “Welcome to the Club.” She has also received a Tony nomination for her performance in “She Loves Me.” Along with several other nominations and awards, Mayes received a total of three Drama Desk Award nominations in the past 18 years.

The show opened up with Brian Moore, interim director of Drexel’s entertainment and arts management program, introducing the audience to Mayes. She began her performance with “Once Upon A Time” off her album “The Story Hour.” Throughout her performance, Mayes never failed to awe the audience. Her voice managed to send chills up my spine despite the troubles she was having fighting off bronchitis. Her performance was perfectly apportioned with just enough comedy and an equal amount of emotion.

Mayes performed a wide range of songs, including some new material from “Southern Stories.” My personal favorite was Christine Lavin’s “Shopping Cart of Love,” where romance is found in a grocery store while having more than 10 items in the express lane. Mayes had fun performing Camille West’s “Viagra in the Water,” which explains what happens when 20,000 pounds of Viagra leaks into the town’s water supply. If you ask me, this particular song also seemed to be a crowd favorite. Mayes closed the show with a song called “County Fair” from the on-and-off Broadway run of “Das Barbecu.” It was then that Mayes received a well-deserved standing ovation. Not one person was left sitting.

“During her long career, Sally never had to wait on one table or serve one drink. That’s how good she is,” Moore said.

After seeing Mayes’ performance, I’ve concluded that Moore’s statement could not be more accurate.

This event was made possible with the generous support of the Kal and Lucille Rudman Institute for Entertainment Industry Studies.

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[/media-credit] Two Door Cinema Club played the Electric Factor Sept. 29 to a packed crowd. Playing fan favorites like “Sleep Alone” and “Something Good Can Work,” the electro pop band left the small venue swarming with concert-goers.

If you’re not already familiar with the band, which is made up of frontman Alex Trimble, bassist Kevin Baird, guitarist Sam Halliday and temporary touring drummer Benjamin Thompson, the Northern Ireland natives have recently gained publicity and a monsoon of new fans as they skyrocketed into the music scene following their appearances at this year’s Reading and Leeds Festival in the United Kingdom as well as the 2012 Bonnaroo Music and Arts Festival in Tennessee.

Nearing the end of the opening bands’ sets, it was evident that the venue had been close to, if not already, sold to its 2,500-person maximum capacity. To paint a better picture of the amount of people in the venue, the band had the entire floor jam-packed and the 21+ bar balcony overflowing with swarms of fans.

The show opened with the group Guards, followed by the group Friends, which is a female-fronted five-piece band from Brooklyn, N.Y. Both bands had incredible stage presence and crowd involvement. Though I had never heard of them before the show, I left feeling like a fan of both bands. At one point in their set, vocalist Samantha Urbani jumped into the crowd and serenaded a fan in the front row.

As the opening bands left the stage, the blinding light show of strobes began, and the crowd immediately burst into cheers and roars. When the band walked onstage and started to play the familiar notes of “Sleep Alone,” a song off of their sophomore album “Beacon,” the crowd went insane. They played a couple of fan favorites throughout the night like “Undercover Martyn,” “Something Good Can Work,” “Next Year,” “Handshake” and “Sun,” as well as a variety of other songs from their albums “Tourist History” and “Beacon.”

For a majority of the night, I often found myself wondering if I was at a concert or watching a trippy light show. Although Two Door Cinema Club’s set was powerful, fun and enjoyable, their distinct sound caused the majority of their songs to sound extremely similar and even blend together at times. The band rarely took breaks between songs to speak to the crowd; instead they made time to play extra songs, which didn’t remotely bother the audience. As the show continued, the crowd turned into a sea of energetic and not-so-sober dancers. The people in the crowd kept the movement going all the way through the three-song encore until their final and most popular song, “What You Know.” Although they’re not my favorite band, they definitely won over my affection. This was my first time seeing them live, but it definitely will not be my last. If you have never been to a Two Door Cinema Club show before, I hope I have convinced you to attend one.

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“I think Philadelphia’s theater community is extraordinary,” Kevin Glaccum, producing artistic director of Azuka Theatre and founder of Off-Broadstreet, said.

There are now over 50 professional theater companies in Philadelphia.

“I think that there is a level of variety that you can’t find almost anywhere in the country,” Glaccum said.

Glaccum adds that the quality of the work that comes from Philadelphia is also high.

“We often hear things like, ‘When are you taking this show to New York?’ ‘When is this going to New York?’ It’s like, you don’t understand that this is great work and it’s made for you,” he said.

“These people all live here for the most part, and they’re making their careers here. And there is a mindset that quality theater equals New York. And that’s something that we’re trying to get people to rethink,” Glaccum said.

Off-Broadstreet is a group of quality theater companies who are in Philadelphia. It is theater made for Philadelphians, by Philadelphians.

The six theater companies that make up Off-Broadstreet are Azuka Theatre, Inis Nuua, Brat Productions, 11th Hour Theatre Co., Mauckingbird Theatre Co. and EgoPo Classic Theatre.

“I’m not sure what ‘diverse’ means in regards to a theater,” Rachel O’Hanlon Rodriguez, company manager of EgoPo, said. “We are unique in terms of other companies in Philadelphia. We perform classic avant-garde work and thus fill a specific and clear niche in the city that is very differentiated from the artistic missions of the other organization in Off-Broad.”

“All of the stuff that we do is kind of like a Venn diagram; it kind of all intersects at one point, but it’s also quite different,” Glaccum said. “Azuka Theatre’s mission is to give voice to the people whose stories go unheard. We do stories about people a little on the fringes of society. Inis Nua does Celtic Theater. They do English, Irish, Welsh and Scottish plays. 11th Hour does musicals. Mauckingbird does gay and lesbian theater.”

Smaller theater companies are unable to join Off-Broadstreet.

“The consortium was formed through the informal guidance of the Theater Alliance,” O’Hanlon Rodriguez said. “They brought a group of us together, and we started forming a mission. We were one of founding members of the consortium.”

“It’s a group that came together, and it certainly may expand, but at this point we’re comfortable with the number that we have,” Glaccum said. “We’re tying to market ourselves so we feel that the more theaters involved, the less impact we may have. It might just start to muddy the waters a little bit.”

Glaccum says that audiences of Off-Broadstreet can expect to be surprised by something that they wouldn’t normally see in mainstream houses.

“What Off-Broadstreet does, you’re not going to see at the Walnut Street Theatre or the Arden Theatre. We’re a little bit off the beaten path,” he said.

For tickets to any diverse show in Philadelphia, Glaccum says that the place to look is on the Theater Alliance website, though recently the Theater Alliance announced its closing. Another place to check for tickets to shows in Off-Broadstreet is to visit the theaters’ respective websites.

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The Pennsylvania Ballet presented “Opus Jazz,” the final program of its 2011-12 season, the weekend of June 1 at the Merriam Theater. The show ran for three evenings and two matinee performances and featured a trio of vastly varied dances, including a world premiere.

The Sunday matinee performance began with the “Barber Violin Concerto,” a New York City Ballet original. Featuring a rich royal blue backdrop and dancers clad in flowing white, the spirited ballet offered three distinct phases. The first, a sensuous pas de deux, coupled all four dancers as they emerged in short solos. The couples demonstrated absolute trust in each other as James Ihde and Ian Hussey tossed their partners into challenging lifts, including one that involved a breathtaking flip.

Following this first movement was a sensual duet between Ihde and Amy Aldridge, a Pennsylvania Ballet principal. Aldridge executed graceful extensions in this classic dance, which was performed in pointe shoes.

The final movement, a modern number, saw Hussey and Laura Bowman in bare feet. Bowman arguably stole the show with a youthful, ebullient skip dedicated to shaking her partner out of his stoic resolve. The piece signified a true free spirit in Bowman, who kicked and vamped for “Hussey” with a joie de vivre evocative of Audrey Hepburn’s kicky beatnik dance in “Funny Face.” The audience was visibly and audibly delighted by this number, and it received the loudest applause of the afternoon and brought some patrons to their feet.

After a brief intermission, “Opus Jazz” shifted in an entirely new direction. “Beside them, they dwell” is a world premiere piece created by the ballet’s choreographer in residence Michael Neenan, who was inspired for at least the work’s title by Psalm 104: “They give drink to all the beasts of the field; the wild asses quench their thirst. On their banks dwell the birds of the heaven; from the branches they sing their song.” The piece is highly stylized to reflect creatures of the wild in its movements and aesthetics.

The dancers were bedecked in rich, deep colors and tight costumes of short length, which served to accentuate their flittering movements. The dance was a contrast of fluidity and rigidity, with windmill-like arms giving to robotic poses that would remind one of a jewelry box ballerina.

The stage lighting and music served to create a specific, eerie mood. The stage lights progressed from a deep crimson to cyan and blue as the set roamed on. The music, Pierre Boulez’s “Anthemes II,” also has a biblical tie; the instrumental’s structure is based on the readings of the Jeremiah Lamentations during the composer’s childhood churchgoings. The composition, frantic and metallic, set a hurried pace for the dance. Abrupt and extended silent pauses only added to the tension. The number was decidedly intimate, with synchronized segments displaying the connection between partners, the use of shadow as dancers strode behind a screen in silhouette, and dancers moving in huddled formations like herds of animals. Though a symbolic and artistic piece, the number did not seem to resonate with the audience as well as those before and after it.

The final performance of the trio, Jerome Robbins’ “NY Export: Opus Jazz,” is the titular dance of this presentation of the Pennsylvania Ballet. Robbins, who passed away in 1998, was an internationally renowned choreographer best known for his work on the iconic stage production of “West Side Story.” “Jazz,” which premiered in 1958, opened with a vibrant, title-clad screen, which gave way to a Jackson Pollock-esque backdrop as dancers emerged in vividly hued shirts and matching sneakers, a surprising choice for a ballet.

With a stark white light basking the stage, the dancers erupted into an effervescent, jaunty dance that included a brief circle dance — which was featured in the prior two acts — and shimmies and snaps that lent the piece the blend of fun and cool found in a commercial for Gap. After taking up most of the square footage of the stage, the dancers zoomed into a lit huddle on a blackened stage, creating a discernible jazz vibe.

The next portion of “Opus Jazz” featured a burgundy stage with black backdrop, where the slinky Evelyn Kocak seduced three male dancers in the dusky “Statics” that concluded with her being unceremoniously tossed off the stage.

“Improvisations,” an amusing boogie, portrayed young men and women taking turns creating dances with their peers. While some soloed, others recruited their pals, including four male dancers, in a silly and sometimes feminine group dance that ended with a sweet, stylistic handshake. “Passage for Two,” according to an article by principal dancer Julie Diana featured in the performance program, “suggests an intimate encounter between two people who meet, dance and then part ways.”

Lauren Fadeley, who recently starred as Wendy in the Ballet’s production of “Peter Pan,” and partner Francis Veyette imbued a sadness in their pas de deux, or lover’s dance. The meaning of the piece was evident, and Fadeley’s defeated perch on the stage at the end of the piece remained powerful long after the final curtain.

The fifth and final part of “Opus Jazz” featured the company in “Theme, Variations and Fugue.” The dancers, now clad in white shirts and sneakers, leaped and posed in styles at times reminiscent of swing dance, the twist and even Monty Python’s “Ministry of Silly Walks.” Body isolation abounded, where dancers moved one limb at a time while others remained stationary, a seemingly nonchalant yet hypercontrolled act.

Staged in front of dazzling stained-glass scenery, the equality of the dancers was made apparent; both men and women shook and stretched in clusters of women and clusters of men. Robbins chose to pit the genders as partners in this dance, a refreshing vision that allowed the entire company a chance to shine.

As the dancers re-emerged for their lengthy bows with winded yet smiling faces, it was apparent that they felt they had fully claimed their chance to shine.

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The Drexel Dance Ensemble held its spring concert, titled “Piece of Mind,” the weekend of May 31 through June 2. The performance showcased the work of eight student-choreographers, a Drexel faculty member and a professional guest artist. I was lucky enough to snag an interview with one of these student-choreographers, Drexel junior and Miss Philadelphia pageant winner Lauren Bilski.

“It’s a very exciting time for the dance majors,” Bilski said of the biannual showcase. “It’s an opportunity for dancers from all majors to work together. … It’s always such an incredible performance.” Bilski was one of the show’s student-choreographers and was recently crowned Miss Philadelphia.

Just shy of 20 different majors are represented in the Dance Ensemble, and the work shown is indicative of the diversity of the dancers’ backgrounds. The pieces ranged from the elegant to the existential to the very light-hearted and almost satirical.

Bilski’s piece, “To Escape the Absolute,” was named after and inspired by the Robert Matta painting. It definitely lies on the side of elegance. Based on the idea of striving for perfection, this particular work is almost haunting in its beauty. The wispy ­flow of the costumes and the graceful, controlled choreography captivate the eye of the audience from start to finish and flutter in the memory long after.

One of my favorite pieces was the show’s opening performance, “Equilibrium,” choreographed by design and merchandising senior Samara Cifelli. The dance was set to live music played by Drexel’s own Wild Rompit. The piece had a very contemporary feel. The choreography ebbed and flowed out of synchronizing with the music’s rhythm.

I found myself amazed at how sharply and deliberately the dancers hit the beats of the music. Live music can change easily from performance to performance, and any little faux pas on either end would have been noticeable. Both the band and the dancers performed in perfect harmony and set the bar extremely high.

The second performance was a highly symbolic, very cerebral piece choreographed by senior dance major Eileen Moran. “Memory’s Trap” explored the combination of dance and video media. While an earlier performance was projected onto the stage’s backdrop, two groups of dancers moved behind giant frames hung onstage. A single dancer performed between the two. It appeared that dancers behind the frames were counterparts.

The costumes of the performers at stage left were treated to look dirty and torn, and their makeup was applied to look runny. The dancers on the right were left unblemished. Granted, it took a while for the connection to register. It wasn’t until the groups faced opposite directions that it became apparent that they represented two sides of the same concept. “Memory’s Trap” was definitely the most intellectually complex of the pieces and the only one performed sans music.

The Drexel Dance Ensemble performed May 31 through June 2 for its spring concert “Piece of Mind.” Four graduating seniors were presented with awards by Dr. Miriam Giguere.

Pieces like “CHAIRish” (Claire DeLiso and Katie Porkka) and “Thingamajig” (Leah Spangler) were welcome, upbeat examples of good old entertainment. “CHAIRish” had a chorus-line feel. Its choreography, however precisely executed, clearly made fun of itself.

“Thingamajig” was a Rube Goldberg machine of brightly clad human bodies knocking into one another and tumbling, but the piece somehow artfully managed to turn “clumsiness” into this intricate locomotive process. These colorful works, with their bright costumes (some of which included shiny pants), were a nice reminder that art doesn’t have to take itself too seriously.

On the final night of the concert, Miriam Giguere, head of the dance department, presented awards to four outstanding graduating seniors in the ensemble. Kristia Morabito, Caroline O’Brien, Eileen Moran and Ashley Jacobs were honored for their achievements in performance, choreography, academics and overall contributions to the dance department. Also honored was Kariamu Welsh, recipient of the 2012 Ellen Forman Memorial Award.

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Drexel’s very own female a cappella group, The TrebleMakers, held its spring concert June 1 in the Stein Auditorium.

Starting off the night with an old favorite, the group sang “Not Over You” by Gavin DeGraw. Soloist Rachael Frese did a nice job bringing this soft sound to life and starting the show on a strong note.

Drexel's female a cappella group The TrebleMakers sang several hits including Katy Perry's "ET" and Coldplay's "Fix You" at their spring concert in the Stein Auditorium June 1.

Following 8 to the Bar, the TrebleMakers returned to the stage with some new songs. Starting with “Kaleidoscope Heart” by Sarah Bareilles, the women succeeded in transforming this already amazing song into a good a cappella ballad.

The next few songs “You “Make my Dreams Come True,” “Kids” and “Chasing Rain” rocked the audience with their famous melodies and impressive vocals to match. These songs, like so many of The TrebleMakers, are good examples of very popular songs being brought into the world of a cappella. As a fellow music lover, I believe that they do a fantastic job accomplishing this.

Although some of the songs stood as a challenge and seemed a bit shaky at times, the women seemed to know how to get right back on track and never give the audience a shred of doubt that they know what they are doing.

To end the show, Maggie Deptola sang the Justin Bieber hit “U Smile” while Anna Schmeidicke and Joycelin Wong ended the show on some high notes with “This Head I Hold” and “All this Time.”

The TrebleMakers, one of Drexel’s oldest a cappella groups, has really done a good job staying consistent through the years, making Drexel’s a cappella one to talk about. These women have worked so hard to strive to make a name for a cappella music at Drexel. I think by growing and changing so much throughout the years, they have done just that.

The women will be performing again in the fall, so you don’t want to miss another great night of music, laughs and a whole lot of treble!

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Center City Opera Theater Presents “Slaying the Dragon”
In the early 1990s, Larry Trapp, Grand Dragon of the Nebraska Ku Klux Klan, conducted a hate campaign against minority groups in the predominantly white city of Lincoln. But when Cantor Michael and Julie Weisser reached out to this white supremacist, despite his anti-Semitic threats, Trapp turned his back on bigotry, converted to Judaism and campaigned for tolerance until he died in the Weissers’ home from advanced diabetes at the age of 42. Trapp’s story has inspired several imagined and documentary works, most notably Kathryn Watterson’s 1995 book, “Not By the Sword,” which will be reissued by the University of Nebraska Press in 2012.
Drawing upon these events and accounts, “Slaying the Dragon” presents the fictional story of Jerry Krieg, Grand Dragon of the KKK, whose life is transformed when he meets Rabbi Nathan Goodman and his wife, Vera. After waging a hate campaign against Asian immigrants, African-Americans, and Jews in the city, Jerry is ultimately won over by the Goodmans’ compassion. As a consequence, he resigns from the Klan, foils the Klan’s plot to bomb the synagogue, and resolves to speak out for tolerance. Yet despite his well-intentioned declarations, Jerry’s public about-face is met with skepticism by those he has persecuted, especially Giet Long, the Vietnamese director of the Asian Center; the Rev. Lincoln Masterson, an African-American preacher; and Esther Zikorn, a Holocaust survivor. Showings will continue at the Academy of Vocal Arts at 19th and Spruce streets the following Thursday, Saturday and Sunday, June 14-17.
Prince Music Theater at 14th and Chestnut streets
Saturday, June 9, 8 p.m.
Tickets: $39-79
www.operatheater.org

20th Annual Islamic Heritage Festival
Presented by the Islamic Cultural Preservation and Information Council, the 20th annual International Islamic Heritage Festival is a free and unique event that will draw visitors, vendors and Islamic scholars from all over the country. It gives Philadelphians a chance to experience authentic Islamic cuisine, music and entertainment along with learning about the rich Islamic heritage and history.
The festival will kick off with a “Unity in Diversity Community Parade,” featuring youth groups, drill teams, schools and community organizations from across the Delaware Valley. The parade will commence at 1 p.m. at Independence National Park, 5th and Market streets, and end on the Great Plaza at Penn’s Landing. The festival begins at 2 p.m. on the RiverStage at the Great Plaza at Penn’s Landing. It will feature an open market bazaar with an array of vendors providing international products and services, books, clothing, Islamic arts and crafts, jewelry, and foods from around the world. For families, there will be games for kids, face painting, and boat rides, among tons of free giveaways.
In addition, stage entertainment will be provided throughout the day by hip hop artists Kalil Ismail, R&B artists Blessing Sabir and Lox Knox, and the UPK Brass and Jazz Band. Other performers include hip-hop group Jabbernauts, the AICP Madiah Islamic chores group, a large variety of spoken-word poets and artists, along with other multicultural performance groups and aspiring music artists, all supported by a live band.
RiverStage at Penn’s Landing, Columbus Boulevard and Chestnut Street
Saturday, June 9, 2-8 p.m.
www.delawareriverevents.com

Free Screening: “NO ROOM FOR ROCKSTARS: THE VANS WARPED TOUR”
The Awesome Fest is partnering with the Delaware River Waterfront Corp. to present a weekly series of free outdoor movie screenings at the Race Street Pier. Every Saturday at nightfall throughout the summer, The Awesome Fest will be presenting independent features straight out of major festivals including Sundance and South by Southwest.
With more than 300 hours of film shot during the 2010 tour, “No Room for Rockstars” documents the true stories of modern-era rock ‘n’ roll from every possible angle. From the kids in the van playing parking lots to gain notice, to the veteran stage manager whose life was saved by the tour, to the musician who crosses over to mainstream success while on the road, “No Room for Rockstars” is Cinema Verite storytelling at its finest. Recently screened at Slamdance, SXSW and Hot Docs (Toronto), this is not a historical retrospective or concert film.
Race Street Pier at Columbus Boulevard and Race Street
Saturday, June 9, 8:30 p.m.
www.theawesomefest.com

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The day started off on a high note with excellent performances by a number of up-and-coming rappers. Shabazz Palaces, a group that records some of the most intriguing and distinct hip-hop today, managed to port over its dense sound with a combination of sampling and live instrumentation. Their songs seamlessly bled into one another to form sets broken up by coordinated dance moves that made their act one of the more memorable of the festival.

Meanwhile, Mr. Mutha—–n’ eXquire and Danny Brown eschewed subtlety for boisterousness. While neither was particularly refined, they were both highly entertaining, if not extremely crude.

TUne-yArDs and St. Vincent played back-to-back sets in my personal highlight of the festival. While they were both constrained to abbreviated sets — and St. Vincent suffered briefly from technical issues — they packed in as much music as possible. They displayed huge amounts of energy and musical prowess. TUnE-yArDs is distinct from any other band currently touring; it prominently features vocal and drum loops recorded on the fly, saxophone, and ukulele. In addition, lead singer and drum-loop creator Merrill Garbus added a visual flair to her performance with face paint and neon tassels on the shoulders of her dress. Annie Clark, lead singer and guitarist of St. Vincent, astounded the crowd with virtuosic guitar playing.

James Murphy, lead singer and songwriter of the now-defunct LCD Soundsystem, played an assortment of 70s and 80s underground dance songs during his excellent DJ set. Long before he started his highly acclaimed and successful band, he was known in the New York area for his superb DJing, and Saturday’s set proved that he had lost none of his abilities.

Finally, The Roots took the stage, proving to be amply entertaining headliners. In addition to being a remarkably tight band, they were affable and fun. They supplemented their performance with several noteworthy performers, including Wale, De La Soul, and surprise appearances from Mos Def and DJ Jazzy Jeff.

While there were without a doubt some less-than-stellar performances early in the day, they were easily overshadowed by the wealth of excellent artists on display. The Roots curated an enjoyable lineup with something for everyone — a feat hoped to be duplicated for years to come.

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With a frame under five feet and a petite Southern-tinted speaking voice to match, no one can prepare themselves for what happens when Kristin Chenoweth opens her mouth to sing. The Tony Award-winning Broadway superstar, best known for her portrayal of Glinda in the smash hit musical “Wicked,” earned herself a massive fandom with the colossal voice inhabiting her doll-sized body. She graced the stage of Philadelphia’s Academy of Music June 1 with her bubbling presence for an evening of music, tears and laughs.

Broadway star Kristin Chenoweth performed at the Academy of Music June 1. The star is best known for her portrayal of Glinda in the musical "Wicked" and her role as April Rhodes in the hit television series "Glee."

When Chenoweth at last took to the stage in a black cat suit and towering heels, the theater erupted. After a good cheering delay of at least 30 seconds, she brought out her rhinestone-studded microphone stand to get the party started.

The wonderful thing about Kristin is how much she loves talking to her audiences. At the end of her opening number, she grabbed a giant Wawa cup off of the piano, slurping for a moment before pointing out that, having spent several years living in Pennsylvania, she “knows the difference between 7-Eleven and Wawa” and that she had a Tastykake before the concert.

In the second segment of the show, she took the opportunity to bring out a few of her countless pairs of stilettos to model while performing her comical tango-beat song “In These Shoes?”

“I don’t have children,” she quipped, “I have shoes.” During a musical shout-out to her country singer friend and idol in “What Would Dolly Do?” she snagged a phone from a front-row spectator to “video call” the bewigged idol for some advice.

Sticking to her theatrical roots, Chenoweth performed a number of show tunes such as “Bring Him Home” from “Les Miserables,” “Wishing You Were Somehow Here Again” from “The Phantom of the Opera,” and “Maybe This Time” from “Cabaret,” the last being best known from Chenoweth’s appearance as April Rhodes on “Glee.”

Gleeks were also excited to hear her team up with one of her two supporting men to pull off her emotional mashup of “One Less Bell to Answer” and “A House is Not a Home” from the show. For a surprising change, Chenoweth took the audience “around the world with Glinda” as she performed her trademark “Wicked” song, “Popular,” in English, Japanese, German and Dutch.

Halfway through the first half of the concert, Kristin was joined onstage by some faces familiar to the musical lovers in the crowd. Her trio of backup singers took control of the puppet characters Lucy T. Slut and the Bad Idea Bears from “Avenue Q.”

With her signature sexy cymbal riff accompanying her sashaying path across the stage, Lucy enjoyed taking a few digs at Chenoweth, looking her up and down with a snort of “Hey, short stuff” and rubbing in her own show’s past success at beating out “Wicked” for the  Tony Award for Best Musical, cumulating in a brief catfight between the two.

Chenoweth’s concert was just as touching as it was funny. She shared her lifelong faith with her fans through the gospel hymn “Upon This Rock,” and she showed the true meaning of friendship by choosing two 16-year-old girls from the audience to sing “For Good” from “Wicked” with her. She proclaimed that the greatest love of all is that of “Fathers and Daughters.”

As a concluding performance, she shared with the audience how she had created the charity project Maddie’s Corner to support animal adoption, and in song she told everyone of her desire to let the world of the future know that “I Was Here.” It was amazing to see someone so small with a voice as big as her enormous heart.

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Musicals are certainly an enjoyable source of entertainment, and viewers typically provide enthusiastic feedback, but rarely does it take the form of seemingly out-of-body experiences like those at this show. Although these reactions were alarming and quite unusual, they were no less justified.

Buddy Holly was and continues to be a musical icon, dominating the record players of his time and extending to the CDs and iPods of generations to follow. His significant presence in the history of music is undeniable; his contributions to the industry changed the face, or rather, ear of music through the popularization of rock ‘n’ roll. In short, he was a young, enthusiastic, free-spirited man who was able to shift the tides from the dominating genre of country to a new sound.

That being said, it then makes sense why spectators at the “Buddy” musical were so overcome by the music. It was the music of their youth and is still the music of their adulthood. Just as we rage to Chiddy Bang or Super Mash Bros. — and you can’t say you haven’t seen some interesting spectacles at concerts like these — so, too, did these audience members.

Assuredly, the actors and actresses deserved such zealous regard. Leading man Christopher Sutton embodied the boyish, easy-going nature of Buddy Holly, belting out classic tunes such as “Oh Boy,” “That’ll Be the Day” and “Raining In My Heart.”

What’s more, he starred alongside his wife, Lyn Philistine, who played Holly’s wife-at-first-sight, Maria Elena (an “aw, that’s cute” realization, for sure). Accompanying them onstage were equally talented performers making for a cast as lively as the crowd.

Starting from the practical joke of the opening scene, in which Holly and the Crickets transformed a country performance into a rock ‘n’ roll ballad on a local radio station, the crowd was engaged in the trials and errors of Holly’s rise to fame. The cast excelled in portraying the journey, whether in Holly’s home state of Texas or a recording station in New Mexico or even a black performance hall in Harlem.

On top of that, Casey Hushion, the director and choreographer of the production, succeeded in incorporating the audience into the show. More often than not, the actors would encourage the audience to participate in call-and-responses and sing-alongs, which only heightened the eagerness of the jiggy ones in the audience.

Aside from the hubbub of excitement, the musical was also able to achieve a more serious tone, especially when dealing with Holly’s unexpected death in a tragic plane crash in 1959. Indeed, Sutton successfully played on the emotions of the situation, having Maria Elena give a haunting premonition of the crash in a dream of hers before Holly leaves for what would be his final tour.

“Buddy: The Buddy Holly Story” will continue to play until July 15 at the Walnut Street Theatre for its 203rd anniversary season.

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The Drexel Players successfully closed the curtain on yet another top-notch season. The musical satire “Urinetown, The Musical” has been a much-appreciated escape for students overwhelmed with midterms.

The highly entertaining and hilarious musical was directed by Peter Reynolds and featured original music and lyrics by Mark Hollman. The show opened May 4 and played through May 13 in Drexel’s Mandell Theater.

The Drexel Players present the comedy "Urinetown, The Musical," directed by Peter Reynolds. The musical stars Joe Matthew and Kristen Tripolitis.

“Urinetown” takes its audience on a humorous musical journey that explores the effects of capitalism, social irresponsibility, economic inequality, and the importance of sustainability, all of which are applicable to society today.

The story is about a town that charges its residents to urinate. Free bathroom facilities are no longer available to the public after the so-called “stink years,” and the public rebels against the injustice under the gallant leadership of Bobby Strong.

In addition to comedy and political satire, the musical also features romance, as Strong falls in love with Hope Cladwell, the daughter of the authoritative owner of the Urine Good Company.

Joe Matthew and Kristen Tripolitis played Bobby and Hope and did a magnificent job in capturing the true essence of the characters. Matthew, in particular, surprised the audience with a dance sequence that incorporated a mix of Hindi Bollywood music and won the crowd over; people laughed along uproariously.

Allison Brobst played Penelope Pennywise and could not have suited the role more perfectly. She added life and laughter to the show.

The costumes designed by Lauren Perigard did the show justice. The dresses suited each and every role perfectly and added an extra and much-appreciated touch to the show. The shimmer from Mr. Cladwell’s suits and shoes could be seen from a distance while Tiny Tom’s fan hat spun all night long.

Choreographer Maggie Anderson played to each character’s strengths and potential. Not only did the actors dance phenomenally, but their voices were outstanding as well. They danced in synchronization and hit every note to perfection.

The backdrop, capturing the soul of the fictional town, deserves to be applauded.

The audience in the packed theater gave a standing ovation to the deserving cast and crew.

“Urinetown” was a must-see performance that offered two fun-filled hours of humor and lightheartedness. Hats off to the Drexel Players for another successful season!

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The show consisted of many short “serio-comic” scenes based on information provided by audience members on the spot. Though the show followed a format, none of the performance content was scripted. Every piece came spontaneously from the minds of the performers with a little help from audience input. Seating was limited to about 40 audience members, which worked in favor of the intimate nature of Tongue and Groove’s performance style.

The preamble of the show, delivered by Bobbi Block (producing artistic director, performer and Drexel instructor) prompted audience members to answer two questions in writing: “Who are you?” and “Where do you feel the most like yourself?”

After collecting these answers, the performers used them periodically throughout the show to create the platforms for their scenes. The characters and settings were inspired by the audience suggestions but often taken into a very original context invented by the actors. For example, one performer picked a card that described a young Jewish woman and her desire to find her place in the world.

That bit propelled itself into a sketch about a couple with religious differences deciding how and where they would spend their holiday. Most of the characters were created in this way and ranged from a commitment-phobic young woman grappling with her sexuality to a pair of crass, elderly interior designers helping a single woman create a date-friendly home.

The performers played multiple roles within the show and often switched back and forth between them. However, the characters they created were so strong and distinct that the audience could easily stay with them through the transitions. The use of specific body language and vocal choices made all the difference in keeping the characters unique and immediately recognizable.

One of the most interesting segments of the show involved pairs of characters corresponding over the Internet, where a lonely yet colorful man crosses paths with a cyber-predator. A desperate, presumably single mother chats with a man who is, frankly, not all that into her, and another woman finds that her boyfriend has an almost obsessive interest in her mom. The pairs rotate, implying the passage of time in their particular correspondence every time they land in the hot seat. By exploring the very real reservations many people have about connecting over the Internet, the improvisers elicited many laughs and much empathy.

There is a certain excitement and sense of synergy that comes with improvised theater. The artists and audience collaborate to create something together, and that something feels real and satisfying. Tongue and Groove will be bringing its fresh, collaborative style of improvised theater to the Philadelphia Fringe festival in September, where the company will debut a brand-new show format. Tongue and Groove has also recently been accepted to perform at the 2013 Philadelphia International Festival of the Arts.

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Everyone must pay for “the privilege to pee!”

This is the premise of Mark Hollmann and Greg Kotis’ satirical comedy “Urinetown: The Musical,” which will open May 4 at Drexel’s Mandell Theater.

The Drexel Players present Mark Hollmann and Greg Kotis’ Tony Award-winning musical “Urinetown, The Musical.” The show opens May 4 1 in Mandell Theater.

Presented by the Drexel Players, “Urinetown” encompasses many genres and is famous for satirizing the original Broadway production, which opened in 2001 and ran over 900 performances on Broadway in Henry Miller’s Theatre before closing in 2004. It was nominated 10 times at the 2002 Tony Awards and won three (Best Book of a Musical, Direction of a Musical, and Original Score).

“It’s a parody of musicals, so a lot of the songs are parallel to other musicals, and there are a lot of parts where we bring elements of other musicals in. Going in, if you know a lot about musicals, it’s sort of like a little guessing game to see how many references you can find,” cast member Tori Lewis said.

The show tells the story of Bobby Strong (played by Joe Mathew), the assistant urinal custodian of Amenity No. 9, the filthiest urinal in town. A 20-year drought has made individual toilets unsustainable, and it is the job of Bobby and his boss, Penelope Pennywise (Allison Brobst), to ensure the public pays its dues to the Urine Good Company, run by President Caldwell B. Caldwell (Will Poost). Anyone who fails to pay the fee is carted off to a feared and mysterious place known only as “Urinetown.” Chaos ensues as Bobby falls in love with Caldwell’s daughter Hope (Kristen Tripolitis), and the masses revolt against the Urine Good Company.

“I love the humor,” Lewis said. “I love the fact that it pokes fun at musicals themselves while also delivering a really relevant, really scary message about sustainability, which is so important right now.”

For the Drexel Players, work on the show began with auditions in early March. Rehearsals commenced at the beginning of spring term and have been running six days a week.

In order to facilitate funding, the Drexel Players’ production of “Urinetown” has been the result of collaboration with Temple University’s theater department, which produced the show earlier this year. The two productions share a director, Peter Reynolds, and much of the set.

“I don’t want to give too much away, but there are a lot of flying pieces and a lot of moving pieces, and it’s just very visually exciting,” Lewis said.

With musical direction by Ryan Touhey and choreography by Maggie Anderson, the show is sure to please with audience favorites such as “Follow Your Heart” and “Run, Freedom, Run!”

“[Run, Freedom, Run!] is the most exciting number in the entire show, and everybody that goes to see it will have their socks knocked off,” Lewis said.

For more information, tickets and showtimes, please visit www.drexelplayers.com.

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Dry the River — “Shallow Bed”

Dry the River formed in 2009, but its first full length album wasn’t released until last week. The band has garnered attention, though, with EP releases and tours. Dry the River made the BBC Sound of 2012 list, and the highly anticipated release of “Shallow Bed” lived up to expectations. The band’s soft-sounding folk rock, featuring acoustic guitar and violin along with electric instruments, has an unexpected intensity to it. Its poetic lyrics combined with flowing melodies, and just a hint of rock opera, make its music both accessible and engaging.

Johnny Brenda’s

Thursday, March 22

Ben Howard — “Every Kingdom”

Ben Howard is a singer-songwriter from London who is already causing a buzz in the United Kingdom. He’s finally bringing his music across the pond with the April 3 U.S. release of his album and Communion’s Austin to Boston Tour. With the help of vocalist and cellist India Bourne and producer-bassist-drummer Chris Bond, Howard recorded “Every Kingdom,” a well-crafted, full-sounding folk album. The minimalist acoustic guitar, layered with rich vocals and complementary instrumentals, makes a beautiful album that stands out.

World Cafe Live

Tuesday, March 27

Lovedrug — “Wild Blood”

The Ohio band’s last full-length release was back in 2008. After releasing a couple EPs, the band announced “I AM LOVEDRUG” in 2010, a fan-driven project to fund its fourth studio album. “Wild Blood,” released last week, was the result of the campaign. The record is a little more subdued and organic than past releases, but it still contains Michael Shepard’s quirky vocals and remnants of the band’s dark, grungy sound. The release is simply a more grown-up, dynamic rock album closer to indie pop than the past two records.

North Star Bar

Friday, April 13

Anthony Raneri — “New Cathedrals”

Anthony Raneri is best known for being the lead singer of New York band Bayside. Over the past few years, he has performed both original and Bayside songs at solo shows. He finally decided to release an EP of some of these songs that he didn’t think fit with his band’s music. His acoustic rock numbers, injected with a bit of folk, classic rock and country-twang, are definitely a departure, but not so much so that Bayside fans won’t like them. The songs are simpler and feel more personal, making them perfect for intimate performances.

North Star Bar

Thursday, April 26

Bear in Heaven — “I Love You, It’s Cool”
Bear in Heaven is an experimental rock band from Brooklyn. Its newest album, “I Love You, It’s Cool,” is set for an April 3 release. The album’s electronic sound is reminiscent of ’80s synthpop, but Bear in Heaven’s music isn’t just fluff; it’s deeper and darker than present-day dance music. “I Love You, It’s Cool” is the kind of album you want the volume up for, and it may be better suited for a live show than for an MP3 player.

First Unitarian Church

Wednesday, May 2

The post Albums to look forward to this spring appeared first on The Triangle.

When Sir Andrew Lloyd Webber announced that he was penning a continuation to his most beloved piece of musical theater, Broadway aficionados were riled to say the least. After its initial London release, the discontent was heightened even further, as everything from the plot to the score was criticized. Lately, an Australian production transformed the show, tidying up plot holes and reworking poorly received numbers. American audiences viewed a recording of this production in movie theaters around the country Feb. 28 and March 7.

Our story picks up a decade after “Phantom” ends, by which time the grotesque genius has fled to Coney Island. While Coney Island may seem a strange setting, as a world where human freaks and oddities run free, it is the perfect place for his twisted appearance to become completely unremarkable. We are introduced to his newest creation, a land of amusement and music called Phantasma by its trio of guardians: the pint-sized fireball, Miss Fleck; the clownish strong man, Squelch; and the crafty ringleader, Gangle. Together, they invite the audience into the whirling, colorful chaos of Phantasma, over which looms the twisted frame of its roller coaster paired with a massive melting mask.

We are then reintroduced to the woman whose voice set the wheels of the entire tale into motion, Christine Daae. Transformed from a timid ingenue to the most celebrated songbird of her day, she has come to New York to make her American debut, accompanied by her former sweetheart — now husband, Raoul, and their young son, Gustave. Christine is horrified when the Phantom, who vanished completely after his love of her drove him to madness and murder, comes sweeping into her room that night. He implores her to come and perform a single song at Phantasma, ominously remarking how horrendous it would be for something to befall Gustave should she refuse. This decision once again sweeps the group into a whirlwind of deadly decisions and passions that will change their lives a second time.

“Love Never Dies” shows us just how much the horrors of the Paris opera changed things for the worse. Meg Giry, Christine’s former best friend, and her mother, Madame Giry, are now jealous and spiteful, and they resent that the Phantom, for whom they worked tirelessly to rescue and serve, blindly chose his love Christine over them. From the role of romantic suitor, Raoul quickly turned angry drunkard and gambling addict, doubtful of Christine’s true emotions. The Phantom himself, who became much more sympathetic in the London version, presents much the same angel-of-darkness vibe as before.

If Tim Burton had a hand in set design for a musical, it might look a lot like that of “Love Never Dies.” Phantasma holds a disconcerting wonderment, at once lively and poisonous. Painted smiles and clever tricks weave into a much more menacing aura. In particular, the secret underground lair of the Phantom is a shining nightmare brought to life with freaks encased in mirrors and glass; writhing, winged horse skeletons; and an ever-present misty haze.

Now, of course, the music. Of all the show’s songs, the best-known is “‘Til I Hear You Sing,” in which the Phantom pours out every ounce of longing and frustration eating away at his soul in the years without Christine. Later, in the back-to-back numbers “Beneath a Moonless Sky” and “Once Upon Another Time,” Christine and the Phantom reminisce about their time together long ago and imagine what may have been in a different world. The show’s most exciting song is “The Beauty Underneath,” a straight-up rock performance that draws listeners “in past the place where dreams begin.” Then there’s the titular song, a soaring aria sung by Christine, which, in saying how once the uncontrollable pain and pleasure of love are through, “love will still remain,” nicely summarizes her feelings toward the Phantom. While the score is quite good, there aren’t any numbers destined to be as classic as “Music of the Night” or “All I Ask of You.”

Though not surpassing the perfection of its predecessor, “Love Never Dies” keeps the shadowy underworld feeling of the original “Phantom of the Opera,” delves into the minds of the characters who were forced into a life-altering disturbance 10 years ago, and reignites the tale of mystery and romance for devotees of the Angel of Music.

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The second week of PTC@Play began with a reading of “Hope and Gravity” by Philadelphia playwright Michael Hollinger. Following “Hope and Gravity” was a presentation of the first annual Terrence McNally New Play Award, a $10,000 prize awarded to the research and development of new work. Bill Cain, author of “Equivocation,” accepted the award to aid in the development of his current project, “Unvarnished,” a piece about the life of Philadelphia artist Thomas Eakins.

Throughout the rest of the week, PTC@Play showcased the work of 13 other playwrights: some lauded, some barely established and many local. The playwrights sat in-house for staged readings of their works in progress, which spanned from sci-fi to period pieces. PTC hosted a dialogue March 8 with industry professionals Charles Busch, Gordon Greenberg and Abigail Poegrebin titled “Creating the New American Musical.” The dialogue discussed the cultivation of Busch’s new musical, “Stars of David.”

I was able to make Saturday’s reading of “Detroit ‘67” by Dominique Morisseau. The piece, which is still under construction, follows the lives of two adult siblings living in Detroit in 1967. The siblings are faced with race relations, police brutality and the riots they incite as a result.

March 11 marked the closing event of PTC@Play, which included readings of eight short plays by local writers: “The Narcoleptic Pillow Fight” by Alex Dremann, “Rochambeau” by Sarah Mantell, “Riot Grrrls Reunion” by Darin J. Dunston, “Cliff-Diving” by David S. White, “Backfire” by David Lee White, “Lannie’s Lament” by Jacqueline Goldfinger, “Wet” by P. Seth Bauer and “Alterations” by Quinn D. Eli.

Don’t worry if you missed PTC@Play this year. The Philadelphia Theatre Company hosts many free events throughout the year as well as professional shows. For their spring season, PTC will be premiering “The Outgoing Tide” by Bruce Graham, Drexel’s own playwriting professor. “The Outgoing Tide” is a quirky family drama that follows an older couple and their adult son, who must find a way to resolve their money issues as well as their differences. In conjunction with teaching Playwriting I, Playwriting II and Creating Stand-up Comedy at Drexel, Graham is a Barrymore Award recipient who has written over a dozen plays and holds writing credits on several successful screenplays.

“The Outgoing Tide” premieres at the Suzanne Roberts Theatre Friday, March 23.at 8 p.m. The show will run through April 22. Tickets are available for purchase directly at the theater or at www.philadelphiatheatrecompany.org.

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Leah Stein Dance Co. celebrates 10 years
Philadelphia Dance Projects honors a landmark year for a movement pioneer with “Leah Stein Dance Co.’s 10th Anniversary,” an expansive program that reflects on the company’s past and contemplates the road ahead through duet and small-group works. During each performance, Philadelphia choreographer Leah Stein will walk audiences through her ever-contemplative body of work, from introspective site-inspired dances to bold collaborations.
“This is an artist who is important to know,” Philadelphia Dance Projects executive director Terry Fox said. “Leah has paved the way for site-specific work and has forged new territory in the way she creates structures in her dances. Philadelphia Dance Projects’ mission is to give context to contemporary dance as an evolving form. This program shows the history of an artist with a particular style and virtuosity that we felt was important to examine and allows audiences to see the common threads throughout her works. It’s about getting close to the mover — watching logic and inspiration happen and getting inside the heart of it.”
Thematically, “Leah Stein Dance Company’s 10th Anniversary,” an evening of six dances, focuses not only on Stein’s individual path but how she has shared it with her fellow dancers and collaborators over the past decade.
These works, from serene and simple to brash and bombastic, also showcase Stein’s cherished relationship with the world around her. The choreographer, whose mission is to connect people, culture and physical environment, is well known for forging the territory of site-specific dance in Philadelphia, yet her connection to nature runs deeper than the spaces her dances have inhabited. This program incorporates many elements of the natural world, from the muscular, pulsing water of “Hull” to the weightlessness of “Kite.” Stein’s dances explore how we interact with our environment and how nature can enliven urban spaces.
The Performance Garage at 1515 Brandywine St.
Thursday, March 8 through Sunday, March 11
Tickets: $20-$25
www.philadanceprojects.org 

Pennsylvania Ballet Presents “Messiah”
Pennsylvania Ballet presents choreographer Robert Weiss’ “Messiah,” set to the universally popular score by George Frideric Handel and featuring The Philadelphia Singers.
“Messiah” carries a special connection to Pennsylvania Ballet, as its choreographer is the company’s former artistic director. In this ballet, Weiss employs more than 50 individual scenes to convey an emotional spectrum of joy, suffering, passion and redemption. “Messiah” opens with a full choir onstage in a skeletal abstraction of a church. With sun streaming through the bare windows, dancers take the stage in a vivid, moving interpretation of this epic libretto, featuring stunning sets and costumes. The Pennsylvania Ballet Orchestra is accompanied by The Philadelphia Singers. Soloists include Suzanne Ramo, soprano; Jamie Van Eyck, mezzo soprano; Steve Sanders, tenor; and Levi Hernandez, bass.
The Academy of Music at 240 S. Broad St.
March 8-17
Tickets: $20-$140; $15 student rush tickets available one hour before the show
www.paballet.org

Arden Theatre presents “Cyrano”
Arden Theatre Co. 2011-12 mainstage season continues with Edmond Rostand’s “Cyrano” in a new version translated by Michael Hollinger, co-adapted with director Aaron Posner. This classic French love story reimagined for an American audience lets audiences discover if Roxane will fall for Christian’s dashing looks or Cyrano’s daring poetry in this passionate romance full of wordplay and swordplay that’s been an inspiration to writers and lovers for centuries.
“Cyrano” marks Hollinger’s first full-scale translation, for which he used his fluency in French to develop the play with Posner’s lean and athletic directorial style in mind. Hollinger has premiered seven plays at the Arden, including three Barrymore Award winners for Outstanding New Play: “Opus” (one of American Theatre’s Top 10 most produced plays in 2009), “Ghost-Writer” and “Red Herring,” performed by the Drexel Players in winter 2009.
Arden Theatre Co. at 40 N. 2nd St.
Thursday, March 8 through April 15
Tickets: $29-$45; $5 student rush five minutes before showtime
www.ardentheatre.org

Craft Beer Express
The concept behind the Craft Beer Express is simple: a handful of Philly bar owners wanted to share their love of beer with people who appreciate a fine brew as much as they do. What better way than a pub crawl? The Craft Beer Express collaborated to create a crawl that would attract a knowledgeable audience who has a passion for quality beers and in-depth tasting events. Tickets are available online up until the day of the event, and bus routes are added for patron transportation. Participating bars include: Kraftwerk, Johnny Brenda’s, Standard Tap, Bishop’s Collar, The Sidecar, Pub on Passyunk East, Brauhaus Schmitz and Race Street Cafe.
Saturday, March 10, 11 a.m. to 9 p.m.
Admission: $10
www.craftbeerexpress.com

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The culmination of awards season ended last Sunday with the broadcast of Hollywood’s biggest night, the 84th annual Academy Awards, which honored the best in film for 2011. This year’s host was Oscar veteran Billy Crystal, and he put on quite an entertaining show.

Beginning with a short film chronicling Crystal’s journey to the Oscar stage, Crystal spoofed such nominated movies as “The Artist,” “Moneyball” and “The Help.” Our host for the evening even received a kiss from George Clooney during “The Descendants” portion of the opening monologue.

Bret McKenzie with the Achievement in Music (Original Song) award at the 84th annual Academy Awards show at the Hollywood and Highland Center in Los Angeles, Ca.

Overall, the show was a crowd pleaser, which was made evident by the four-percent increase in viewership as compared to last year’s telecast. There were many surprises, upsets and comical moments that will be cemented into Academy Awards history for years to come. Let’s start where the show really began: the red carpet. The E! network always throws Ryan Seacrest onto the carpet for all the big awards shows. Typically, celebrities are always pleasant to Seacrest, but this past Sunday the “E! News” host had a run-in with “The Dictator.”

Sasha Baron Cohen, who was invited to the Oscars for his role in Best Picture nominee “Hugo,” decided to arrive in character to promote his upcoming film, “The Dictator.” After much talk of banning Cohen from the award ceremony, the actor, not being a big fan of following rules, showed up as “The Dictator,” and Seacrest was first in line to interview him. As a prop, “The Dictator” was carrying an urn that held the imaginary ashes of the late Kim Jong Il, which were poured all over Seacrest, causing the anchor’s security team to haul Cohen away. We later found out that the ashes were really just pancake mix.

Fashion on the red carpet seemed to please more than disappoint this year. Some of the most talked-about dresses were Gwyneth Paltrow’s white Tom Ford dress complete with cape, Stacy Keibler’s gold Marchesa gown, and Angelina Jolie’s all-black Atelier Versace gown, which showed a lot of leg.

Inside the Hollywood and Highland Center, formerly known as the Kodak Theatre, there were a total of 24 awards given out. The big winners for the evening were “Hugo” and “The Artist,” each taking home five Oscar statues. The award for Best Supporting Actor went to Christopher Plummer for his role in “Beginners.” Almost the same age as the award ceremony itself, Plummer is the oldest actor to win an Oscar at the age of 82.“I have a confession to make: When I first emerged from my mother’s womb I was already rehearsing my Academy thank you speech,” Plummer said.

Best Supporting Actress was awarded to Octavia Spencer for her role as Minny Jackson in “The Help.” With this being her first Academy Award, Spencer gave a tearful speech thanking the many people who helped her along the way. “Please wrap up. I’m wrapping up. I’m sorry, I’m freaking out,” Spencer said before she walked offstage clutching her award.

The Best Actor nod went to Jean Dujardin for his role in “The Artist.” Dujardin is the first French actor to win this award, and he caused some controversy when he cursed in French during his acceptance speech. As for Best Actress, many were speculating that Viola Davis would win for her role in “The Help,” but Meryl Streep sneaked up and stole the glory with her portrayal of Margaret Thatcher in “The Iron Lady.” This was Streep’s 17th Oscar nomination and third win. “When they called my name I had this feeling I could hear half of America going, ‘Oh no, oh, come on why? Her. Again,’ you know? But whatever,” Streep said.

The Best Director award went to Michel Hazanavicius for his work on “The Artist.” And now for the award you have been waiting for: The Oscar for Best Picture was awarded to the cast and crew of “The Artist,” which wasn’t a big surprise.

The award winners weren’t the only ones making memories at this year’s Oscars. Some of the presenters caused some unforgettable moments. Presenting the award for Achievement in Costume Design, Jennifer Lopez caused a bit of a stir when many claimed she had a wardrobe malfunction onstage. Lopez, presenting alongside Cameron Diaz, showed off her front and her famous backside in a low-cut, almost sheer Zuhair Murad gown.

Ben Stiller and Emma Stone presented the award for Best Digital Effects. Stone took this opportunity to let the audience know this was her first time presenting at the Oscars, and she was looking to make it memorable. The “Easy A” star suggested a variety of ways to make this moment memorable, even suggesting a song and dance number. “I can just pull someone up from the audience and have them dance with me. Oh my God Jonah [Hill]. Get up here! Let’s dance, let’s dance,” Stone said. The camera shoots to Hill while he shakes his head “no” at Stone.

My favorite pair of presenters was Rose Byrne and Melissa McCarthy, who were there to hand out the award for Best Documentary Short. If you recall from the SAG Awards, the “Bridesmaids” stars made up a drinking game with one simple rule: Take a drink every time you hear the name Scorsese. While onstage at the Oscars, some from the audience yelled out Scorsese, and Byrne and McCarthy hilariously pulled out a small travel-sized bottle in order to honor the game.

Overall, I think the 2012 Academy Awards was an enjoyable show, and it only ran about 10 minutes over. There were many funny and serious moments that highlighted the hard work that the actors and everyone behind the scenes put into these films. Now that the Oscars are over, the 2011 awards season has sadly come to an end, but we will always have the memories of Angelina Jolie’s leg.

The post The 84th annual Academy Awards mix controversy, hilarity and big wins appeared first on The Triangle.

“The Vagina Monologues” is made up of a varying number of monologues read by a number of women based on intimate experiences related to sexual abuse and violence.

Ensler’s original production started in 1996 when she, along with a group of her friends, got together and shared their experiences related to womanhood and mistreatment. The V-Day Movement is based on Ensler’s “The Vagina Monologues,” in which participants stage benefit performances of the show or host other related events in their communities. Such events take place worldwide each year between Feb. 1 and April 30. The performances generally benefit rape crisis centers and similar resource centers for women. During the rest of the year, the play is performed in thousands of communities and colleges worldwide, and this year, Drexel University is doing the honors.

V-Day at Drexel is directed by our very own Suzanne Noll, manager of leaning and development for Drexel Human Resources. Noll has directed two performances of “The Vagina Monologues” previously, making Drexel her third. The previous two were held in Harrisburg in association with nonprofit organizations. Having been an actor herself, Noll was asked to assist with the direction of the 2009 and 2010 performances in Harrisburg. After coming to Drexel in 2011, Noll had the vision to showcase a Vagina Monologues at Drexel that incorporated students, faculty and staff and benefited a local nonprofit organization. Consequently, all proceeds go to the women of Haiti and Dawn’s Place.

Dawn’s Place is a nonprofit organization that supports women affected by commercial sexual exploitation by providing various services. It aims to raise awareness through education, prevention, public policy reform and community collaborations. Their mission is to try to improve the lives of sexually exploited women by providing transitional housing, trauma recovery services, vocational training and other services.

“We hope to reach out to students, family members and other interested parties to help spread the message to fight against violence toward women. This, in turn, will help build a better future for all of womanhood,” Noll said.

A few facts should be included to give “The Vagina Monologues” a greater context. Globally, at least one in three women and girls is beaten or sexually abused in her lifetime. Four million women and girls are trafficked annually. Every two minutes, someone in the U.S. is sexually assaulted. A research study conducted by the University of Pennsylvania suggests that about 2,100 allegations of sexual abuse of children are made every year in Philadelphia. All these statistics go to show the high level of necessity to help protect innocent females against unjust and inhumane practices. The V-Day movement is one way to do so.

Drexel student Stephanie Mayer, who presents one of the monologues, says that as a freshman, she has enjoyed taking part in a production a little bit outside her comfort zone. Mayer adds, “Hearing about the number of rapes in Philadelphia itself has made me a little bit scared, but it’s all the more reason to fight against sexual violence.”

Krystle Wilson, a Drexel student, said that her main aim in doing this production is to create an overall impact against abuse toward women.

“My experience has been a lot of fun. We get to see people’s personalities through their monologues, which bring it to life. Everyone is unique, which is great because it builds a close-knitted community of women,” Wilson said.

The Democratic Republic of  the Congo, particularly the eastern region of the country, is known as the “rape capital of the world.” Recently, however, women are arising out of these inhumane shackles of their society. In honor of the women of the Congo who are rising in the face of the impossible, V-Day is calling the 1 billion survivors of violence on every continent of the planet to join and RISE. On Feb. 14, 2013, you are invited and challenged to walk out of your homes, schools and jobs to strike and dance. Join ONE BILLION RISING to take a stand against violence toward women. Text BILLION to 50555 or sign up at vday.org/billion.

Tickets are $10 for the general public and $5 for Drexel students with ID. Tickets are also available at www.vdaydrexel.eventbrite.com. For more information, contact vdaydrexel@gmail.com or 215-895-2662.

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The Armory on 33rd Street was the place to be Feb. 18 as top disc jockey and Swedish House Mafia’s music prodigy, DJ Alesso, made his debut in Philadelphia. Drexel University’s Pi Kappa Phi fraternity was responsible for organizing this large-scale event. The doors opened at 8 p.m., and the show continued until 1 a.m. The opening acts included LA Riots, Kap Slap, Dubstef and Zenbi. The audience consisted mostly of students from Drexel, the University of Pennsylvania, Rutgers University, Temple University, the University of West Virginia and many more. The show is considered to be one of the top electronic dance music events Philadelphia will see in 2012.
DJ Alesso (Alessandro Lindblad) specializes in progressive house. He achieved worldwide attention and popularity in 2011 with wide support of his original productions and remixes from the likes of Avicii, Swedish House Mafia, Tiesto, Sander van Doorm, Kaskade and other well-established DJs. Alesso took the stage around 11 p.m. and entranced the crowd with tracks including “Calling” and “Raise Your Head,” ranked among the top hits of 2011, and his remixes of songs such as “Pressure,” “Good Love,” “Titanium,” “DEVolution” and “Heiress of Valentina.” The crowd went wild raging to his mixes, and as the night grew on, the energy levels just seemed to build higher and higher.
Pi Kapp brought about this event with the help of Art of Electronica (AOE). They bring a lot of big dance music shows to the area such as Dayglow, Avicii, and Dancegiving. AOE assisted them with the marketing, procurement and production. Through their promotion network, combined with the hard work of Pi Kapp, the event has been largely successful. It had top-of-the-industry lighting and sound professionals, sparing no expense on production, which ensured it was a truly epic show. Props to both AOE and Pi Kapp.
Let’s Rage Clothing sponsored the event, with 100 percent of the profits donated to Pi Kapp’s national philanthropy, PUSH America.  PUSH America is focused on helping children with disabilities by sponsoring accessibility projects as well as various programs that work directly with the children. Dave Polinow, chapter president of Pi Kapp, wrote, “Still crunching the numbers, but we

Drexel fraternity Pi Kappa Phi worked with AOE and PUSH America to bring popular performer DJ Alesso to the Armory for a long night of dancing, fast-paced originals like “Raise Your Head” and solid remixes last Saturday, Feb. 18.

’re hoping to make a great contribution to PUSH America. Your energy last night made all of the effort planning worth it!”
The event as a whole was very well planned. The entry was organized, and the fast-moving line ensured that no student would freeze standing out in the cold, which I am sure everyone was thankful for. The Armory could accommodate a good number of people, so the pushing and nudging stayed to a minimum. The crowd danced all night, and peers took in the music to add to their college memories. DJ Alesso truly did leave a footmark on the console of the Drexel Armory.

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Paul L. Nolan, Eric Bryant, Harry Smith and Jennie Eisenhower in mystery novelist Agatha Christie’s iconic play, “The Mousetrap.” The show is currently playing at Walnut Street Theatre now until March 4. 

Fans of whodunits will be excited to hear the Walnut Street Theatre is currently running Agatha Christie’s iconic play “The Mousetrap.” In its 60th anniversary, the world’s longest-running play will be in Philadelphia until March 4.

British writer Agatha Christie, the “Queen of Crime,” is probably best known for her murder mystery novels. However, she put her storytelling abilities to great use for “The Mousetrap.” It is amazing that despite the show’s fame, the story’s ending still comes as a complete surprise for first-time viewers. The plot is based on true events in the case of Dennis O’Neill, a young boy who died in foster care in 1945. The play originated as a radio broadcast commissioned by the BBC for the 80th birthday celebration of Queen Mary. That show, “Three Blind Mice,” eventually became the stage production. Premiering in London’s West End in 1952, the show has never stopped running and, for it’s anniversary, has been licensed worldwide. These 60 international productions, along with the first ever U.K. tour, allow the show to reach a greater audience than ever before. Interestingly, the movie rights, which were purchased in 1956, have the condition that a film version cannot be released until six months after the show closes, meaning we may never see a big-screen adaptation.

A warning to fans of Clue-esque murder mysteries going in with no prior knowledge of the show: “The Mousetrap” is much less comical and slapstick than one might expect. It deals with the many facets of human nature, and while there are certainly moments of comic relief, it has a serious undercurrent.

Despite its setting in the winter of 1952, the story transcends the time period. The references to any historical context are minimal, and the play focuses on the interactions of an unlikely group. The production takes place entirely in the living room of the Monkswell Manor Guest House. Young newlyweds have inherited the house outside of London and have made the choice to open it up to boarders. The show begins as they await the arrival of their first guests. The radio announces a murder in London, and the snowy weather is expected to get worse. It all seems an inauspicious start to their new venture.

The guests include a grumpy spinster who moves around guesthouses, a strange young architect who seems to know little about architecture, a woman just back from traveling abroad, and a retired army major. An odd foreigner without a reservation joins them when his car overturns in a snowdrift. With the intent of keeping the whodunit a surprise, just know the household becomes linked to the earlier murder in London, and everyone is a suspect.

All the action of the play takes place inside the living room, and multiple entrances and exits lead to different parts of the house. Guests are constantly popping up at different doors and sneaking up on one another. The audience is left to imagine the rest of the house and the inner workings that allow the events to unfold as they do. The cast brings great humanity to their roles, and everyone seemed to capture their character spot on. They bring the right amount of comic relief to the often tense, adrenaline-filled moments.

A standout performance comes from the newlyweds, Mollie and Giles Ralston, played by Jennie Eisenhower and Dan Hodge. The events of the evening test their fledgling marriage, but we always believe they love each other and that will be enough. Mollie is ever positive about the success of the guesthouse, and she holds the group together until the end.

“The Mousetrap” is a world-renowned, record-breaking play, and Philadelphia is fortunate to have it at its very own Walnut Street Theatre. With a runtime of two hours and 15 minutes, it makes a great alternative to a movie and will certainly keep audiences on the edge of their seats as much as any big-screen mystery. The show runs until the beginning of March. Ticket and showtime information is available at www.walnutstreettheatre.org.

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“The Scottsboro Boys” ended with these words spoken by the renowned Rosa Parks,  played by Kaci M. Fannin. The stage went black, and my reaction slipped out: “Wow.”

Susan Stroman, of “The Producers” fame, directed and choreographed the production complemented by the musical mastery of dynamic duo John Kander and Fred Ebb (creators of renowned works like “Chicago” and “Cabaret”). Based on the book by David Thompson, this musical is a contemporary adaptation of the infamous Scottsboro case of the 1930s.

The time is the Great Depression; the place is Scottsboro, Alabama. The main players: nine teenage black boys — Olen Montgomery, Clarence Norris, Haywood Patterson, Ozie Powell, Willie Roberson, Charlie Weems, Eugene Williams, and brothers Andy and Roy Wright — played by a handful of both theater-savvy and up-and-coming actors. Of note is Philadelphia’s own Rodney Hicks as Haywood Patterson.

Every character in the musical contributed an equally unique and significant perspective to the plot. Though if one were to designate a “main” character, it would most likely be Patterson. To be sure, Hicks lives up to the role. He embodies the anguish of the boys as black individuals and the defiance of African Americans as a whole.

Assuredly, Patterson and crew have justifiable reason to agonize when arrested for false accusation of rape by two white girls, Victoria Price and Ruby Bates, also bumming a train ride. As a result, the once-unaffiliated group is forced into an intimate social and political entanglement that illustrates the racism rampant in the Depression-era South.

The publicly coined “Scottsboro boys” gained national recognition. Their legal narrative, from incessant appeals to unpromising trials and then prison sentences, flooded the popular media. In effect, the chasm between the North and the South deepened — Southerners supported conviction and Northerners encouraged liberation.

If this seems cynically poignant, it was. Admittedly, I did not expect such somber motifs further darkened by haunting musical compositions and choreography. One number in particular titled “Electric Chair” is exactly as the name suggests: electrifying and utterly disturbing. The youngest convict, Eugene Williams, dreams of his imminent death, materialized by the “ghosts” of two of the other boys who had been previously electrocuted and the tormenting guards.

Needless to say, “The Scottsboro Boys” did not avoid potentially controversial topics and related visual demonstrations. As a matter of fact, while the production team aims to minimize the offense of the conceptual aspects (I’ll explain in a moment), this very attempt is somewhat of a satirical gesture. Indeed, perhaps the most innovative feature of this musical was it being a show within a show. It uses one of theater’s most contended forms of storytelling, the minstrel show, to chronicle the case. Thus, the incorporation of humor and farce eludes the otherwise despondent mood of the situation.

All in all, each performance was gripping and made for an impressive show. What’s more, the singing voices of the performers exemplified the soul and depth of a gospel choir. In other words, the musical renditions were just as breathtaking as the acting.

The Philadelphia Theatre Company will continue to show this 12-time Tony-nominated musical at the Suzanne Roberts Theatre, 480 S. Broad St., now until Sunday, Feb. 19.

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Frontman Andrew McMahon stole the crowd at his sold out show at the TLA. The evening opened with solo artist Allen Stone and Jukebox The Ghost.

In this cold winter season we all need a little something to remind us that warmth and sunshine still exist. Just give Jack’s Mannequin a listen for a quick fix as you’ll find yourself on a beach in sunny California, soaking up the rays or cruising down the highway with the top down.

Jack’s Mannequin performed Feb. 6 to a sold-out crowd at Philly’s own Theatre of Living Arts. The concert was in support of the band’s third studio album, “People and Things,” released Oct. 4 with Sire Records.

The California-native band consists of frontman Andrew McMahon, guitarist Bobby Anderson, bassist Mikey “The Kid” Wagner and drummer Jay McMillan. McMahon, a leukemia survivor, is also the frontman of Something Corporate. Jack’s Mannequin released its debut album, “Everything in Transit,” in 2005 and “The Glass Passenger” in 2008.

The show opened with Allen Stone, an up-and-coming soul singer, promoting his self-titled album, released Oct. 4. Following Stone was Jukebox the Ghost, consisting of vocalist and pianist Ben Thornewill, vocalist and guitarist Tommy Siegel and drummer Jesse Kristin. The two opening acts were successful at warming up the fast-growing crowd.

Following the opening acts the crowd grew eager with anticipation as the room darkened, lit only by the vintage chandeliers hanging above them and dark blue light bulbs hanging low above the stage. The crowd went from dead silent to cheering at the top of their lungs (I think I was the loudest) as Jack’s Mannequin emerged from the fog.

There’s something solely unique about McMahon as a performer. Maybe it’s his goofy smile or the way he literally walks on his Baldwin piano and jumps around the stage like he doesn’t have a care in the world. He’s just your average carefree California dreamer who puts his heart and soul into his music.

The band opened up with “Hey Hey Hey [We’re All Gonna Die],” a beautiful, heartfelt anthem advocating living in the moment, because hey, we’re all going to die someday. The crowd swayed left and right in unison as they yelled the words with McMahon.

What I appreciated about this concert was that they performed an ample amount of songs from all three of their albums. They didn’t just concentrate on “People and Things.” What came next was “Bloodshot,” from “The Glass Passenger.” Lights spun around the room thanks to a disco ball and mismatched lamps placed onstage. McMahon also performed “Release Me,” “Holiday From Real” and “Television.”

Because McMahon has been through a lot emotionally, having been diagnosed with leukemia the day he finished recording “Everything in Transit,” he has a special connection to his songs, which is obvious from the passion he shows as he sings. Prior to performing “Swim,” he explained to the crowd, “It’s a song that got me through a tough time.” Passionately gracing his fingers up and down the piano, McMahon sang, “I swim to brighter days despite the absence of sun, choking on salt water. I’m not giving in, I swim.” This was one of the most moving sets of the night.

As mentioned before, Jack’s Mannequin is the perfect band to listen to when cruising down the highway. McMahon told many stories throughout the concert, and one in particular showed the spontaneity that resides inside him. McMahon explained calling his wife and asking her, “What would you do if I had to drive across this country?” I wouldn’t think past him actually doing that. This story inspired “Amelia Jean” from “People and Things,” singing, “Drove 84 to the grave of Buddy Holly. I’m out on the sunroof and full of Texas wind. Amelia Jean, is it warm back home in LA? I’ll write you when I know where to begin.”

McMahon also has an incredible sense of humor, constantly throwing jokes at the crowd and his bandmates, in between taking swigs of some sort of alcoholic beverage, of course. He teased, “I’ve been trying to win the best-dressed award, but this [expletive] keeps trying to outstage me,” referring to Kristin, who was wearing a sports jacket, a button-down shirt and a tie. Oh, you fancy, huh?

Jack’s Mannequin had also performed at the TLA Feb. 4. McMahon repeatedly referred to that night but also praised Monday night’s crowd, saying, “Tonight feels just as beautiful.” I think I blushed.

McMahon continued to perform hits such as “Bruised;” “La La Lie,” where he played the harmonica like a pro; “The Mixed Tape” and “The Resolution.”

To the crowd’s dismay, Jack’s Mannequin eventually left the stage. Nobody budged, cheering for a few minutes, hoping they would come back. McMahon ran back onstage to his trusty piano and performed three more songs, ending the night with “Dark Blue.” What a perfect ending to a perfect concert.

Kudos to Jack’s Mannequin for a blood-pumping, adrenaline-rushing performance. If you haven’t seen them in concert, I highly recommend doing so. It truly is the textbook definition of a thrilling experience.

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The show kicks off with an emotional piece, “Departed Recollections,” choreographed by Sarah Calvanico and Heather Otten. It progresses with a number of immaculate performances and takes us through the journey of life, elaborating the various ups and downs we may face. One dance that stood out to me in particular was “Love and Willpower,” choreographed by Grace Gamble. It portrays the process of falling in love, getting your heart ripped out of your chest and ultimately letting your guard up so that you do not fall into the “trap” again. The intricacy and level of emotion and intensity in this piece brought goose bumps to my arms. The underlying theme of this performance, however, was that of independence: We are beautiful young women and are 100-percent capable of being happy on our own terms.

“Snapshots” consists of 10 dance pieces, each more beautiful and elegant than the last. The dancers show exceptional talent and skill onstage. Emotions are let loose and intensity is at its highest. Precision to detail is another aspect that we Drexel Dragons do not forget; Toes are pointed, and the lines are perfect. The dancers move impeccably and flow flawlessly from one step to another. The students in duets have developed real relationships, which can be seen clearly through their chemistry both onstage and off. The winter concert portrays feelings of fear, anger, disgust, happiness and hope. It is through these emotions that the audience can connect with the dancers on an entirely different level.

The Drexel Dance Ensemble attempts to showcase the talents of students, faculty and guest artist choreographers from a wide range of genres. It provides opportunities for students not only to understand and grow in the field of dance, but also to express themselves socially and culturally. The dancers consider their ensemble more than a company; it is a growing and changing community of dancers. Our very own Miriam Giguere, director of Drexel’s dance program since 1992, directed “Snapshots.” Before coming to Drexel, Giguere toured nationally and internationally with professional dance companies such as Ann Vachon and South Street Dance Company. Mina Estrada, producer of the Drexel Dance Ensemble, said, “It has been a lot of hard work but a very exciting process. The main aim is to provide the students with opportunities to produce their own work and interact with their peers and respected professionals in the field of dance.”

Erica Pike, who participates in several of the pieces, including Ashley Jacob’s “Photoshop,” regards the process as inspirational and refreshing. She said, “The choreography, which was learned over the course of 10 or so weeks, was a collaboration between dancers and choreographer, which made the piece much more personal. Since the piece dealt with one’s own insecurities, our own movement really told the individual stories of each dancer. Overall, I really enjoyed dancing because of Ashley’s willingness to work in partnership with her dancers as well as exploring a deep, personal subject through movement.”

“Snapshots” plays at the Mandell Theater (33rd and Chestnut streets) Feb. 2-4 at 8 p.m.. Tickets are $10 for the general public and $5 for students, faculty and professional staff with a Drexel ID.

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The Walnut Street Theatre presents the critically acclaimed Rodgers and Hammerstein musical “The King and I” as part of its 203rd season. As the holiday season choice, the show is a great option for all ages. Running until after the new year, it’s something fun to do over Drexel’s long holiday break with friends and family.

The story begins with British governess Anna arriving in Siam with her young son. She has been hired by the King to teach his 67 royal children as well as a handful of his many wives. There is an immediate clash between the Western and Eastern views on women, science and more. Anna is completely out of her element against the stubborn King, who does not receive her for the first two to three weeks after her arrival. However, her instantaneous connection with the royal children banish any thoughts of returning to England.

The audience is transported to an exotic and foreign land when the curtain rises on the most detailed, decadent stage imaginable. No surface was left untouched by intense painting to depict a sun-streaked background filled with Thai temples and stunning palatial architecture. As the scenes move from inside to outside settings, the lighting changes, keeping with the romantic feel of the entire story. The costume designer spared no expense at recreating the early 1860s clothes. The Thai garments are made out of sumptuous silks that shine in the light, and the girls are covered in jewels. The transformation into European clothing mimicking Anna’s, made by the King’s wives in order to impress the foreign dignitaries, is comical and packs a surprising twist.

The leads have obvious chemistry, and each brings an important dynamic to what could be an outdated story. Broadway’s Rachel York brings intense passion to the role of Anna, and the scenes in which she stands up to the King are unforgettable. Her unbelievable singing voice coupled with a powerful stage presence leaves the audience wanting more every time she belts out recognizable songs such as “I Whistle a Happy Tune.” On the other hand, Mel Sagrado Maghuyop, in the role of the King, has the unique challenge of bringing to life a character who could feel a little passe. The storyline deals with more than one moment that may be a little politically incorrect, but neither race is singled out. On the contrary, the cast brings humanity to the East and West clash, and it is applicable to our modern situations.

However, it is the child actors who steal the show.. Their innocence and comedic interjections lighten the scenes and make it the perfect family show. One hilarious moment revolves around the explanation of ice and snow to children who have never left Southeast Asia. They declare that they “do not believe in snow.” The King struggles to bring science and education to his kingdom in hopes that it will be able to compete with the West.

The production also contains the ballet “Small House of Uncle Thomas,” based upon Harriet Beecher Stowe’s “Uncle Tom’s Cabin.” Narrated by the slave princess Tuptim, it is a spectacle not to be missed. The story of slavery in America is translated to fit the situations of Siam and is Tuptim’s barely concealed protest. Her side story with her Burmese lover is heartbreaking, and both actors are captivating.

“The King and I” runs through Jan. 8. For tickets and more information, visit www.WalnutStreetTheatre.org.

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As concert ticket prices skyrocket, concertgoers are becoming less inclined to buy tickets, hurting the music industry, the “Ticket Masters” panel informed students in the Mitchell Auditorium at the Bossone Research Enterprise Center Nov. 17.

The panel was presented by the Antoinette Westphal College of Media Arts and Design and the Kal and Lucille Rudman Institute for Entertainment Industry Studies, in partnership with the LeBow College of Business.

Philadelphia music critics and leaders in music and entertainment joined for a panel discussion on the state of the concert industry Nov. 17 in the Bossone Research Center.

The panel revolved around the book “Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped.” The authors of the book are Dean Budnick and Josh Baron, editors of Relix magazine. Baron, Tom Moon, Sean Agnew, David Cooper and Jim McCafferty led the panel. Approximately 250 people attended.

In the past few years, CD sales have decreased dramatically because people have been more inclined to download music online and have preferred attending live shows, Moon, author and former music columnist for The Philadelphia Inquirer, said. That being said, with the raising of ticket prices by companies such as Ticketmaster and Live Nation, people are now sticking their noses in the air to buying tickets.

According to Agnew, a concert promoter, founder of R5 Productions and partner in Union Transfer, the best way to keep fans from turning their backs on concerts is to keep the shows cheap, affordable and honest.

So why are ticket prices exponentially higher than they were 10 years ago?

“People in [the music] industry are greedy and want money,” Baron said.

Buying a concert ticket no longer involves just buying a concert ticket. Tickets to many big-name shows at big-name venues have so many additional fees that the price of a ticket more than doubles, according to Baron.

“Consumers pointed to … Lady Gaga’s Monster Ball tour,” Budnick and Baron wrote in their book, “in which a single $20 lawn ticket could cost nearly $50 after a ‘facility charge’ ($12), ‘convenience charge’ ($10.50), ‘order processing fee’ ($5.20) and ‘TicketFast Delivery,” i.e., print-at-home ticketing ($2.50).”

At this point a fan must think about whether a lawn ticket is worth burning a hole in his or her wallet.

Many are quick to blame Ticketmaster for increased ticket prices but don’t stop to think about the promoters, the venue or the artist. Companies like Ticketmaster split fees with promoters, so the promoters raise the prices to make a bigger profit, Baron said. According to Agnew, it is ultimately the promoters, venues and artists that raise the prices of tickets.

‘The true monopoly in the business is the artist,” Baron agreed.

Artists are the ultimate determining factors of ticket prices. Artists such as The Rolling Stones and Madonna will be able to increase prices to ridiculous levels because they know they have the pull, the panel discussed. Smaller-named bands do not have as much influence or power to ask the people to pay too much for a ticket.

Some bands are an exception, such as Pearl Jam. Pearl Jam is popular enough that they can charge a heinous amount of money for tickets and get away with it, but in 1994 they wanted to keep ticket prices low for their spring tour, Baron said. Ticketmaster wouldn’t have it, insisting on adding service charges to the tickets.

“Pearl Jam’s team had carefully scrutinized Tickmaster’s contracts and found three loopholes, never publicly discussed, that they could exploit,” Budnick and Baron wrote.

Another reason for increased ticket prices is the lack of venues and touring acts, Moon said. Since there aren’t as many venues available to artists, tickets and fees are naturally going to be more expensive.

While all seems hopeless in the music industry, there is a solution that could attract concertgoers: Artists connecting with their fans, according to Cooper, founder of Pearl Jam tour ticketing, ETM, FT&T and Direct to Fan.

Cooper said that bands who connect with their fans by coming out after a show to interact with them are more likely to attract more concertgoers. It’s all about word of mouth: A happy fan talks, attracting more fans who want that personal connection with the band. Cooper couldn’t emphasize enough the importance of connecting with the fans, repeating it several times throughout the panel.

“Outside of creating your art, concentrate on talking to your fans,” Cooper advised.

VIP-level tickets are helping artists to make personal connections, as well as make more money, so it’s a win-win situation, Cooper said. VIP tickets add value to a show and connect to the fans.

McCafferty, the ticketing director of the Mann Center for the Performing Arts, said that he is amazed with bands like U2 who communicate with their fans and don’t allow their labels to control them.

Social networking sites such as Facebook and Twitter have helped artists to connect with their fans and advertise concerts. Before Jeff Mangum of Neutral Milk Hotel started reaching out to fans via Twitter and Facebook, some of his shows had less than 100 attendees. Put Twitter and Facebook in the mix, and his shows sell out in 35 seconds, Agnew said.

For more information on the rise of concert ticket prices, pick up a copy of “Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped.”

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The City of Philadelphia Mural Arts Program has created over 3,500 murals and works of public art since 1984, earning Philadelphia the title of the “City of Murals.” Since the Mural Arts Program was established, over 100 communities have positively transformed, education outreach programs have been served, and adult offenders in local prisons have broken the dangerous cycle of violence and crime through the restoration of art.

Jennifer McCreary, director of communications for the Mural Arts Program, stated the importance of murals in Philadelphia by noting that “so much of our work in muralism is looking at innovation.” Moreover, the Mural Arts Program is a great way to connect with young artists and the importance of art in education.

The City of Philadelphia Mural Arts Program recently announced the launch of an eight-month-long mural project in collaboration with the Roots, a Grammy-winning band native to Philadelphia. Band members Ahmir “?uestlove” Thompson and Tariq “Black Thought” Trotter will be thoroughly involved throughout the creative process of the mural, which is planned to depict The Roots’ success story from the beginning of their existence to the present day.

The Roots Mural Project will be located in the South Street Headhouse District, a high-traffic area. As South Street natives, “The Roots were very definitive that the mural be painted in the South Street area. That is where they hung out in high school and started exposing their musical talents,” McCreary noted.

In addition to the mural, an interactive website and education program called “The Roots 101” has been created to further increase community involvement. In January 2010, Thompson recorded the narration for the Mural Arts Program’s Albert M. Greenfield African American Iconic Images Collection. The 47 images in the mural collection exemplify African Americans’ culturally rich experience in Philadelphia.

Following the recording, Thompson and the Mural Arts Program in Philadelphia thought to join and create “The Roots 101,” an educational program using new technology in the mural-making process, thus engaging young, promising, tech-savvy individuals.

McCreary explained how the relationship flourished: “[We were] putting together the audio tour for the Albert M. Greenfield African American Iconic Images Collection. We approached Ahmir Thompson to narrate it as an established Philadelphian artist. This mural is a way to honor The Roots and their involvement.”

Along with an online lesson guide and video series of the mural-making process, “The Roots 101” educational program will allow instructors to integrate imagery, musical compositions and video into the curriculum, further encouraging students to understand The Roots’ real-life success and their impact on the artistic realm of Philadelphia and the rest of the world.

The Roots will be present throughout the project’s development, including design evaluation, speaking with course students and the final dedication of the mural, which is expected to be completed in the summer of 2012. McCreary described The Roots as “uniquely Philadelphian and incredibly innovative, which creates a connection with muralism in Philadelphia.”

This project will not only employ hundreds of artists, assistants, instructors and muralists, but it also intends to unify Philadelphia through community painting workshops in the spring of 2012.

Philadelphia Mayor Michael A. Nutter, Tariq "Black Thought" Trotter of The Roots, Philadelphia Mural Arts program director Jane Golden and Kamal Gray of The Roots are collaborating to create a mural in honor of The Roots on South Street.

For further information on the Mural Arts Program, call 215-685-0750 or visit www.muralarts.org.

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Back in high school, most of us dreaded English literature classes in which the teacher would rant about Shakespeare and his idealistic views. We would stare at the clock, waiting for the seconds to go by. We never really understood anything now, did we? It was just the way Shakespeare was taught to us that made it so boring and inaccessible. Well, we do not have to go through that anymore! Because guess what? The Drexel Players kick off their 2011-12 season on Nov. 17 with a wacky and fun-filled version of Shakespeare’s comedy “The Twelfth Night.”

The Drexel Players started the 2011-12 season with their rendition of Shakespeare's "The Twelfth Night," called "12th Nite," directed by Nick Anselmo. Tickets are $15 for the general public and $5 for students and faculty with a Drexel ID.

Laurel Hostak, who plays the leading role of Viola in “12th Nite,” said: “This is my favorite Shakespeare comedy. It was challenging but at the same time fun to find the moments you could connect to emotionally and moments that are really laugh-out-loud funny.”
The costumes suit the beach theme perfectly, as we can see Olivia in pretty summery dresses and Sir Toby in beach shorts! The sound design, prop design and lighting just add to the essence of the performance. It is common to sit through a three-hour Shakespeare play and leave having understood very little, but not this time around. The fluidity, visible emotion, physical action and confidence of our Drexel students is impeccable.

“12th Nite” plays at the Mandell Theater (33rd and Chestnut streets) from Nov. 17 to Nov. 20. The show is 90 minutes long. Showtimes are Thursday, Friday and Saturday at 8 p.m., Friday at 10 a.m. and Sunday at 2 p.m. The Friday morning show will be followed by a talk-back with the cast. Tickets are for $15 for the general public and $5 for students, faculty and professional staff with a Drexel ID. For more information, visit www.drexelplayers.com.

I highly recommend taking the time from your busy schedules to come watch the hilarious and entertaining “12th Nite.” It’s a great stress buster, and I guarantee you won’t stop laughing!

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“My standup routine is obviously not kid-friendly,” comedian Dan Ahdoot said before his opening set at Drexel’s Campus Activity Board hosted Fall Comedy Show Nov. 12, which took place in the Main Auditorium.

Ahdoot sat behind a teacher’s desk in an empty classroom in the Main Building as I interviewed him, his laughter echoing off the walls. Sitting adjacent to him in a student desk was fellow headliner Sheng Wang, who laughed as Dan often jokingly answered questions.

Ahdoot spoke of his emergence in the world of stand-up and his ventures in acting, most recently involving a role on Disney XD’s Kickin’ It.

“People who watch it are either one of three things: a kid, an adult with a young relative or a coach at Penn State,” he joked, Wang erupting in the background.

He went on to describe his experience with more seasoned comedians, one such being Lewis Black.

“It’s always really interesting to see their pre-show process. Black was super calm backstage, getting into almost a Zen state before going on, and then being crazy and loud and pissed off,” he said.

“I opened for Patton Oswalt, and his thing is that he reads comic books backstage, which I thought was so cool. My thing is that I read recipes online,” Ahdoot said, and at first I didn’t believe him.

He doesn’t use the recipes or make a mental note of them for later. They’re just part of his pre-show ritual.

“I’ll be backstage reading recipes, and then three minutes later I’ll be making d— jokes,” he said.

We then diverged into a sidebar about food television, during which he told me of his dislike of “Man vs. Food.”

“I don’t like [that show] because I think he’s going to die, and we’ll all be responsible for his death,” he joked, Wang giggling in the background. “I think it’s the longest-running snuff film ever.”

Ahdoot then rushed off to the auditorium to perform his set, and although I didn’t watch it, I heard laughter echoing down the hallways. He was surely a huge hit.

Following Ahdoot’s exit, I interviewed a noticeably calmer Wang, who talked about his background as a Taiwanese-American comedian from Houston. He spoke about where he finds humor in his life and who he looks up to in comedy, answering each question seriously and straightforwardly.

If you saw him on stage, you’d hardly know he was so reserved. Finished with my interviews, I entered the show halfway through Wang’s set, in the middle of a tirade about white people.

“I’m the son of immigrants, and when we moved to Texas I didn’t really fit in. So I just wanted to do what the white people did — I wanted to copy them,” he started, the crowd faintly laughing. “I wanted to listen to black music, I wanted to date Asian chicks, I wanted to get tattoos in Chinese — I just wanted to be white.”

The crowd was hysterical at this point as Wang finally thanked them and exited the stage. Next up was a petite little brunette in a faux fur coat and a Civil War-era cap named Natasha Leggero. She stepped onto the stage, took the mic in her hand and hung her coat on the mic stand.

Turning around, she said, “Where the hell am I? It looks like The Shining in here,” addressing the organ.

During the first 5 minutes of her set, she made pop references to Justin Bieber and Miley Cyrus, clearly not yet sure of her audience.

“Ke$ha’s like if a venereal disease could sing,” she joked, getting half the crowd on her side.

Someone in the front row scoffed at the mention of Ke$ha, and a perceptive Natasha noticed.

“What kind of music do you like?” she questioned.

“Country,” the student responded, and she repeated after him in a southern accent.

“The whole music industry is failing, no one’s making any money except in country music, and I think that’s because the people who listen to it don’t know how to use the Internet.”

From here she went into a monologue satirizing how rappers steal hooks from pre-existing songs. Much of this part of the set was R-rated, but it was definitely appreciated by the audience. Later in the set she grabbed a student from the audience who could beat-box, and ad-libbed her own rap from the perspective of an oil tycoon with “real money, not rapper money.”

She pleased the crowd with a variety of impressions, musical numbers and callouts to students in the crowd. She even antagonized one student who interrupted her during her set. Ultimately, she was a huge hit and the perfect lead-in to comedian Mo Mandel.

“Give it up for Natasha!” he said when he stepped on stage. “Give it up for that little pretentious riding hat she was wearing for no [expletive]ing reason.”

Almost immediately he had the crowd, taking a turn from popular culture to political issues such as the Penn State scandal.

“If I went to any other school in Pennsylvania besides Penn State, my slogan would be, ‘Come to Drexel, we don’t [expletive] kids,’” he said to an overwhelming response.

Mo was decidedly more vulgar and honest than the other comedians, and this was well received by the voracious student audience. His high-energy delivery continued throughout his 45-minute set, after which he received overwhelming cheers and applause. Mo and Natasha have long been friends and peers within the comedy circuit, and I got a chance to get to know them a little better before their sets.

The two have both been frequently featured on the late-night panel-style show “Chelsea Lately” and costarred in the now-canceled NBC sitcom “Free Agents.”

“[Free Agents] was very fun,” Natasha said. “In a lot of ways it was a dream job, and I wish it would have lasted a little longer.”

“Working with the cast, especially Natasha, was great,” Mandel added. “By the end of the show, after they stopped airing episodes, they really started to led us ad-lib, which was extremely fun.”

Leggero is now working on Chelsea Handler’s upcoming sitcom, “Are You There Vodka, it’s me Chelsea.”

“Working with Chelsea is fun, especially in a live crowd setting. She’s very open to whatever people want to add, and that’s a really important part of our show. It’s really exciting,” Leggero said.

Additionally, Mandel and Leggero will soon be touring to promote their most recent comedy albums. All four comedians did album signings outside of the auditorium after the show. Many were talking about their favorite jokes, and overall the event was definitely a comedic success.

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