Andrea Tam – The Stanford Daily https://stanforddaily.com Breaking news from the Farm since 1892 Mon, 20 Oct 2014 06:24:53 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.3 https://stanforddaily.com/wp-content/uploads/2019/03/cropped-DailyIcon-CardinalRed.png?w=32 Andrea Tam – The Stanford Daily https://stanforddaily.com 32 32 204779320 Cultural center “El Centro Chicano” becomes “El Centro Chicano y Latino” https://stanforddaily.com/2014/09/19/cultural-center-el-centro-chicano-becomes-el-centro-chicano-y-latino/ https://stanforddaily.com/2014/09/19/cultural-center-el-centro-chicano-becomes-el-centro-chicano-y-latino/#comments Fri, 19 Sep 2014 08:28:13 +0000 https://stanforddaily.com/?p=1088008 Cultural center “El Centro Chicano” has expanded its name to “El Centro Chicano y Latino” to better represent the increasingly diversified demographics of Stanford’s Chicano and Latino student population.

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Cultural center “El Centro Chicano” has expanded its name to “El Centro Chicano y Latino” to better represent the increasingly diversified demographics of Stanford’s Chicano and Latino student population.

The Guiding Concilio, El Centro’s advisory board, developed and submitted the proposal for the name change. The decision to expand El Centro’s name stemmed from Guiding Concilio’s initiative but was also brought about by a student town hall meeting and results from anonymous student surveys conducted in the spring quarters of 2010, 2011 and 2012. The professional staff settled on “El Centro Chicano y Latino” and announced its decision in April earlier this year.

The new name was chosen mainly for two reasons. Firstly, it recognizes the importance of the Chicano student movement for educational inclusion and diversity of the late 1960s and ’70s and secondly, it better encompasses the diversity of the student community, which has experienced significant change in its demographic breakdown over the years since El Centro was first founded in 1978.

According to history professor Albert Camarillo, who has been involved with El Centro for many years, the center was almost exclusively Chicano-based when it was established. An overwhelming majority of Latino population was Mexican at the time, but there have since been growing numbers of Latino students and students of Hispanic heritage, in addition to Mexican-American students.

“El Centro has over 25 affiliated volunteer undergraduate and graduate student organizations with various student memberships but our constituencies include staff, faculty, alumni and local community members who all call Centro their home,” said Elvira Prieto ’96, associate director of El Centro.

This name change is one of many developments that have occurred in recent years to reach out and appeal to all of the University’s Chicano and Latino students, which also includes having renovated its space and broadening academic, cultural, leadership and wellness programs offered to students.

El Centro will host a special celebration this month to formally acknowledge the adoption of the name “El Centro Chicano y Latino.”

 

Contact Andrea Tam at andreatam ‘dot’ 2497 ‘at’ gmail ‘dot’ com.

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Stanford’s Asian American Theater Project wows with its rendition of “Company” https://stanforddaily.com/2014/08/20/stanfords-asian-american-theater-project-wows-with-its-rendition-of-company/ https://stanforddaily.com/2014/08/20/stanfords-asian-american-theater-project-wows-with-its-rendition-of-company/#respond Thu, 21 Aug 2014 00:51:38 +0000 https://stanforddaily.com/?p=1087588 Running from Aug. 13 to Aug. 14 in Annenberg Auditorium, Stanford’s Asian American Theater Project (AATP) presented their take on the Broadway musical “Company,” originally written by Stephen Sondheim and George Furth.

The musical follows Bobby, a single 30-year-old man played by Andrew Forsyth ’14, navigating his romantic life in the midst of his married upper-class friends. From the very beginning, it immerses you in Bobby’s company of friends, starting off with a variety of voicemails left by his friends. The marriages and relationships presented in “Company” are far from perfect, making it often humorous to watch.

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The cast of the Asian American Theater Project's (AATP) production of "Company." Photo by Frank Chen.
The cast of the Asian American Theater Project’s (AATP) production of “Company.” Photo by Frank Chen.

Running from Aug. 13 to Aug. 14 in Annenberg Auditorium, Stanford’s Asian American Theater Project (AATP) presented their take on the Broadway musical “Company,” originally written by Stephen Sondheim and George Furth.

The musical follows Bobby, a single 30-year-old man played by Andrew Forsyth ’14, navigating his romantic life in the midst of his married upper-class friends. From the very beginning, it immerses you in Bobby’s company of friends, starting off with a variety of voicemails left by his friends. The marriages and relationships presented in “Company” are far from perfect, making it often humorous to watch.

Even though there was only a limited amount of time for the cast and crew to prepare for the performance, it did not stop the production team from branching out and pursuing unique creative choices for the musical. What was particularly interesting was AATP’s choice to include LGBT couples, unlike the “conventional” couples found in the original production. This was a fitting choice, considering that Bobby encounters a variety of meanings for love and marriage. After all, the definition of love has expanded since the 1970s production and it’s only right to update it.

“Company” was a concept musical, having no straightforward plot but a unified theme. Because of that, it can be challenging to keep the audience on its feet. However, there are many facets that help carry this musical along.

For one, each character had a very vibrant and unique personality. Throughout the play, Bobby interacted with everyone, from his on-the-brink-of-divorce friends to his overly attached psychotic girlfriends. Each individual in his friend group had something different to offer to Bobby and to us.

Photo by Frank Chen.
Photo by Frank Chen.

Not only does each character provide something on his or her own, the way they interact with each other really makes the musical come alive. Stage-wise, Bobby’s company of friends constantly remained behind him, sometimes simply observing Bobby but other times cutting into the scene and chiming into Bobby’s life. “Company” carefully plays around with a dynamic relationship between Bobby’s ideas on love in relation to the ideas of his friends.

While it seemed like “Company” was a very simple and grounded concept, in reality it was a very intricate one that relied on deep character interactions to carry it forward.

By the end of the musical, Bobby turned a year older and we start to realize that this is not simply about Bobby and his journey to find love. We begin to understand that this is about us and how we choose to make the most of our surrounding environment.

More information about the Asian American Theater Project can be found on their website.

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Theater Review: Stanford Repertory Theater takes on Orson Welles’ “War of the Worlds” https://stanforddaily.com/2014/08/19/theater-review-stanford-repertory-theater-takes-on-orson-welles-war-of-the-worlds/ https://stanforddaily.com/2014/08/19/theater-review-stanford-repertory-theater-takes-on-orson-welles-war-of-the-worlds/#respond Tue, 19 Aug 2014 22:19:43 +0000 https://stanforddaily.com/?p=1087577 On Friday, Aug. 15, at the Nitery Theater, the Stanford Repertory Theater (SRT) revived the riveting thrill of Orson Welles’ Mercury Theater on-the-air performance of “War of the Worlds,” a radio drama that left an indelible mark on its nationwide audience in 1938.

When this version of H.G. Wells’ science-fiction masterpiece was first aired on the Columbia Broadcasting System, the American public was stirred into a panic. So impeccably were voice drama and sound effects integrated into the performance that many listeners became convinced they were hearing an actual news account of an apocalyptic Martian invasion. Because of the ensuing outrage and mass hysteria, the event is often labeled as one of the most infamous in broadcast history.

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(left to right) Noemi Berkowitz, Sarah Gage, Weston Gaylord, and Dante Belletti. Photo by Frank Chen
(left to right) Noemi Berkowitz, Sarah Gage, Weston Gaylord, and Dante Belletti. Photo by Frank Chen

On Friday, Aug. 15, at the Nitery Theater, the Stanford Repertory Theater (SRT) revived the riveting thrill of Orson Welles’ Mercury Theater on-the-air performance of “War of the Worlds,” a radio drama that left an indelible mark on its nationwide audience in 1938.

When this version of H.G. Wells’ science-fiction masterpiece was first aired on the Columbia Broadcasting System, the American public was stirred into a panic. So impeccably were voice drama and sound effects integrated into the performance that many listeners became convinced they were hearing an actual news account of an apocalyptic Martian invasion. Because of the ensuing outrage and mass hysteria, the event is often labeled as one of the most infamous in broadcast history.

Controversial as Welles’ production was, however, it was undeniably one of the most theatrically brilliant radio productions ever to be aired. The SRT captured the spirit of newscasters and voice actors involved in the elaborate production, as well as the enthralling energy of the broadcast itself.

The hour-long performance took place on a floor-level stage in a small auditorium, an atmosphere that would make the performance all the more intimate and engaging. No backdrop was used except for the black walls of the stage and a small back room separated from the main newsroom by a large window. Other props included a few chairs on either side, an old radio atop a table for two and a long table strewn with a collection of odds and ends, cans, strings and glasses.

Weston Gaylord in "War of the Worlds," photo by Frank Chen.
Weston Gaylord in “War of the Worlds,” photo by Frank Chen.

What makes the SRT rendition of “War of the Worlds” unique is that it reveals the distinctive personalities of each of the voice actors, not just as performers, but as comrades in the newsroom who are united by this ambitious theatrical endeavor. At the start, the newscasters, dressed in 1930s working clothes, mill about the room, scanning their scripts, impatiently anticipating the arrival of their colleagues. Standout characters include the woman played by Courtney Walsh, who whisks into the room with a (fake water vapor-emitting) cigar and lofty air, as well as the small mousy man portrayed by Dante Belletti, who goes off on tangents about the “newest” comic book hero Superman, has his trousers pulled up too high and is mercilessly derided by the others.

As soon as the “on-air” signal flashes red, however, the actors transform into a remarkable team, well-coordinated and well-timed, holding each other’s scripts, collaborating to create intricate sound effects and nodding approvingly at each other at various points in the performance. Their camaraderie is also shown in small gestures, such as sharing a cigarette or clapping each other on the back between entrances.

One of the most fascinating aspects of the production is its impeccable use of sound effects. When Carla Phillips (Walsh) and Professor Pierson (Thomas Freeland) converse in the observatory at Princeton, they talk into large tin cans to simulate the sound effects of talking in a metal-walled room. The cans are used on other occasions to mute reporters’ voices during the chaos of the invasion or to alter the gunners’ voices once they have donned gas masks as protection against the aliens’ toxic smoke. The sound of a bell tolling is created by striking a wine glass with a muffled drumstick while water sounds from the riverside, and various other devices are used to generate an endless range of alien noises.

Don DeMico and Courtney Walsh.in "War of the Worlds," photo by Frank Chen.
Don DeMico and Courtney Walsh.in “War of the Worlds,” photo by Frank Chen.

The actors themselves are extremely versatile at altering their voices to suit different roles or noises, such as animal sounds from the farm in Grover’s Mill or murmurs of an anxious crowd. Whenever it is time for a news anchor to be abruptly cut off, one actor raises an arm and drops it, effectively silencing the entire cast.

This skillful recreation of sound effects largely contributes to the drama of the production, especially the building sense of panic and dread with each of the newscasters’ last moments during the alien attacks with death rays and black smoke. The cries of the crowd swell to fever pitch, the Martians’ otherworldly noises slowly overwhelm the frantic shouts of the humans, and background noises of crashes, rumbles and roars add to the growing frenzy until it is all abruptly cut off when connection with the reporter terminates.

Ensemble music plays between the news bulletins, a stark contrast to the news anchors’ frantic shouts and the whirring of alien machines sounding just moments before. The 1938 production used orchestral tango music in the interim, but ensemble music better suits the small cast and showcases the actors’ individual talents. The multi-talented voice actors switch off singing and playing the guitar, violin and cello during the short musical snippets punctuating the news reports. In particular, Belletti and Sarah Gage stand out as remarkable vocalists.

In the real “War of the Worlds” broadcast, the ending of the alien invasion is narrated by Welles, who explains how the aliens die because of a lack of immunity to human diseases. However, the SRT production dramatizes this part when the cast receives a phone call from a listener who makes very convincing claims that the events they are reporting in their radio production are actually taking place in real life — the smoke, alien attack and carnage. Unsure of what reality really is anymore, the actors decide to put the man on air and broadcast his warning of the alien invasion and his message of hope that the aliens will likely succumb to earthly pathogens they have no immunity against. Welles then steps in at the end with a disclaimer assuring the audience that the broadcast is just a Halloween production and nothing more. He bids the audience good night, and the performance concludes.

SRT’s “War of the Worlds” is a truly exceptional performance, well-choreographed and masterfully executed. It relies on resourceful sound effects, the bare minimum of props and the versatility of a small cast to make an hour-long broadcast an engaging, suspenseful production.  While it closely follows Welles’ original production, making only minor alterations to the script, the talented cast brings the 1938 production to life in a unique and electrifying modern rendition that appeals to all audiences.

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Renewal project expands Stanford’s medical facilities https://stanforddaily.com/2014/08/16/renewal-project-expands-stanfords-medical-facilities/ https://stanforddaily.com/2014/08/16/renewal-project-expands-stanfords-medical-facilities/#respond Sun, 17 Aug 2014 06:02:48 +0000 https://stanforddaily.com/?p=1087554 Stanford Medical Center is undergoing extensive reconstruction to meet seismic requirements, incorporate more advanced medical technology and accommodate growing capacity needs.

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Stanford Medical Center is undergoing extensive reconstruction to meet seismic requirements, incorporate more advanced medical technology and accommodate growing capacity needs.

The renewal project was approved in 2011 after four years of negotiation to obtain entitlements from the City of Palo Alto. Its costs amount to approximately $5 billion, with each entity funding its own projects under the umbrella of the Renewal Project, as Stanford University Medical Center spokesperson Jen Costa explained.

The first stage of the process — the Welch Road Utility Project — involved setting up information technology infrastructure and replacing important utilities to service medical facilities that would later be constructed. This phase was completed four months early, and Welch Road returned to being a two-way road on July 22.

Changes at the Hoover Medical Campus entail building a new neuroscience center and a nine-level parking structure, as well as modernizing the Hoover Pavilion, which will house the Stanford Health Library. The revamped facilities will allow for more outpatient services, advanced neurological research and specialized healthcare.

The Lucile Packard Children’s Hospital is expanding its facilities to accommodate growing numbers of patients and provide more advanced and specialized pediatric care. Its 521,000-square-foot expansion will create space for 150 new patient rooms and additional rooms for diagnosis, surgery and treatment.

Stanford Hospital, originally built in 1959, is rebuilding to meet growing capacity needs and seismic safety requirements. The new hospital will be 824,000 square feet, with 368 individual patient rooms. A larger emergency department and Level 1 trauma center will more readily address urgent and critical emergencies locally.

Both hospitals have stayed open and fully operative during the constructions of the new buildings.

The School of Medicine is also undergoing reconstruction to replace its Alway, Edwards, Lane and Grant buildings with three Foundations in Medicine (FIMs) buildings that are seismically safe and that can better accommodate modern medical technology.

All of the new buildings will be outfitted to support technology for modern medicine. The hospitals will integrate electronic health records, something that the structure of the decades-old buildings could not support.

“We’ve been working to see how we can harness technology to evolve our building operations even after the building has been designed, so it’s a way of taking a patient, focused approach to guide patients and families through the very complex process of healthcare,” said Vice President of Planning, Design and Construction Mark Tortorich.

According to the official project website, renovations at the children’s hospital will be finished in 2016. The rebuilding of Stanford Hospital will be completed in 2017, and the new hospital will open in 2018, at which time the old 1959 and 1973 parts of the hospital will be demolished.

Afterward, existing hospital facilities will experience some renovation to match with the new buildings. Potential changes include converting two-patient rooms into single-patient rooms and updating infrastructure, loading docks and equipment to create a more spacious and contemporary setting for operations and recovery.

The School of Medicine also anticipates additional changes in the future to continue modernizing and expanding.

“There is going to be a significant amount of change to how we have evolved so far, and we’re going to have to support the two new hospitals as they expand,” said Niraj Dangoria, associate dean of Facilities Planning and Management at the Stanford School of Medicine.

The renewal has certainly been a substantial undertaking that involved years of planning and dedicated teams endeavoring to transform old facilities into safe, advanced and modern buildings that will service the community.

“The projects are going very well,” Tortorich said. “They’re safe work sites, which is very important to us. They’ve got good management teams. The contractors are very good, the architects are doing their jobs…And we’ll all be delighted with all of the buildings that we’re able to deliver.”

 

Contact Andrea Tam at andreatam ‘dot’ 2497 ‘at’ gmail ‘dot’ com.

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Concert review: the Stanford Youth Orchestra impressed last Friday at Bing Concert Hall https://stanforddaily.com/2014/07/31/concert-review-the-stanford-youth-orchestra-impressed-last-friday-at-bing-concert-hall/ https://stanforddaily.com/2014/07/31/concert-review-the-stanford-youth-orchestra-impressed-last-friday-at-bing-concert-hall/#respond Thu, 31 Jul 2014 10:04:52 +0000 https://stanforddaily.com/?p=1087249 Three weeks of intensive rehearsals culminated in a third and final performance by the Stanford Youth Orchestra (SYO) on Friday, July 25 at Bing Concert Hall.

Christine Parker, associate director of Stanford’s Pre-Collegiate Summer Institutes, opened with a few brief words. She explained that this program — designed to bring together academically and musically gifted students — was launched last year to coincide with the opening of Bing Concert Hall. Parker commended the hard work and dedication of the students, instructors and staff during the three-week experience and then welcomed the musicians onstage.

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Three weeks of intensive rehearsals culminated in a third and final performance by the Stanford Youth Orchestra (SYO) on Friday, July 25 at Bing Concert Hall.

Christine Parker, associate director of Stanford’s Pre-Collegiate Summer Institutes, opened with a few brief words. She explained that this program — designed to bring together academically and musically gifted students — was launched last year to coincide with the opening of Bing Concert Hall. Parker commended the hard work and dedication of the students, instructors and staff during the three-week experience and then welcomed the musicians onstage.

Ensconced on the terraced stage, the orchestra opened with Edvard Grieg’s Peer Gynt Suite No. 1, Op. 46 (1888-1891). “Morning Mood” began with the flute and oboe alternating the melody, swelling in volume until the instruments joined in a harmonious anthem depicting a glorious sunrise. Next, was “The Death of Ase” with its mournful ascending chords and slow tempo. Next, was the lively and whimsical “Anitra’s Dance,” accented with twinkles of the triangle. The fourth piece, “In the Hall of the Mountain King,” began simply, as the cellos, double basses, bassoons, and bass drum were gradually joined by the violins and then later the full winds and brass.  The addition of instruments through the piece contributed to a swelling crescendo that concluded in a fast and frenzied ending.

The suite showed off various dimensions of the orchestra and fully engaged the audience with a series of short and diverse pieces that drew attention to different instruments. Conductor Anna Wittstruck was very animated and energetic; the orchestra followed her directions with extreme precision, and the result was a very impressive, cohesive performance.

Next was an outstanding rendition of the “Allegro moderato” from the Violin Concerto in d minor, Op. 47 (1904) by Jean Sibelius, performed by Yong-hun Kim, a winner of the Stanford Youth Orchestra 2014 Concerto Competition. The double stops and flying runs were especially impressive, demonstrating great skill and artistry. The orchestra’s sound was well-balanced with the soloist’s, providing vibrant undertones to complement the lively melody.

After a brief intermission, the concert resumed with François Borne’s “Fantaisie Brilliante on Themes from Bizet’s ‘Carmen’” (1900), featuring another SYO 2014 Concerto Competition winner, Emily Zheng. The piece was a brilliant medley of various themes from the famous opera. It showcased Zheng’s deftness and expressive tone, and once again, the orchestra complemented her sound beautifully, never overpowering it.

The night concluded with “Selections from Romeo and Juliet, Suites 1 & 2” (1935), composed by Sergei Prokofiev. Conductor Jindong Cai explained that the four pieces were chosen to retell the story of the ill-fated lovers, as well as to spotlight different sections of the orchestra. The first selection, “Montagues & Capulets,” was a dark and brooding piece, the first half of which consisted of a foreboding melody shared between the strings and horns. In the second half, a melody carried by the flutes wound delicately to the accompaniment of only a few other instruments until the loud, discordant theme returned for an emphatic finish.

“The Young Juliet” showed off a lighter and brighter mood, with the flitting sounds of the flutes conveying the exuberant innocence of Juliet’s youth. The saxophone’s brief solos added an interesting element to the playful blend of sound. In stark contrast, “Death of Tybalt” introduced an adventurous, upbeat mood. Initial excitement spiraled into a feverish whirlwind of notes full of dissonance that abruptly dropped off into a slow, heavy and menacing ending. The suite closed with the despairing “Romeo at Juliet’s Grave,” which began with a dreamy, eerie melody and ended with a single high note from the piccolo rising over the soft, silvery notes of the strings. When the last notes had faded away, the audience responded with thunderous applause.

Parting with an encore, the orchestra played the very spirited “Slavonic Dances” by Antonin Dvorak, providing a fiery conclusion to the concert, which was enthralling from start to finish.

The quality of music produced was remarkable, especially considering the short three weeks the orchestra had to practice music for three different concerts. Bing Concert Hall’s stunning acoustics further augmented the orchestra’s beautiful sound and made the performance even more enjoyable.

This final concert was a wonderful testament to the efforts poured in by the young musicians, conductors and faculty who organized this program, and it was a splendid finale for SYO.

 

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Theater Review: Stanford Repertory Theater’s “Moby Dick—Rehearsed” https://stanforddaily.com/2014/07/23/theater-review-stanford-repertory-theaters-moby-dick-rehearsed/ https://stanforddaily.com/2014/07/23/theater-review-stanford-repertory-theaters-moby-dick-rehearsed/#respond Wed, 23 Jul 2014 23:26:12 +0000 https://stanforddaily.com/?p=1086976 The mention of “Moby Dick” might call to mind the image of a fearsome white whale, glittering harpoons and roiling waves. It may be surprising, then, that the set of “Moby Dick — Rehearsed,” performed by the Stanford Repertory Theater (SRT) and directed by Rush Rehm, contains none of these things.

The first production in the SRT’s summer festival, Orson Welles: Substantial Shadows, the production celebrates Welles’ outstanding cinematic career and the short drama he wrote based on Herman Melville’s classic “Moby Dick.” This unique rendition relies on the bare minimum of props, a dynamic cast and the audience’s imagination to conjure the setting of a vast ocean filled with whales and venturesome sailors.

At the start of the play, a motley group of actors dressed in street clothes clusters onstage, grumbling about its director’s (Courtney Walsh) bizarre ideas about theater. After a few uninspired (and rather amusing) attempts at rehearsing Shakespeare’s “King Lear,” they give up and instead begin reading the script for “Moby Dick — Rehearsed” that one of the actors, an aspiring playwright (Louis McWilliams), has written.

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Rod Gnapp as Ahab. Photo by Frank Chen.
Rod Gnapp as Ahab. Photo by Frank Chen.

The mention of “Moby Dick” might call to mind the image of a fearsome white whale, glittering harpoons and roiling waves. It may be surprising, then, that the set of “Moby Dick — Rehearsed,” performed by the Stanford Repertory Theater (SRT) and directed by Rush Rehm, contains none of these things.

The first production in the SRT’s summer festival, Orson Welles: Substantial Shadows, the production celebrates Welles’ outstanding cinematic career and the short drama he wrote based on Herman Melville’s classic “Moby Dick.” This unique rendition relies on the bare minimum of props, a dynamic cast and the audience’s imagination to conjure the setting of a vast ocean filled with whales and venturesome sailors.

At the start of the play, a motley group of actors dressed in street clothes clusters onstage, grumbling about its director’s (Courtney Walsh) bizarre ideas about theater. After a few uninspired (and rather amusing) attempts at rehearsing Shakespeare’s “King Lear,” they give up and instead begin reading the script for “Moby Dick — Rehearsed” that one of the actors, an aspiring playwright (Louis McWilliams), has written.

The cast of "Moby Dick - Rehearsed," photo by Frank Chen.
The cast of “Moby Dick – Rehearsed,” photo by Frank Chen.

The playwright emerges as Ishmael and begins the narration. After a few funny attempts from the stage manager (Kaya McRuer) to get some sound effects for the docks, the sweet tune of a harmonica fills the auditorium, transporting us to a wharf in a town by the sea.

Some of the actors lift plain white panels from the background to reveal a tall structure of wooden poles that spans across the stage and will serve as the “Pequod,” Captain Ahab’s (Rod Gnapp) trusty ship. Throughout the play, the actors saunter across the decks, hang from the hammocks or perch at the crow’s nest of this makeshift ship. These set pieces become extraordinarily useful in the absence of a backdrop. The only other major props are a few wooden benches that are used as tables, benches, chairs and harpooning boats. One of the standout aspects of this production, in fact, is its resourceful use of drama and imagination to create the setting, rather than ostentatious scenery and elaborate props.

The chapel scene from the novel is recreated by turning over the benches into pews and a pulpit. The actors sing a lovely hymn, their voices blending harmoniously together. A preacher (Courtney Walsh) expounds on the biblical story of Jonah and the whale, declaring that one should cling to God despite adversity, a theme that will reappear later on as Ahab repeatedly declares that no force can stop him from his pursuit of Moby Dick. Ishmael then encounters a crazy sailor named Elijah (Dante Belletti), who warns him against joining Ahab’s crew because of the treacherous life that whalers lead. Elijah sports a black hoodie that seems like normal streetwear but for the white skull graphic on the back, which augurs the ocean’s perils. This is just one of the many thoughtful details in costuming that relates each supposedly modern-day character to his or her character in the novel; for instance, Captain Ahab’s first mate, Starbuck (Peter Ruocco), appears to be holding a Starbucks drink at the start of the play.

The cast of Moby Dick - Rehearsed, with Rod Gnapp as Ahab and Peter Ruocco as Starbuck above. Photo by Stefanie Okuda.
The cast of Moby Dick – Rehearsed, with Rod Gnapp as Ahab and Peter Ruocco as Starbuck above. Photo by Stefanie Okuda.

When the crew sights its first whale of the voyage, Captain Ahab summons Starbuck. This scene perfectly depicts Ahab’s iron will, which stops him from listening to the reasoning of his more thoughtful and prudent first mate. It is the first the audience sees of Ahab’s bitter attitude, his insatiable desire for vengeance on the whale that took his leg so many years ago. Despite his queer personality, however, Ahab effectively rallies his crew, promising a gold coin to the first man to spot the white whale Moby Dick. Gnapp’s portrayal of Ahab is spot on, from the painful limp to his mercurial temper to his insatiable thirst for revenge.

Gnapp’s impeccable performance characterizes Ahab as a deeply troubled captain blind to everything else but his goal of slaying Moby Dick. The image of Ahab is further rounded out by other crew members’ conversations about their eccentric leader, as well as by Ahab’s own ruminations: He admits that though he may die on the voyage, he believes it is his destiny to hunt down the malignant whale. Despite his hostile manner, Ahab forges a surprising connection with young Pip (Maia Kazin), a boy who became addled after nearly drowning in the ocean.

(from left to right) Weston Gaylord as Flask, Andre Amarotico as Queequeg, and Christopher Carter as a Sailor. Photo by Frank Chen.
(from left to right) Weston Gaylord as Flask, Andre Amarotico as Queequeg, and Christopher Carter as a Sailor. Photo by Frank Chen.

The only flaws of the play were some dragging parts: the disgruntled “King Lear” actors at the beginning, parts of the ship’s journey and some of the long conversations among shipmates or between Ahab and Pip. Pip, though extremely in character, was at times overly dramatic. On the other hand, the other sailors were represented as more of a collective group of crew members, rather than the distinct personalities they are in the book. Queequeg (Andre Amarotico), for instance, has a much smaller role in Welles’ drama than he does in Melville’s novel. Welles’ choice to tone down the other sailors’ back stories and instead spotlight Ahab’s and Pip’s relationship is interesting, putting a heavier focus on the cabin boy who plays a less significant role in the book. This, however, helps the audience notice perhaps the one human connection Ahab has and the lonely captain’s capacity to show compassion to a boy destroyed by the unforgiving ocean.

The SRT’s production of “Moby Dick — Rehearsed” retains the essence of Melville’s renowned story, but it brings in modern elements, reworking the whole novel through the power of theater. Moby Dick, the great and terrible force that propels the actions of Ahab and his crew, is never physically portrayed during the performance. But the whale’s powerful presence and the fear that he inspires are very palpable, thanks to the clever use of lighting, sound effects and convincing performances of the actors. The resourceful use of props, the cast’s admirable talent and portrayal of the characters with passionate abandon made the performance a spectacular tribute to Welles’ drama and Melville’s original novel, as well as a distinctive and remarkable entity all of its own.

The play runs Thursdays, Fridays and Saturday at 8p.m. and Sundays at 2 p.m. until August 10 at Pigott Theater, Memorial Auditorium. You can purchase tickets here.

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Top 5 Performances to Hear at the Stanford Jazz Fest https://stanforddaily.com/2014/07/07/top-5-performances-to-hear-at-the-stanford-jazz-fest/ https://stanforddaily.com/2014/07/07/top-5-performances-to-hear-at-the-stanford-jazz-fest/#respond Mon, 07 Jul 2014 07:01:56 +0000 https://stanforddaily.com/?p=1086619 If you happen to be anywhere remotely near Stanford this summer, be sure to catch a few performances at the Stanford Jazz Festival, a summer-long celebration of jazz music where enthusiasts, students, educators and musicians convene to enjoy the rich multitude of performances presented by breakthrough artists and legends of the industry. Over the course of […]

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If you happen to be anywhere remotely near Stanford this summer, be sure to catch a few performances at the Stanford Jazz Festival, a summer-long celebration of jazz music where enthusiasts, students, educators and musicians convene to enjoy the rich multitude of performances presented by breakthrough artists and legends of the industry. Over the course of the 30 years it has been around, the Fest has become one of the most important music events in the area, attracting well over 10,000 attendees each summer. But don’t be daunted by the huge lineup of over 30 main events — The Dailyhas compiled a list of five concerts, ordered chronologically, to look out for, representing a wide range of jazz styles and artists.

Courtesy of Sachal Vasandani.
Courtesy of Sachal Vasandani.

1. Sachal Vasandani (vocals) with Taylor Eigsti on Piano: Friday, July 18 at 8 p.m. in Dinkelspiel Auditorium

An intriguing meld of jazz and pop originals and reinterpretations, Vasandani’s latest album, entitled “Hi-Fly,” has captured critics’ attention, distinguishing him as one of the most promising and versatile male jazz singers in the industry. But that’s not to say that his debut “Eyes Wide Open” (2007) and second album,“We Move” (2009), weren’t critically acclaimed as well. Vasandani’s sonorous voice and swooping tones are reminiscent of Kurt Elling, but it is his distinctive style that sets him apart.

2. Patrick Wolff Sextet with Ben Goldberg & Diana Gameros: Tuesday, July 22 at 7:30 p.m. in Campbell Recital Hall

SaxophonistPatrick Wolff has worked with many jazz greats but has also played with a number of other artists outside of the jazz world, including Afro-beat juggernaut Asiko, Nigerian reggae star Majek Fashek and indie rock group Calexico. His sextet will be playing with renowned San Francisco-based clarinetist Ben Goldberg and breakout Latin singer/songwriter Diana Gameros.

Jack DeJohnette. Photo by James Adams.
Jack DeJohnette. Photo by James Adams.

3. Jack DeJohnette Trio with Ravi Coltrane & Matthew Garrison: Sunday, July 27 at 7:30 p.m. in Dinkelspiel Auditorium

National Endowment of the Arts (NEA) Jazz Master and Grammy winner Jack DeJohnette is an innovative and prominent drummer in the jazz industry, with a career that spans over 50 years and a dynamic sound incorporating hard bop, fusion, world music and avant-garde influences. DeJohnette will be joined by Ravi Coltrane, saxophonist and co-owner of the RKM Music Label, and Matthew Garrison, electric bassist and founder of a Brooklyn performance venue called Shapeshifter Lab. The drums, sax and bass should make for a great Sunday evening performance.

4.Taylor Eigsti & Julian Lage: Tuesday Aug. 5 at 8 p.m. in Dinkelspiel Auditorium

Two young and well-accomplished musicians take the stage together in this evening performance: pianist Taylor Eigsti and guitarist Julian Lage.  Eigsti is only 29, but he has already received two Grammy nominations for “Lucky To Be Me” (2006), the fifth of seven albums he has released so far. At 26, Julian Lage had released a Grammy-nominated debut “Sounding Point” (2009) and a second album Gladwell (2011). Frequent collaborators, both artists came from the Bay Area and are currently based in New York.

Courtesy of Chick Corea.
Courtesy of Chick Corea.

5. Chick Corea – Solo Piano: Saturday, Aug. 9 at 8 p.m. in Bing Concert Hall

Our last selection is jazz legend Chick Corea, a pianist and composer who has made groundbreaking contributions to the music world. This endlessly innovative keyboard virtuoso helped introduce the electric jazz fusion movement and is one of the most illustrious and prolific musicians of the age. With 20 wins out of a remarkable 61 Grammy nominations, he is the fourth-most-nominated artist in Grammy history. The Downbeat Hall of Famer and NEA Jazz Master closes the festival with a solo performance at the Bing Concert Hall, dedicating the performance to late flamenco guitar icon Paco de Lucía.

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