In Siberia, it gets cold. Real cold. I bore this in mind as I made sure to slip on my trusty pair of corduroys before heading over to Siberian Front’s first live performance at Sigma Chi Saturday night. By the end of the show I wished I had worn shorts, and not just because of all the spilled beer.
Higher Ground,” a student-created musical, will debut this Saturday, March 1, at 7 p.m. in Dinkelspiel Auditorium. This musical seeks to establish the legacy of gospel music through a powerful synthesis of student actors, choreographers from Stanford’s dance department, the student a capella group Talisman, a choir from San Jose and deep historical research.
With an expected sense of decorum, visitors took their seats in the SFJAZZ Center’s Miner Auditorium, and quietly prepared for an evening of Latin jazz. As the lights dimmed, I felt the mood of the room change. Suddenly, performer John Santos was on stage, engaging us, the audience, in casual repartee. Instead of providing a formal context for the performance, Santos informally talked about his love for Latin jazz, and joked with the audience about buying his new CD.
This Valentine’s Day, Stanford’s Bing Concert Hall was graced by the presence of singer Cecile McLorin Salvant, whose unique talent is resurrecting the art of jazz in the 21st century. Announced from the stage, Salvant presented a program that refreshingly broke from the traditional collection of love songs expected on this day. Spanning genres, eras and emotions, Salvant sang jazz standards like “I Only Have Eyes for You”, excerpts from musical productions such as the “Step Sister’s Lament” from Cinderella, the soundtrack from a 1928 silent film “Laugh Clown Laugh.” It quickly became clear that one should not attempt to guess what was coming next.
Last Thursday, the Chocolate Heads Movement Band lifted the edge of the curtain to reveal our creation-in-progress: the second annual UnShow. The standing audience looked down from the stairs and balconies of the Cantor Arts Center lobby as our story unfolded in black light.
In the opening scene of “Gloria,” by Chilean writer-director Sebastián Lelio, the film’s eponymous star is alone at a nightclub. Gloria (Paulina García) makes eye contact with a few romantic prospects— middle-aged men from Santiago, Chile— but, mostly, she navigates independently, hovering on the dance floor’s peripheries. Everything about Gloria is familiar— her guts and vulnerability, her passions and instincts for self-preservation. She is a refreshing reminder that young people do not have a monopoly on the aches and ecstasies of falling in love.
This past weekend I was in Austin, Texas, for a mid-quarter jaunt. I picked Austin as my vacation destination on the sole basis of its phenomenal food scene: one of my friends told me there were lots of tacos to be had. Incidentally, that same friend later decided not to join us. We would no longer be on talking terms, if not for how truly explosive our dining experiences were.
Stanford Theater Laboratory’s production of Eurydice, a one-act play by the contemporary playwright Sarah Ruhl, asks us to consider weighty themes of death, remembrance, and identity through one woman’s choice between a husband and a father. Performed three times last week under the direction of Allison Gold ’15, this unusual and frustrating play draws the audience into an off-kilter world where the mundane becomes magical.