Category Archives: Culture
The lights go down in the Marshall Theatre. The room is pitch black, until five cell phone screens light up the stage. The screens begin to move, bouncing around the stage. These dancing cell phones create an enticing opening scene to the comedy, “Dead Man’s Cell Phone.”
This entertaining production has been in the works for a few months. The cast members were able to get to know each other during the course of two and a half months—a long time in the theatre world. It is performed by six main actors and five members of the ensemble, who danced between scenes and creatively changed the equipment by moving robotically. The actors of the play worked together seamlessly.
The main character, Jean, played by junior Paige Keith, is a woman who gets completely entangled in a new world simply by picking up a cell phone.
“This was the best cast and crew I have worked with,” Keith said. “It was the most fun I have had in a production since high school.”
Keith has previously performed at Linfield in “The Comedy of Errors,” “West Moon Street” and “Execution of Justice.” She is a theatre and business double major.
Keith had pre-stage jitters before the show and said that her heart was racing before each play. However, she added that the cast had performed the show so many times that they all had it down. She said she is able to get into the flow once the lights go on and she walks onstage.
Freshman Nicholas Granato, who is hoping to pursue acting as a profession, played the dead man himself. He has performed in Chekhov’s “The Bear,” “Fifth of July” and in numerous other shows. He played Gordon, a dead man who is discovered by Jean at a nondescript café.
“We had a great cast. No one ever fought,” Granato said.
However, the process was not an easy one.
“The first read through was confusing, no one knew what they were reading,” he said.
However, the play had certainly improved since the first read through; it was obvious when watching the actors that they were confident in their work.
Among Keith and Granato were seniors Grace Becket and Bailey Maxwell and juniors Daphne Dosset and Jacob Preister. The ensemble was made up of animated actors. Sophomore Tim Marl impressed the audience with his skillful robotic moves. He has been dancing since he was four years old, and “Dead Man’s Cell Phone” was his first performance at Linfield.
The play isn’t just a mindless comedy. It brings about insightful thoughts about the effects of technology on today’s society. The characters are plagued by their cellular devices. Jean wouldn’t have ever gotten involved with Gordon’s odd family if she had ignored the obnoxious ringtone, or better yet if Gordon had politely silenced his cell phone before he died. Instead, Jean answers the cell phone, and continues to entangle herself in Gordon’s eccentric family by continuing to pick up the device. Jean simply cannot let the device go, until she learns the hard way that technology isn’t as important as she once believed.
The play was a success for the theatre department, selling out on opening night. The play will continue April 19, 20 and 21.
Alyssa Carano/Staff photographer
Alyssa Carano can be reached at email@example.com.
Senior Jessie Goergen, mezzo-soprano, presented her Senior Voice Recital on April 14 in Ice Auditorium, integrating four years of music study in a two-part performance that audience members described as diverse and soulful.
The performance showcased Goergen’s talents and featured songs of a variety of languages and musical styles that received a standing ovation.
Goergen began the recital with classical opera pieces in German and Italian, accompanied by pianist Debra Huddleston.
She was later joined by senior Logan Freitas, sophomore Jaimie McDonald, senior Jeremy Moll and senior Kayla Wilkens for a theatrical performance of “Habañera.”
“It’s from the opera ‘Carmen,’ which is one of the most seductive operas,” Freitas said.
Goergen concluded the first half of the performance with two George Gershwin songs from the 1920 Broadway musicals “Lady Be Good” and “Oh, Kay!”
“I was in my head for the first song, but after that I got out of it,” Goergen said about her initial nervousness. The mezzo-soprano never let her stage fright show, gracing the stage with confidence and energy that flooded the auditorium.
The second half of the performance brought a change of style. Goergen was joined by pianist Dana Libonati, tenor sax David Floratas, bassist Glen Libonatti and drummer Anthony Libonati for jazz and pop performances that received an energetic reaction from the audience.
“There is nothing greater than connecting emotionally with an audience and having the power to move someone with your music,” Goergen said in an email.
Goergen has been singing and performing since she was young, participating in jazz, country and pop vocal competitions. She has also been honored by the Oregon State Fair and the KPOD Bi-Coastal Media Texico Country Showdown.
“I have a very musical family. Music has always been a huge part of my life,” Goergen said.
While at Linfield, Goergen has taken every opportunity to get musically involved, as she has sung for the Jazz Choir, Concert Choir and the Women’s Ensemble and is currently the president of Linfield’s A Cappella Choir.
“I’m very grateful to have received many accomplishments and opportunities in performing at Linfield over the years,” said Goergen in an email.
Goergen has worked extensively with voice coaches Gwen Leonard, professor emerita of music, and Natalie Gunn, adjunct professor, who have seen her mature as a musician.
“During her time at Linfield she’s come to enjoy and appreciate the classical style of singing,” Gunn said.
“I am very fortunate to be able to study under great voice teachers who have taught me a tremendous amount in technique and performance,” Goergen said.
The preparation for the recital was a considerable one. She has been working for three semesters to perfect her work for her senior capstone, and the work has paid off.
Goergen is currently writing her own music for upcoming concerts, as well as preparing to perform for Linfield’s Wildstock in May. Although she is pursuing law school after graduation, she intends on continuing her career as a musician.
“My dream and passion is to be a musician who touches lives, inspires others and connects with those around me,” she said.
Christina Shane/Staff writer
Chrissy Shane can be reached at firstname.lastname@example.org.
She slid her bow across the cello strings with piercing intensity, playing along to lines about sea foam and love.
That’s how Sherill Roberts, cellist and adjunct professor of music, opened her faculty recital April 15 in the Delkin Recital Hall.
The packed room listened as Roberts and a variety of accompanists created music to commemorate the 100th anniversary of the Titanic sinking.
Roberts’ accompanists included her daughters Rosemary Roberts on the harp and Amelia Bierly on the cello.
The family trio blended the harp and cellos to weave together, “A Shape of Ice,” a piece composed by Bierly.
Bierly gained inspiration to write the piece from Tom Hardy’s 1912 poem, “The Convergence of the Twain (Lines on the loss of the Titanic).”
“I took inspiration from the rhythmic and melodic cadences of Hardy’s words,” Bierly said. “His rich, yet sparse writing style challenged me to create full textures and timbres while still maintaining a sense of great space.”
The next pieces were parts of the trio, “Enchantment of April,” which featured the sounds of piano, cello and clarinet. Chris Engbretson accompanied on piano while Theresa Schumacher mixed in clarinet.
Between pieces, Roberts took a break from playing cello to introduce Judy Koontz, an audience member whose grandmother, Kate Herman, was a passenger on the Titanic.
Roberts circled the room, showing a faded photo of Herman at age 24.
The next song,”Rest in Peace, Titanic,” was composed by Schumacher’s aunt.
“When I mentioned to [Schumacher] that this concert was on the 100th anniversary of the sinking of the Titanic, she said that her Great Aunt Tilly had published a song about the event,” Roberts said. “We thought it would be fun to include in the program.”
Schumacher explained how the family didn’t know how her aunt had written music until after she passed away.
“It was quite a surprise when we found that sheet music in one of her drawers,” Schumacher said. “Dear old Aunt Tilly could do more than everyone thought.”
“Rest in Peace, Titanic” featured bold piano chords by Engbretson, Roberts on the cello, and accompanying singing by soprano Natalie Gunn.
Roberts finished the evening with an emotional, lively rendition of Frank Schubert’s “Quintet in C Major, Opus 163.” Accompanists added violins and a viola to Roberts’ and Bierly’s cellos, creating dramatic, passionate music.
“The two cellos have some sublime melodic passages that need to sound almost as one instrument,” Roberts said. “To find a cellist who could play so perfectly with me, I had to grow my own.”
Joanna Peterson/Managing editor
Joanna Peterson can be reached at email@example.com.
Yahoo answers: “Get married and find out. Technically, the term means you get all excited just to get shut down for the night.”
Urban Dictionary: “When Polly won’t finish off your cracker”
Dictionary.com: “A painful but temporary condition of the testicles, often the result of unrelieved sexual arousal.”
Blue balls is a colorful, slang term used to describe the well known aching that can occur when a male is sexually aroused but does not reach climax.
But why do blue balls happen and what causes them?
To answer this, let’s start by reviewing the sexual response cycle. It is a four-part cycle that describes the physiological responses during sexual stimulation. The first phase is the excitement phase where sexual arousal begins.
The second is the plateau phase characterized by an increase in heart rate, blood pressure and muscle tension.
The third and most popular phase is the orgasmic phase, which results in ejaculation for men, and muscle contractions in the pelvic region for both men and women. This phase is also well known for its overall euphoric feeling due to the immense and fairy tale love you feel for your partner and a release of chemicals in the body, such as endorphins and oxytocin.
The final phase is called the resolution phase. Scientifically speaking, this is when the body begins the process of returning to its normal level of functioning, as blood drains from the erect and swelled reproductive organs, returning them to normal size and color.
This phase often also brings with it the return of normal levels of reasoning and a resurfacing of reality. Opening ones eyes to a renewed understanding that the means to attract a partner may be out of reach, but the means to orgasm are still in hand, in which case a good hand washing is in order. This is a condensed explanation of the sexual response cycle, though it is enough to address the concept of blue balls.
When men and women become sexually aroused their bodies increase blood flow to their reproductive organs while the veins around the genitals constrict trapping the blood in the genitals. When this process, known as vasocongestion, occurs in men the penis becomes erect and the testicles engorge with blood causing them to swell to 25-50 percent of their normal size.
For women the labia, vagina, and clitoris swell and lubricate, and the breasts and nipples enlarge and become sensitive. This vasocongestion occurs during the plateau phase.
The quickest way to drain the blood back out of the genitals, returning them to normal size, is through an orgasm as the muscle contractions and vasodilatation that accompany an orgasm flush the blood back out to the rest of the body.
If an orgasm does not occur, then it takes longer for the blood to be released from the genitals and they stayed swelled longer. For some people, this can cause discomfort and mild pain, often referred to as blue balls. Although called blue balls, it is not restricted to males.
Women can experience the same discomfort and pain when they do not reach orgasm.
So it is true that blue balls can cause men and women mild pain and discomfort if their sexual response cycles are interrupted or left unfinished, though the experience does not last long and causes no damage to the body.
Ethan Connolly can be reached at firstname.lastname@example.org.
“21 Jump Street” is not what you would expect. Since “Super Bad,” audiences have become familiar with the traditional Jonah Hill vehicle, “Cyrus” “Get Him to the Greek,” “The Sitter” and other like-minded movies where he fills a similar role, though not a primary one, like “Forgetting Sarah Marshall” or “Knocked Up.”
Along with Jonah Hill flicks, today’s movie-going audience has also become accustomed to reboots, even reboots adapted from TV sitcoms, such as “Starsky & Hutch,” “Miami Vice” and “Bewitched” for example.
For these reasons, I was more than skeptical about this movie and actually had to be dragged to it. After all, “21 Jump Street” is a buddy comedy based off an ’80s sitcom, a recipe that has recurred numerous times during the past couple years with mostly unfavorable results. That, coupled with a lackluster trailer, lead me to believe that I knew exactly what kind of movie “21 Jump Street” was going to be. I had no idea.
“21 Jump Street” is anything but predictable. In fact, the erratic nature of the film, from the dialogue to the presentation, largely accounts for its unique charm. The comedy is based off of a not as hilarious sitcom of the same name. Before the movie, the “21 Jump Street” sitcom was mostly forgotten among television history and it most definitely would have disappeared into complete obscurity if it hadn’t served as the launching pad for a certain Johnny Depp.
Jonah Hill’s “21 Jump Street” takes Johnny Depp’s dramatic roots and turns it on its head. Hill’s version invents new modern-day back-stories for the leading protagonists and adds significant nuance to their characters. At a glance, Hill and Channing Tatum’s characters play the quintessential nerd and jock roles respectively, however, as the film progresses and we learn more about the characters, we see that they are much more complex and diverse than roles we would expect them to fill. The distinction between jock and nerd has become strictly outdated in cinema and in society.
“21 Jump Street” is fast and unconventional in its direction, witty in its satire, clever in its concept and at the same time outright hilarious in its vile quips. This is a movie with a soundtrack that consists mostly of Dubstep. This is a movie that riffs on its outdated source material at its own expense. This is a movie that is aware of the internet-meme-centric world its demographic is steeped in and uses those things in a fresh and entertaining way.
This movie redefines the traditional character roles and story formats that so many buddy comedies before it have tragically copied. And, most importantly, this movie is funny. For these reasons “21 Jump Street” demonstrates that reboots can be done well, and its success proves that the old fashioned tried and true formulas ought to be challenged.
Titanic in 3D. A lot like the last time you saw it except with more smokestacks in your face and significantly more expensive.
The Hunger Games. It’s for the people who read the book.
Ian Storey/For the Review
Ian Storey can be reached at email@example.com.