Stella Was a Hella Good by Emily Pisacreta

I have never felt more important than when a waiter at Stella’s Italian restaurant used tongs to place a cube of the best garlic bread I have ever tasted onto my plate. Located in the South End of Boston, this is not your traditional Italian restaurant. With sheik, long white tables and glass- backed chairs the restaurant did not feel like a place where you would get a good, home-style Italian meal. However, that is exactly what I got.

            We sat down at the table, and immediately two waiters were on either side of the table to help answer our questions about the menu. While we sat deciding on food we were constantly getting refills on our waters and being offered more bread. When it was finally time to order, I decided on a Caesar salad and spaghetti with cheese and garlic sauce. Now, I love Italian food, so I was excited for my meal. But starting with a salad in a bowl as sheik as the interior of the restaurant, Stella’s surpassed my expectations. I could have eaten only the salad all night; the dressing complimented the cheese and small chunks of leafy green lettuce perfectly. I had to stop myself from filling up on the salad, because the next course was promised to be even more delicious. And let me tell you, it was. My mouth is watering just describing it to you. Heaped tall on a plate, the spaghetti was drenched in the best garlic, oil sauce I have ever tasted and topped with little cut up basil leaves. It was rich and perfectly gooey with garlic that tasted as fresh as I’m sure it was. The cheese added even more flavor, but didn’t over power the meal. I tried so hard to finish the whole thing, but had to stop when I felt like I was going to explode. If I could go back right now and eat more of that spaghetti, I would, I would eat it all day long.

            Stella had not only great food, but also a great atmosphere, and looking out at the streets of Boston it provides a fun and modern mood. The waiters were friendly and the food was delicious to say the least. For a new experience in Italian food, I’d say Stella is the place to go.

What? By: Emily Pisacreta

           I’m going to be completely honest, I watched the entire 80 minutes of A Rite, and I still have no idea what happened. But, if I’m being completely honest, I was okay with that. When the Bill T. Jones/ Arnie Zane Dance Company and SITI Company took the stage at Williams College on March 17^th, 2015, I knew I was in for a night of theater that I have never experienced before. The two groups came together to examine the music, dance and consequential riot that ensued after Igor Stravinsky’s Rite of Spring was first performed in Paris in 1913.

Now, I could try to describe the plot to you, but I truly have no idea what the plot was. In simplest terms, the dancers danced to the music originally from Rite of Spring, with added elements of the actors giving monologues as different characters loosely related to Rite of Spring. Ellen Lauren, for example, was an actress from SITI Company, she portrayed a character almost like a professor; donned in a blue polka dot dress, she was there to help us understand the music and the riot. Her monologues, which occurred in between periods of dancing, explained the construction of the music, and the audience reactions in a very high pitched, piercing voice. Meanwhile, Steven Duff Webber wore a suit, and with a powerful presence reminded us of the passage of time. His monologue really got to me, to the point where I was thinking about it two days later, trying to really understand it. He taught us that, if you are moving, and someone is standing still, the two of you will have perceptions of “now” that are slightly different. He did this to put into perspective how this event that happened 100 years ago is still important to us today, as time is not moving in one direction, it is all around us. In these moments, the actors really showed every characteristic of their roles, which is what make their acting so strong and engaging. I was interested in the monologues and the characters presented, although half the time I had no idea what they were even talking about, and what it had to do with the piece I was watching. I just liked listening to the stories, and watching these actors, who were so committed to everything they were doing. I was especially amazed at how into the dancing the actors got. Of course professional dancers did the bulk of the dancing, but the actors were right there with them, moving and sweating profusely. Whether it was dancing or acting, the actors dove into everything they were doing and really did an amazing job portraying their characters.

The set was effortlessly beautiful as well. It was a simple black stage with only white lights to illuminate it. The curtain in the background moved every once in a while to change the mood of the scene. For example, in the last scene, a soldier-like character portrayed by Will Bond ran back and forth behind a curtain that was cut into strips that hung across the upstage area. It made the scene more mysterious and a little bit darker than it already was, if that is possible. It added to the desperation I felt while watching him run back and forth. The only props used in the entire performance were stools that the performers sat on, danced with, and threw around, and a piano that was rolled onto the stage to be played and sat on. The set was simple and, for a piece like this, it needed to be. The dancing and acting on stage was extremely complex and difficult to understand. If there had been a bunch of props or complicated technical elements, we would have been even more confused than we already were. With the simple set, the focus was on the performance and trying to understand the piece.

Finally, the dancing. I absolutely loved the dancing. What I loved about the dancing was that I could tell that all of the dancers on stage were miraculously well trained. They went into splits and did double pirouettes when the choreography called for it, but these dancers knew that that they were not there to show us how amazingly technical they were. The choreography was very primitive, with lots of second positions, flexed feet, jumps and moves that were not supposed to be pretty. So many times dancers get caught in trying to make their work look good, but the dancers in this piece knew that this was not what this piece was about. This piece was about riots and sacrifice and instincts, and nothing about that is pretty. My absolute favorite piece of dance was a sequence of lifts that the company repeated a few times. There were some lifts that involved the whole group, where someone would be dragged across the stage. Others where two people would engage in more traditional girl and guy lifts that you might see in a more traditional dance setting. Each and every lift and move in the sequence was seamless, while still being hard-hitting, primitive and exciting to watch. For me, the dancing was absolutely the highlight of the show. And, again being completely honest, I went home and watched far too many YouTube videos of the Bill T. Jones/ Arine Zane Dance Company’s performances. I would go back and watch A Rite again just to watch the choreography, which was so new and out of the box, that I could watch it a million times and find something new that I loved each time .

This piece. I could never describe it as anything but really, really weird. But sometimes weird, out there, incomprehensible work is the most fun to watch. While I did not come out of the piece with any idea of what the plot was, I came out curious and was still thinking about the piece the next morning. This piece was definitely hard at times when things got really weird and all I could do was try and figure out what the heck they were doing. But overall, I still want to go back and watch it over and over until I can understand every little nuance and every intention behind it. This piece is definitely difficult at some points, so if you looking for a fun, easy night of theater or do not like being confused, this is not the piece for you. But if you are looking for a piece that you will be thinking about for the next six months, and still never totally understand, then A Rite is the piece for you.

                                                               

A Thousand Little Stories by Emily Pisacreta

Bibliothecaphilia: an abnormal appetite for libraries. Well, that’s the definition according to the six artists commissioned to create this piece of work. Confined to a small gallery in the Massachusetts Museum of Contemporary Art (Mass MoCA) in North Adams, Massachusetts Bibliothecaphilia is a small yet exciting exhibit centered around libraries and books. These artists wanted to explore the appeal of libraries when we have the Internet and eBooks just a few seconds away. It was inside this exhibit where I found my favorite piece of work. It was not a huge piece of complicated art, or even one totally created by paid artists. However, the idea behind it captured my attention, and I spent more time thinking about and looking at this piece than any other in the museum.            

Jonathan Gitelson’s Marginalia was my favorite piece in the entire museum. It was simply a clear glass case containing different pieces of paper found in books. There were love letters, pictures, bookmarks, playing cards, grocery lists, doodles and just about anything else you could write on a little piece of paper and stick inside a book. This exhibit captivated me, I think because it connected me to people I had never met before. I spent almost a half hour reading all of the letters and lists and looking at the photographs. Some of them made me laugh out loud; like this one note a kid wrote to his mom about how much he hates eating vegetables and how he will starve himself if she tries to feed him anymore. The note was written in shaky pencil, the word “mom” was spelled wrong, and on the bottom he drew a big frowny-face. Others notes broke my heart; like a letter written in blue ink on yellow paper, written by someone contemplating suicide. It was so well written and desperate, that I just wanted to go help this person. And I think that is why I loved this piece so much. By looking at their pictures or reading their notes, I felt connected to people I have never met before. I felt like I was right there with them. I got a look into the private lives of people, and I was linked to them in a way I never expected. It is an amazing piece of art, especially since it was so simple. I spent so much time reading and looking at this piece, and I could have stayed even longer. It was like watching a movie or reading a book, I was captivated by each individual story and person’s life, and was transported into their world. It was as if for the time I was reading their letter, I knew who they were.

As you can probably tell, I loved this piece of art. Marginalia, along with the entire exhibit reminded me of the beauty of libraries, a place where we can be alone, but connected to each other through the books sitting on the shelf. The entire exhibit was certainly thought provoking and fun to ponder. Bibliothecaphilia will be on display until January 1^st, 2016, so if you have a chance to visit, go check it out. It is an amazing exhibit that really compliments an already awesome museum.

Mass MoCA is a dynamic and fun place to just hang out in while you appreciate some cool, new, contemporary art. I got lost in rooms filled with huge sculptures and small paintings. It has art that I have never seen the likes of before. It was certainly a different type of museum and one that I am glad I had the chance to visit and explore. I would definitely recommend visiting if you’d like to experience art in a new and exciting way.

Proud to be an American? By Emily Pisacreta

           The Museum of Fine Arts has always been my favorite museum. My grandma brought me into Boston to see it as a little kid, and I fell in love with the light blue impressionist room and the dark red room with all the portraits. I am happy to say that my love for the MFA has not waivered in the many years since my first visit. The vast galleries filled with old and new art, never fail to keep me entertained. When I was allowed to wander around the museum I remembered why I love the MFA so much. It keeps all these amazing works of art, but also adds new and exciting exhibits that I have never seen before. One of these exhibits was National Pride (and Prejudice), a piece about what it means to be an American. In this exhibit, which will run until April 12^th, 2015, there is a sculpture by Dave Cole called Bullet Flag VI, which will take a high spot on the ever-growing list of art that I love at the MFA.

            Bullet Flag VI is exactly what it sounds like. Dave Cole took American used bullets to create a grainy, darker image of the American flag. At first I almost walked right by it because at first glimpse it does not look all that exciting. But, lucky for me, I was curious about why the flag looked so dark so I stopped to read the description and realized the deeper meanings and intentions behind this piece. Cole was very specific with his use of bullets and their source. All the bullets in the dark blue part of the flag come from bullets fired on American soil. However, all of the bullets that make up the red and white stripes of the flag were used in international warfare. This idea is very provocative, as it really highlights the darker parts of American history. All Americans feel a sense of pride when we look at the flag. However, this piece reminds us of the price we paid for the freedom and pride. It was certainly a different look at the American Flag, one that is never really seen. It tells us that we should not forget the violent past that shapes the history and present of the US. Even Dave Cole himself said that, “The power in the piece for me is in the contradictions.” On all my trips to the MFA with my grandma, she would always remind me that good art makes you think. That is definitely what Bullet Flag VI did for me. It made me think about American culture and violence both here and overseas, because no matter how you want to interpret that sculpture, there are a lot of bullets in it. A lot of bullets, all fired by Americans.

            Bullet Flag VI, along with the entire National Pride exhibit was a great addition to an already fantastic museum. It, along with its counterparts in the exhibit, was creative and thought-provoking, and they really added to overall excitement of the museum. It does not seem like anything extraordinary or even exciting at first, but upon closer examination it becomes quite an interesting piece to think about. I am glad I gave it the time of day because it started me thinking on topics that I don’t address on a regular basis.

Thanks to ever-changing, exciting exhibits like National Pride and old favorites like the impressionism room, the MFA never loses its charm. I would live in the MFA if I could, and I will tell everyone I know until the day I die to go visit. However, it is a huge museum that you could easily get bored in if art is not totally your thing. So, if spending sometime around some great art sounds appealing to you, I’d say go visit, because you will not regret it.

It’s Not Even Raining by Emily Pisacreta

When you think tragic 12^th century French plays, usually you don’t think about an ensemble of men dressed in black raincoats dancing to Get Lucky by Daft Punk. However, Kneehigh Theater Company from London managed to add such entertaining elements and many others into their extremely entertaining rendition of Tristan & Yseult on March 12^th, 2015. Tristan & Yseult tells the story of two young lovers who enter into a dangerous love triangle, where the third point is King Mark, a powerful ruler and a friend of Tristan. Yseult truly loves both Tristan and King Mark, and she struggles throughout the play to love and please everybody. The lovers’ struggle is captivating on its own but paired with amazing set and technical elements, lively acting and engaging activities with the audience, this production of Tristan & Yseult was out of this world.

I wanted to be in this play, and I kind of was. Before the play started, members of “The Club of the Unloved,” the trench coat wearing ensemble that served as an addition to the age-old story, came into the crowd and “interviewed” audience members about love. Watching the awkward audience members get interviewed was hilarious, and the play only went up hill from there. With insanely well-choreographed and realistic fight scenes with fake blood and everything, actors that were literally swinging from the ceiling and a main character who spoke only in French for half of the play, I was engaged and excited throughout the entirety of the production.

 One of the highlights of the play came in a wedding reception, where the entire audience was invited. Frocin, King Mark’s assistant played by Damon Daunno, delivered a witty speech and then prompted the entire audience to blow up balloons found in their programs and to let them go when Mark and Yseult walked in. Then, he prompted the audience to give a toast and mocked our weak celebratory skills. While the first half of the play delivered in the comedic department, the second half certainly brought the dramatic and tragic element to life. Without giving away anything important, I will say that the girl sitting behind me at the end of the play said, “I just want to go home, eat a tub of Ben and Jerry’s and cry.” And I have to say she was not the only one in the theater with those feelings. The Actors in the Kneehigh Theater Company did an amazing job making fun, likeable characters that I sympathized with and rooted for because of their strong acting performances and well-executed technical scenes.

One of the most exciting technical elements happened when Frocin tried to take a picture of Tristan and Yseult. He was hoisted high above the stage with wires and a harness. The ensemble characters maneuvered the wires moving him up and down, and the audience laughed and held their breath as he swung above the couple. When he finally took the picture a bright light flashed and a huge flash noise resonated throughout the theater, mimicking a camera flash, except far more dramatic. It made that moment much more exciting and entertaining for the audience. Every technical element in the play was similar to that one in scale and excitement, they always added to the play, and were never distracting. They made the play easier to understand and much more fun to watch.

Tristan and Yseult had every element that makes a successful piece of theater and capitalized on every single opportunity. The actors were enthusiastic and funny as well as centered and dramatic. The technical elements were fantastic and did not distract or take anything away from the action on stage. I was thoroughly entertained from start to finish. This production of Tristan and Yseult was fabulous, and if you get the opportunity to go, go.

 

Danú? More Like DaDO By Emily Pisacreta

           Quick quiz: What is a bouzouki? What about a bodhran? Or how about a uilleann pipe? No, believe it or not, I did not make those words up, they are all instruments played by Danú at the Shalin Liu Performance Center in Rockport on March 10^th, 2015.

Danú is a traditional Irish folk band made up of members from all over Ireland: Murieann Nic Amhlaoibh who sang lead also played the flute and whistle, Benny McCarthy who played the button accordion, Oisin McAuley on the fiddle, Eamon Doorley on the Irish bouzouki (which looks like a banjo in case you were still wondering from before) and Donal Clancy who wailed on the guitar while Martin O’Neill jammed out on the bodhran (an Irish drum).  Two artists from outside the band, Liam Flanagan on the banjo, and Ivan Goff who played the uilleann pipes (the Irish version of bag pipes) joined the group. Danú entertained an extremely enthusiastic crowd with songs from all over Ireland, some instrumental others sang in Irish and even more in English.

            In one of his many amusing anecdotes, Doorley told the crowd that Danú has been together as a band for twenty years, and after the concert I witnessed, it was not hard to see why. When the group was not energetically bopping along to the folky fiddle of their lively jigs or swaying to their more emotional songs, they were talking and joking with each other and the audience. It was easy for me to see that this group was on

stage to just have fun and share a piece of their home to a group of people who were very excited to receive it. The crowd was engaged throughout the entire performance, even going as far as to sing along with the group during one of the more upbeat songs, Willie Crotty. The show ended in a standing ovation, which prompted an encore performance that left the audience satisfied. I went into this concert expecting to be bored by weird, old, lackluster Irish instrumental music. Instead, I got to witness an amazing fiddle solo (seriously, McAuley was absolutely incredible), I got to learn a little bit about Ireland, and I got to hear bunch of new songs that I’m sure I will be singing for the next few weeks at least.

            I am officially Danú’s newest fan. I am in love with their upbeat jigs, their slow, emotional ballads and their fun traditional Irish songs. They put on a great show filled with comedy, music and heavy Irish accents. I went into this concert unsure of what to expect, and came out with a list of new songs to download onto my phone. If you get the chance to see this concert live, do not pass it up. Overall, on the 1980’s slang scale of bunk to bangin’, this concert was definitely bangin’.

At the WINdow By Emily Pisacreta

           Louis Kronberg is a Boston born painter with an affinity for painting ballerinas. His beautiful work, At the Window, is stationed in the Blue Room of the Isabella Stewart Gardener Museum. At the Window depicts a young ballerina wearing light pink pointe shoes and a large, fluffy, white tutu. The dancer stands in front of a huge window, covered with pale, flowing curtains. Her dark hair, pulled back into a loose ballerina bun is the only dark color in the entire painting. The dancer in the painting stands relaxed, casual, with her hand in front of her face, as if she is trying to recall something.

Kronberg’s work is highly impressionistic, with colors and lights and shadows seemingly running into each other. This impressionistic style works flawlessly on this painting. When we think ballerinas, we think of structured, trained, and very well put together people. At the Window tells a very different story. The ballerina’s hair is messy, with wisps of hair flying out of her rather low ballet bun. Her pointe shoes are loosely tied with the ribbons hanging out, which is the number one sin in the world of ballet. She is not standing in fifth position or with her leg ten feet in the air; she is slumped over, her legs turned in. All of these aspects along with the blurry impressionistic style show the imperfect side of the ballerina. She does not fit the mold of a typical ballerina; we are reminded of the human side of these seemingly perfect, graceful dancers. If this person, whose job it is to be put together and graceful, can have a moment of imperfection, then all human beings can. Without overstating it, this picture reminds us all that it is okay to not be put together and perfect because despite the imperfections in the ballerina’s stance and appearance, the painting as a whole is still quite beautiful.

Louis Kronberg uses the ballerina to remind all viewers that we do not have to conform to the high expectations placed on us because of our professions. His impressionistic style and imperfect illustration of the ballerina provide a sense of relief and relaxation or even a moment of truth for the viewer. As a reviewer who loves both ballet and impressionism, I highly recommend this piece to anyone who feels the same way. However, if these things are not exactly your cup of tea, you might not feel the same attraction to the picture as I did. Overall, on the nineties slang scale of fresh to not so much; I’d say this painting is pretty tight.