Arts

Arts

Top Ten | People Who Should Appear in a Comic Book

October 1

    Stephen Colbert is set to appear in "The Amazing Spider-Man" comic book release mid-October, and that got us thinking. If Marvel can boost their readership by including this popular television personality, they might be able to make a habit of including real-life celebrities in the superhero world. We at the Daily Arts Department have some ideas, and they are arranged in order of who will look best in tights: 10. Don Rickles: Because he's so old, his whole life seems to be one big senior moment. With all of the insults and shenanigans this man pulls off (think Emmy Awards two weeks ago), a comic book seems to be the only thing that could capture this man's personality. 9. Barry Bonds: He's big, he's buff and he can hit a ball out of a ballpark. Superman could use his super strength as a backup in case he gets a leg cramp. The only things we don't know is how Barry will explain those blood stains on his butt... 8. Dwight Schrute: Someone this weird doesn't belong in the real world. His knowledge of bears, beets and Battlestar Galactica could prove powerful in the world of superheroes and villains. Not to mention his prowess as a volunteer sheriff deputy (on weekends). We'd like to see him throwing jello and maybe shooting lasers from his giant specs. Let's face it, being a comic book character is probably his life's dream anyway. 7. Super-Jesus: Ah whatever, the "super" doesn't really mean anything anyway; broham can already turn water into wine. Now, what I really want to see is a frat boy who can turn human urine into Natty Light. That's what I call an alternative energy source, WOOO COLLEGE. 6. Keith Olbermann: Keith Olbermann is actually Super-Jesus, so, I don't see why he's on here twice. 5. Michael Cera: What could possibly make this man-boy more awkward, thus more awesome? Answer: a comic book detailing all of his awkward Hollywood stunts. 4. Arnold Schwarzenegger: This wouldn't take much effort at all. He's got the voice, the disproportioned bodybuilder physique and a superhero name: The Governator. When evil robots take over California, you know who will be there to stomp them out. 3. Jemaine Clement: He's already got a super-hero name (Hip-hiphopopopotamus) and the power to seduce the ladies with his clever outfits, catchy rhymes and geeky disguise. Plus, who else could possibly save the world from the imminent robotic uprising of the year 2000? 2. Sarah Palin: Read in shock and awe as Wasilla-Woman mauls a moose, forces teens into loveless marriages, high-fives Russia, shotguns a beer, then empties a can of hairspray on her head. After all, there's no hole in the ozone layer, you freedom-hating commie. 1. Natalie Portman: It's bad enough she was a sci-fi nerd pinup in the "Star Wars" prequels, but seeing Natalie drawn in comic style (aka physically impossible proportions) might open a fifth dimensional black hole and cause the galaxy to implode upon itself. It's kind of risky, but it would make for a great special edition issue.

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Arts

Nelson discusses 'Appaloosa' role

October 1

The Daily got to speak with character actor Adam Nelson at the Four Seasons Hotel in Boston about his new movie "Appaloosa," which opens to a wide release tomorrow. In the film, set in New Mexico in 1882, Nelson plays Mackie Shelton, an accomplished gunman who travels with his brother, Ring Shelton, looking for work. He crosses paths with Appaloosa Marshall Virgil Cole (played by Ed Harris, who is also the movie's director and co-writer) and Deputy Everett Hitch (Viggo Mortensen) as they try to get rid of a lawless rancher who has control of the town. Nelson spoke about his role, how he prepared for it, why he got into acting and what is in store for him in the near future.

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Arts

Nights in Rodanthe' takes the excitement out of midlife crises

October 1

Nicolas Sparks, the popular author of "A Walk to Remember" (1999) and "The Notebook" (1996), delivered another tear-jerker with his novel "Nights in Rodanthe" (2002). Sparks' novels, however, have never been known for their literary ingenuity, and his film adaptations peaked with 2004's "The Notebook" and its subsequent pile of Teen Choice Awards. The film adaptation of "Nights," while as touching as the rest of his tales, is similarly full of clichés and trite, over-simplified plot lines.

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Arts

Kings dethroned with attempt at mainstream

September 29

Many fans of the Kings of Leon were eagerly awaiting the release of their fourth full-length album. Those hoping for another album in the vein of "Aha Shake Heartbreak," (2004), the perfect companion for whiskey-soaked, dance-filled nights, however, might be disappointed. "Only by the Night" steps even further away from a classic, raw blues sound and quickly assumes its place as the most mainstream and dull of any of their albums.

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Arts

Miracle' stands out from Lee norm

September 29

Spike Lee has made a career out of one distinct formula. The archetypal Lee movie is a well known concept: a provocative, socially conscious drama usually set in New York that grapples with the difficult subjects of race and class in American society. With every film released since his masterpiece "Do the Right Thing" (1989), the formula has worked.

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Arts

Exhibit showcases ancient empire's glory and aesthetic

September 29

Following the U.S. invasion of Iraq in April 2003, thousands of pieces were looted from The Iraq Museum in Baghdad, which housed one of the world's foremost collections of Mesopotamian art. Many of these priceless works have not been recovered and may never be restored to the museum.

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Arts

Indignation' is yet another Philip Roth success

September 28

Anger and indignation are not equivalent; whereas anger might constitute nothing more than a strong but temporary displeasure, indignation unrelentingly stresses the extreme injustice of whatever or whomever has wronged the indignant. This specific kind of fury resonates at the core of Philip Roth's newest novel, "Indignation."

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Arts

Old romance paves the way for another solid, comedic season of 'The Office'

September 28

What do you get when you take Steve Carell, slap on a goatee and stick him into an exaggerated fat suit? Believe it or not, the season premiere of NBC's hit comedy "The Office." On Thursday night, the series about the impractical workplace of a paper-selling company began its fifth season with a bang: a special, hour-long episode that pulled at the heartstrings and evoked uncontrollable laughter. Adapted from a British television series of the same name, the "mockumentary"-styled "The Office" boasts an abundance of talented writers, as well as the unique depth of the ensemble.

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Arts

TV on the Radio's newest, 'Dear Science,' is accessible, innovative

September 28

TV on the Radio is a band that does not believe in the adage "If it ain't broke, don't fix it." If they did, their follow up to 2006's "Return to Cookie Mountain" would be a good album with a few excellent songs. Instead they produced "Dear Science," their most cohesive, accessible, all-around best material to date.

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Arts

Metal. Apply directly to face.

September 28

On Sept. 10 Metallica's newest album, "Death Magnetic," was released, and its critical reception, moreover it's popular reception, could either be the death knell for the metal genre or a rebirth of the genre of popular rock.

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Arts

Standalone | Tufts grad debuts solo album

September 25

Tufts grad Pete Shungu (‘03), aka Afro DZ ak, breaks out a solo trumpet Wednesday night during his album release party at Bill's Bar in Boston. Shungu's debut solo album, "Elevation," was released Tuesday and features socially conscious hip-hop with multi-instrumental jazz backing. To read more about the concert and to see an audio slideshow featuring more pictures like this one, visit the brand-new Arts blog, "The Scene."

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Arts

New celebrities start 'Stars' off on right foot, despite stale formula

September 25

Last Monday, the seventh season of "Dancing with the Stars" premiered on ABC. With a fresh new cast of celebrities and even some new additions amongst the professional dancers, "Stars" starts out on the right path toward a successful season, even as the format of the show sticks to its worn-out formula.

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Arts

Ph.D. candidate Langsner details fight choreogrpahy, the techniques and effects

September 25

From the classic duel in "Romeo and Juliet" (1996) to the bloody landing at Omaha Beach in "Saving Private Ryan" (1998), to a slap across the cheek, to an all-out fisticuffs brawl, violent action graces the stages and screens of classic and popular storytelling entertainment.

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Arts

Famous faces see new light in 'Karsh 100'

September 25

Photographs of famous people are so common — whether taken by the paparazzi or for promotional reasons — that most of us never think about what kind of portrait is painted by the image. The famous have been immortalized time and again by the media, a trend that has stripped away any chance of the mystery, sacredness and drama of the flash or thoughtful exposure. Yousuf Karsh, one of the greatest portrait photographers of the 20th century, stands as a stark contrast to today's click-happy environment. Just this week, an exhibition of over 100 of his photographs opened at the Museum of Fine Arts Boston. "Karsh 100: A Biography in Images" marks the 100th anniversary of Karsh's birth and showcases some of his most famous works.

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Arts

Play in the rain, hit Berklee's jazz festival

September 25

As a sea of boisterously intoxicated students filters into Tufts' football stadium on Saturday, you may find yourself wondering how you ended up on a hard metal seat screaming for bulky men in uniform. Football and beer aren't for everyone. If you're looking for an alternative to Homecoming on Saturday, look no further than the Berklee BeanTown Jazz Festival in Boston.

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Arts

Afro DZ ak's debut soars into the Stratosphere

September 24

Afro DZ ak is more than your average MC, but that statement doesn't nearly do justice to his art. In truth, this artist isn't an MC, he's not a singer, he's not an arranger and he's not a trained trumpet player; he's a light in an otherwise dark and somber hip-hop world.

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Arts

Kryptonite for 'Heroes': over-complex plot, poor writing

September 24

Well, the unimaginable has happened: "Heroes" got even worse. For those who have never had the pleasure of seeing NBC's silliest "X-Men" meets "The Young and the Restless" superhero drama, don't bother starting now.

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Arts

Tufts alum leaps into hip-hop scene, keeping one foot in community

September 24

Pete Shungu (LA '03) has, at the age of 27, achieved what few musicians have the time or patience to do: He has kept up with his passion for music and social activism, which began in college, and created an impressive work of art. Last night, he took the stage for the biggest show of his life. He'd performed for large crowds before, but rarely as the main act, and never had the stakes been so high. Shungu, a.k.a. Afro DZ ak, had just released his very first solo album, "Elevation," which had been several years in the making.

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Arts

Dead people inject life into silver screen in 'Ghost Town'

September 23

    Despite what the ho-hum trailers and lack-luster display at the box office may have everyone thinking, "Ghost Town" is actually a wonderfully heart-warming comedy. The movie is not outrageously funny, nor overly sappy; it is simply what all films should strive to be — entertaining.     Ricky Gervais's wry wit brings the bittersweet comedy "Ghost Town" to life. After starring in the British TV hits "The Office" and "Extras," producing hearty laughs as the supporting character Ferdy the Fence in "Stardust" (2007) and being the best part of Sunday night's Emmy Awards, Ricky Gervais now stars in his first American film. As he has done with most of his roles, Gervais is able to turn a truly unlikable and boorish character into a funny and loveable romantic lead. While Gervais definitely steals the show, the broad appeal of "Ghost Town" is aided by the bright performances of its supporting cast, including Greg Kinnear, Téa Leoni and the "Daily Show's" Aasif Mandvi.     The severely anti-social Bertram Pincus (played by Gervais) goes out of his way to avoid engaging with his coworkers, knowing his neighbors, or talking to people in general. He lives his life as a detached ghost until a colonoscopy changes everything. During this routine medical procedure, Pincus' heart briefly stops for seven minutes. After waking up from his near death experience, Pincus becomes the eyes and ears to all the ghosts of Manhattan who wander in limbo between this life and the after-life. These ghosts are annoyingly pesky as they pursue Pincus with bizarre requests to be their liaison to the living. Most of them are desperately trying to tie off loose ends and clear up unfinished business.     Pincus is not interested in associating with all of New York's ghosts. In fact, he does not care much for talking to living people either. As a dentist, he has the convenience of shutting his patients up by shoving cotton and cold instruments into their mouths. But these ghosts are not as easily silenced. The most persistent of these ghosts is Frank Herlihy (Kinnear). Herlihy promises Pincus that he will make all the ghosts disappear if Pincus agrees to prevent the re-marriage of his wife Gwen (Leoni) to Richard (Billy Campbell), a man he despises. Of course, Gwen just happens to live in Pincus's building.     Awkwardness and hilarity ensue as Pincus is forced to come out of his anti-social shell in order to regain and restore his life of peaceful loneliness. In helping out the dead, however, Pincus slowly and predictably begins to come alive. In the end, Pincus's sour soul is thawed and reformed, producing an unexpected and charming romantic hero in the body of a rotund, snarky Brit. The film leaves Pincus with the valuable life lesson —that  only the dead can truly teach — of how to live again.     The film pays homage to the screwball comedies of old, though its effect is questionable, depending on whether today's audience really appreciates or even remembers that era of film. Director David Koepp and screenwriter John Kamps also liberally apply references from an array of cinematic ghosts and plotlines, including "It's A Wonderful Life" (1946) and "Ghost" (1990). These kinds of cinematic allusions make one smile, instead of cringing at the lack of originality.     There is something fresh about this particular ghost film, which prevents it from becoming another bargain-bin item, like "Over Her Dead Body" (2008) and "Just Like Heaven" (2005). This is Koepp's first attempt at directing a comedy, which may explain some of the film's weaker moments. Nevertheless, the film shines with its great cast and heartwarming story. "Ghost Town" is surely not an award contender, but it is a fun and endearing film that, if anything, will bring Gervais more popularity stateside.

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Arts

Theater Review | 'Piazza' benefits from group of creative minds, both technical and artistic

September 23

    The image of a mother figure cradling her innocent child is commonly seen around the palaces, churches and museums of Florence, Italy. Another familiar image is the muscled form of a virile young man, simultaneously powerful and gentle in his naked beauty.     "The Light in the Piazza," the Tony Award-winning musical by composer Adam Guettel (Best Score) and Tony-nominated book writer Craig Lucas, is set in 1950s Florence among the Madonnas and Davids of the Renaissance, each iconic image leaving its indelible imprint on the tale of parenthood and young love that shimmers in the glow of a golden afternoon.     Based on the similarly titled novella by Elizabeth Spencer, "Piazza" tells the story of a mother, Margaret (played by Amelia Broome), on vacation in Tuscany with her daughter Clara (Erica Spyres). The serenity of the situation is broken when a local boy, Fabrizio (John Bambery), begins to passionately pursue his interest in Clara.     The audience soon learns, through Margaret's aborted attempts to tell Fabrizio's family, that Clara experienced a debilitating injury as a child, which hindered certain aspects of her emotional development. Margaret is torn between her vain hope for a fuller recovery, her need to keep Clara dependent on her care and a real concern for Clara's ability to function as an adult.     Beyond Clara and Fabrizio's narrative, the factor that makes "Piazza" so much more than a conventional love story musical is the tangible  effect their romance has on those around them. In accepting her daughter's growing independence, Margaret is faced with the unpleasant prospect of her own marriage's disintegration, while Fabrizio's brother and his wife, Giuseppe and Franca (played by Christian Figueroa and Alison Eckert respectively), learn to see their own relationship struggles through a more optimistic lens.     The is a sense of darkness in "Piazza," however, constantly hovering around the edges, evocative of the chiaroscuro "light-dark" paintings of the Renaissance. The darkness capitalizes on the fear that something inherently damaged within every human soul might somehow preclude the pursuit of happiness.     This production, mounted by Speakeasy Stage Company at Boston Center for the Arts, attempts this brilliant and complex musical with mixed success. Director Scott Edmiston ("The Women", "Five by Tenn") and Musical Director José Delgado ("Johnny Guitar," "Caroline or Change") return "Piazza" to its original chamber musical form with just 12 actors and six musicians after it played with a larger company in the New York production.     In the intimate space of the Roberts Studio Theatre, the ensemble of singers and instrumentalists on stage and behind it are able to adequately fill out the lush score, admirably succeeding in the very real challenge of performing Guettel's difficult music, notable for its irregular time signatures and unorthodox progressions.     The show falters when it attempts to move beyond a simple presentation of the music. While attending to the intricacy of the score, several of the actors can only offer a single level to their supposedly multi-dimensional characters.     As Fabrizio, Bambery gives a charming and poignant performance both when he speaks and in his simpler verses, but he abandons quality for quantity when his songs reach their climaxes. Eckert portrays Franca's jealousy and anger well, and sings beautifully, but fails to round out the character to make her sympathetic rather than simply snarky.     Contrastingly, Spyres' turn as Clara strengthens as her character matures, from the emotionally simple-minded and sheltered child to the young woman coming into her own. Spyres' performance of the title song imbues Clara with shades of real emotional depth, injecting some of the complexity reflected in Guettel's material.     The best performance of the night, however, belonged to Broome, who led the company as a sexy and saucy, but still extremely vulnerable Margaret. Through a series of asides and sung soliloquies, Broome revealed Margaret as the consummate mother, desperately clutching to the tenuous fantasy she constructed to cope with Clara's disability; the saddened wife, coming to terms with the failings in her marriage she didn't allow herself to see before; and the blooming woman, experiencing a liberation as she learns to let go.     The technical production was somewhat uneven. Susan Zeeman Rogers' curious scenic design in the curtain-less Studio Theatre had some strange quirks when it tried to be innovative and some brilliantly successful pieces when it used traditional methods to enliven a simple set. Karen Perlow's lighting created a world of sunlight and shadows that evoked the story's struggle between the polished exterior and the reality underneath, while Charles Schoonmaker's costumes were beautifully constructed pieces of 1950s casual wealth.     "The Light in the Piazza" is far from perfect, but its glaring mistakes are few and far between. With a production that will likely get stronger as it settles into its run, SpeakEasy continues to prove itself as a constant source of quality small theater in Boston.

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