When critics and viewers look at student shows and are disappointed, they often justify their reaction by a lack of intrigue. Phrases like ‘just a student’ and ‘still learning’ get bandied about with a shrug of the shoulder, as if to say the lacking elements are acceptable at this point in their careers. But it’s not, and each person who utters comments like this are overlooking something very important: art students are already artists, and some students even feel affronted when they aren’t considered practicing artists.
This summer, Rachel Slaven will absorb a lot of abuse from her wicked stepfamily, while Emma Hunter will spend a lot of time being devoured by a big bad wolf. And, oddly enough, both are very excited about the prospect: Hunter enthusiastically called it “the best thing that could happen.”
Experiencing an absolute silence—one so still that a pin drop would echo off the rear walls—is unusual in a crowded bar. But then, this particular evening was not your usual night out. Though the Elixir frequently plays host to bands, this show was unique: it was the first of two fundraising concerts for the Justin Schwieg Foundation, dedicated to the former Queen’s football player’s memory.
In theatre, it always proves to be interesting when writers play with structure. New and innovative plot ideas seem to often be the focus of new writers. Less occasionally, playwrights look to form to add novelty to piece.
A wise man once wrote, “Nobody cares about Electroclash,” and after witnessing Dandi Wind open for the Hidden Cameras on April 14, I can soundly say that I concur.
After the experience of a lifetime at this summer’s Olympic Games in Athens, Oskar Johansson and Bernard Luttmer are coming back down to earth. The Queen’s alumni were in Kingston last week after a well-deserved break in the Greek Isles, and they took some time to talk to the Journal about their Greek Odyssey and what comes next.
Oh, zombie movies. What other genre provides both informed social satire and graphic cannibalistic disemboweling? Ever since George Romero let zombies loose in the mall in the original Dawn of the Dead, filmmakers have been toying with the metaphor of zombie as the modern man; lurching around aimlessly in masses, concerned only with their selfish, primal desires—which are, for the most part, an unquenchable hunger for “brains, delicious brains.”
Staged and Confused is a production company started by second-year drama student, Michael Murphy. Murphy spoke with the Journal about the company and their future productions.
Luke Doucet always seems to have a hand in multiple projects at any given time, and has for many years. This veteran has worked with the likes of Sarah McLachlan, Chantal Kreviazuk and Blue Rodeo. He’s also done some producing work, is the front man of the rock band Veal, and also has a successful solo career. Luke took some time on an oh-so-rare day-off to talk to the Journal about his tour, which will be making a stop at The Grad Club tonight, and his new album, Outlaws [live + unreleased], due to be released this week.
The raucous sounds of the blues saturated the airspace of the Baby Grand Wednesday night. The fourth annual Kingston Jazz Fest was in full swing. As noted by the festival’s coordinator Dave Coon, blues will be the focus of this year’s Jazz Fest, which made Kevin Breit and the Sisters Euclid an excellent choice as the festival’s first act after Sunday’s gala opening.
The two strongest films at this year’s Edinburgh International Film Festival were not made in Hollywood, they were made in Asia. Old Boy and Hero, made in Korea and China respectively, are intellectually challenging and emotionally rich pieces of filmmaking. They are also both crowd-pleasing movies, boasting grand production values and visually sumptuous images.
An enthusiastic crowd gathered at the Grad Club Wednesday night for a mid-week, pick-me-up dose of cow-punk from Oshawa’s own Cuff the Duke, and those in attendance were certainly not let down.
Fine art is a funny thing. It has no clear definition; it encomes all kinds of media and is entirely subjective unless you have some sort of understanding of the artist’s intent. More often than not, people are scared away by this ambiguity, but fine arts students have to face it head on, creating works of art that respect tradition while forging new territory.
There is nothing more cliché than music reviews that compare bands to other bands that sound like them. Beyond that, it is even more cliché to say certain bands sound like Joy Division, the Mancunian quartet whose 1979 album Unknown Pleasures virtually defined the post-punk sound that gained popularity throughout the early 1980s.
The Foursome, by Canadian playwright Norm Foster, is a comedy which examines the evolution of a friendship between four old college buddies. Ted, the heavy drinker; Cameron, the worrywart; Rick, the schemer; and Donnie, the dork. The four friends get back together to attend a 15-year university reunion. The dialogue unfolds—along with the quirks of each character—throughout the duration of an 18-hole game of golf at the Windemere Golf and Country Club.
When Alexisonfire’s lead singer, George Logan, was forced to put down his mic to safely protect a handful of wayward crowd surfers during the band’s energetic closing number, “Counterparts & Number Them,” this show was officially out of control and insane.
If Kutless want to move into the mainstream they should realize their new audience is going to be one who actually knows the bands that they steal from. Maybe they’ll get a few new fans with Sea of Faces, but most people will probably this tripe over for the garbage that it is.
