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Falsettos by Acting Up Stage Company and Harold Green Jewish Theatre Company

As I sat in my seat in the beautiful new Daniels Spectrum theatre, excitedly awaiting the first act of the revolutionary musical Falsettos, I heard a man behind me say, “it still has that new theatre smell.” That it did, not yet one year past its opening, but what I found on stage was in startling discord to the environment in which it was presented: a musical, set in the late ’70s and early ’80s, that deals with coming out, psychoanalysis, the perils of Jews playing sports, and AIDS. It is, in short, a musical quintessentially of its time, a feature to which costume designer Alex Amini pays close attention with her period dress and hairstyles. Watching Falsettos at Daniels Spectrum felt like an invitation to compare two eras, separated by only three decades but a world of difference, and to determine what is still relevant and meaningful in a show like this in a time like now. It turns out, there’s an awful lot.

Falsettos, in the form in which it is currently presented (it has undergone many changes since it originated as a one-act in 1979), tells the story of Marvin, a New Yorker who, upon coming out as gay and leaving his wife for a young lover, tries to keep his unusual Jewish family together. His young son, Jason, is frustrated by the changes around him, which multiply when his father’s former therapist falls in love with and then marries Jason’s mother. The entire show is sung through, and although the styles of music vary depending on the content of the song, all orchestrations are centred around the staples of the era, with piano and drum playing the most prominent roles. Each scene is its own vignette; each vignette has its own theme, style, and purpose in the overall non-linear plot of the show. By the end, a series of explorations of love, lust, faith, marriage, monotony, and sanity converge upon the sudden contraction of an incurable illness by Martin’s lover, Whizzer. Although it spans a broad emotional spectrum, from humorous and kitschy to sombre and philosophical, Falsettos maintains a constant sense of humour and wit which make pleasant scenes more pleasant and bleak scenes, by contrast, all the more noticeably bleaker.

Falsettos is driven by stellar performances from its entire cast, among whom Eric Morin as Whizzer and Stephen Patterson as Marvin stand out for their power and tenderness, both emotionally and musically. Also always of note is young Michael Levinson, who once again impresses with his verve. Although all cast members sing well, it is the drama and theatricality, not musicality, that make Falsettos so notable. Tim French’s brilliant choreography bridges the play and the musical by turning the entire stage at times into an extension of the subconscious and, in doing so, draws out every inch of drama and profundity in the pop-inspired score.

Stephen Patterson, Eric Morin in Falsettos (2013). Photography: Joanna Akyol

Falsettos is difficult to categorize. Its components have been featured both on and off-Broadway; its style is comedic but its content is tragic; its music and plot seem antiquated even though they are younger than much of the cast. It is a musical of contradictions and eschewed binaries, the [only] kind of show that would make itself up of a deliberately bizarre assortment of people and then show that they are all one family. Even though coming out and AIDS are no longer quite as pressing as they were at the time of the show’s creation, Falsettos can be enjoyed for so much more than the things that happen to its characters. It is ultimately a musical about people who form bonds with each other, whether they want to or not, and then discover the strengths and weaknesses of those bonds when faced with the challenges from the world, and from themselves.
Note: Students receive 20% off the ticket price. 

Falsettos

music and lyrics by William Finn

book by William Finn & James Lapine

directed by Robert McQueen music direction by Reza Jacobs
 choreographed by Tim French

starring
 Darrin Baker, Sarah Gibbons, Sara-Jeanne Hosie, Michael Levinson, Eric Morin, Stephen Patterson, & Glynis Ranney

set design Patrick Du Wors lighting design Kimberly Purtell 
costume design Alex Amini sound design Adam Harendorf

stage manager Melanie Klodt apprentice stage manager Rachel Dawn Woods
production manager Sandra Henderson assistant musical director Tara Litvack

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The 50 Hour Film Festival (or, A Character, a Line of Dialogue, and a Prop Walk into a Bar)

We come to university to learn, or at least that’s what my dad says when he sees me blogging and shakes his head. It is true that classes impart a lot of useful (or not) information, but it is also true that much of what we learn comes not from lectures or exams, but from frantically preparing for lectures or exams. By half-way through their first year, the average student has mastered the all-nighter, the cram session, and the ability to meet a seemingly-impossible deadline on nothing but determination and Red Bull. We learn these skills to help us learn other things, of course, but it’s also so satisfying when we can apply them to other situations.

Take, for instance, Lost Episode Festival Toronto‘s upcoming 50 Hour Film Competition. A creative contest open to anyone and everyone with a camera and some friends, this local challenge encourages aspiring film-makers (or anyone else interested in winning terrific prizes) to re-create “lost” scenes from famous TV shows, or to make fake advertisements or trailers, all in only 50 hours. Remember those consecutive all-nighters for that econ final? Remember cursing the time and energy spent in learning something you thought could not have any practical application? Well, now you can put at least some of that experience to use.

The competition begins on the night of Friday, May 3, when each team is given a character, a line of dialogue, and a prop to incorporate into making a film. The teams then have only 50 hours to write, shoot, and submit their masterpieces. The entries will be evaluated by the festival’s judges and the winning teams will be awarded cash, prizes, and all the glamour and prestige that comes with winning a film festival. There’s also an audience choice award, for the film-makers who somehow manage to go commercial in under 50 hours. All entries will be screened in the big, beautiful, fully-licensed Bloor Hot Docs Cinema, only a few blocks from campus

To participate, simply sign-up on the festival website here. Participation costs less than a statistics textbook and is, I’ve been told, at least twice as enjoyable. Anyone of any level of skill and experience is welcome to enter, and a team can be of any size. It’s the perfect activity for those, like me, who have only a few weeks between the end of exams and the beginning of summer school to have a little fun. Or a lot of fun. Or 50 hours of fun.

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The BSA’s 14th Annual High School Conference

 

The Black Students’ Association will be hosting its 14th Annual High School Conference, entitled SWAG: Students with Academic Goals, on Tuesday, May 7th at the University of Toronto’s St. George Campus.

A key part of the Black Students’ Association’s mandate is to support aspiring post-secondary students. Critical to the actualization of this mandate is the annual High School Conference, which provides opportunities for high school students to learn from leaders and role-models within our community .

An expected 450 students will attend workshops facilitated by self-identifying minority post-secondary students, and professionals from various industries. The professionals will discuss their careers and the steps they took to achieve their positions. The High School Conference will provide students with the tools necessary to begin their preparation for post-secondary education.

For more information about the conference, please contact:

Hawa Noor, Director of Communications

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April is the Cruelest Month

First, I’d like to apologize. To poetry fans. To English students. To anyone who’s had any cursory exposure to literature and the search for deeper meaning in words beyond how nicely they fit into blog post titles. And of course, to Mr Eliot.

April is the cruelest month, though, at least for students. It’s exam and final essay time, that moment when the pedagogical procrastination that manifests itself as culminating assignments of obscenely high value rears its ugly head. Or ass. Excuse me; I’m frustrated.

I am frustrated because just yesterday I completed the first of my two exams this semester (the other is on the 29th; go figure) and just this evening I incorrectly answered a Jeopardy question about a topic that had been on the exam. Now, I’m almost certain I got that question right on the test, which means that in the twenty or since, I forgot something fairly important. Something fairly important that I learnt in a class that cost almost a thousand dollars. Something important and expensive that I spent twenty-four hours of class time learning and another thirty or so studying.

Rather than try to project my own experience on to you (I’m honest like that), I’ll ask you to think back to your winter examinations. If you had to take them again, right now, how much lower would your mark be? 10%? 20? “But of course it will be lower,” you say. “That was months ago.” “But,” I say, “why would you take a class if not to learn? And what is learning if not remembering and understanding after the fact?” And therein lies the problem: final exams are not conducive to learning.

They’re not necessarily obstructive, either; there’s no evidence to suggest that culminating exams encourage the forgetting of information, but there’s very little to suggest that they actually evaluate what students will retain. The most common form of preparation is studying all the relevant material at once, over the course of a few weeks or days. This leads to cramming, which, even when it does lead to higher exam grades – which is not as often as you might think – it almost always leads to lower long-term retention. This can be attributed to the distinction between long-term memory and working memory. (Here I apologize again, to psychology and neuroscience students.) Speaking generally, working memory lasts only in the short term, when the mind is focused on a project and the brain is employing all necessary processes and stressors to complete that project. Once that project is done, the memory is largely discarded as it is no longer useful.1

Long-term memory, however, is not subject to the fallacies of short-term methods like cramming, and is activated by studying important material in smaller chunks over a large period of time. Think back to a class that had multiple smaller evaluations throughout the year. How well do you remember material from that course, compared to the others you took that year? I know that I can tell you way more about De Morgan’s Theorem than I can about religious imagery in Skyscrapers of the Midwest, and that I can offer much more insight into the influence of African culture in the Caribbean than I can to um, that Shaw play with the guns. Long-term memory is simply better stimulated through evaluations spread out across the year, rather than only once or twice.

These kinds of observations have not gone unnoticed. At Harvard University, for instance, only 23% of classes end in final exams.2 Elsewhere in the world, universities are slowly turning to alternative methods to final exams, including the obvious choice of fewer, smaller evaluations. Not as always, the University of Toronto is fairly slow to catch up (that’s the closest thing to a compliment that I can give right now.) Although the percentage of classes with final exams is decreasing, they are still the norm and, in fact, mandatory in first-year courses.3 Welcome to UofT!

I recognize that there isn’t any actually useful information in here. Regardless of whether or not you know how effective exam studying is, you probably still have to do it. It probably still sucks. And you probably won’t remember much of it in a short while. Cruel, eh?