Latest News

Student Life

How to get experience when you have no experience

As graduation looms, I seem to have had thousands of conversations recently about what to do after university. What I’ve found is that there emerges one snarling, pesky paradox: you must have experience to get experience. This poses an obvious problem for even the most investigative of job-seekers, a problem which pervades career fields both elite and comical. You can imagine my dismay when, after weeks of searching through the listings of carnivals and traveling circuses, I found out that an entry level blindfolded chainsaw juggler position required two years previous similar employment. But all jokes aside, there is one saving grace, and it comes in the form of outdoor summer seasonal employment. 

While it may be winter now, it doesn’t hurt to plan ahead. In the balmy months of summer, seasonal job opportunities abound, since certain outdoor projects and organizations cannot function in persistent inclement weather. I discovered this when I turned my own employment crosshairs away from complete and utter cluelessness and began to aim at jobs in conservation field work. What I discovered were countless cadres of project leaders in search of an able-bodied short-term work force willing to break its back and sun-burn its neck for a few months at a time. In essence, the exclusivity so common in career-driven fields melts away and the impenetrable cycle of experience-begetting-experience is, for lack of a better word, penetrated.

Obviously, you have to know where to look. The following are just some examples of seasonal work which those of us facing life after graduation should consider for a first soiree into the real world. First off, let’s consider Community Supported Agriculture. CSAs have begun to pop up everywhere, and not just in small podunk towns. There are over 90 CSA farms around Montreal, each committed to sustainable agriculture, and most either supply local farmers’ markets or organize a farm-share, in which members receive produce directly from the farmers themselves. Emphasizing these aspects of sustainable agriculture is one thing, but CSA farms also tend to hire heavily in the summer. Although the pay is usually negligible, room and board is often free, and there’s no better way to squeeze into a local community than by bringing fresh food straight from your farm to someone’s fridge (think of it as your exotic European WWOOFing trip (Willing Workers On Organic Farms), just a little closer to home). 

Another option is to be a wilderness guide. Odds are you wouldn’t want to do this in Canada during any other time than the summer anyway, and let’s face it, in ten years we won’t have the energy to trek into Banff with a 30 kg backpack, some Mueslix, and a broken compass.  So take the time now. King Pacific Lodge, Treetop Trekking, and NovaShores Adventures are just three top names which are hiring now, and new openings come out every day.  

You might be saying to yourself that my future me will have nothing to do with outdoor work, so the whole seasonal experience argument is useless. Don’t listen to yourself. For example, leadership retreats abound in the summer, and while most are premised upon outdoor skill-building, the main takeaway is an unchallengeable forte in organizational leadership and people skills. These are transferrable to any job, and for the price of a bottle of sunscreen, you could avoid a mind-numbing management training session in a florescent room at your future cubicle job.

Perhaps you have your dream job laid out in front of you, and this is all nonsense. But for the rest of us, taking the time work outside the proverbial box will, I believe, prove invaluable.  Do yourself a favour and leave McGill ready, as it says in a sea-kayaking guide position which just opened up, to “work in the world’s largest tides.”

Science & Technology

SUS Academia Week (January 23 – January 28)

The Science Undergraduate Society (SUS) kicked off its seventh annual Academia Week on Monday, Jan. 23. The week-long series of talks, presentations, and networking events will showcase new and innovative research, while promoting science career paths beyond the arenas of medicine and academia.

The highlight of the week will likely be the keynote address on Friday by world-renowned neuroscientist Dr. Marc Tessier-Lavigne. Tessier-Lavigne, who is currently president of The Rockefeller University, was once an executive vice-president of biotech giant Genentech. Tessier-Lavigne is a McGill alumnus and Rhodes Scholar, and his current research centres around developmental neuroscience and degenerative neural diseases.

Neil Verma, SUS VP Academic, told the Tribune how the SUS was able to get Tessier-Lavigne as a speaker.

“His extensive ties to McGill as a renowned alumni was the main factor that allowed us to secure him as the keynote despite his busy schedule,” Verma said. “We are extremely excited to have him come and speak not only about his academic career but his progression from a McGill BSc to the current president of [The] Rockefeller University in New York.”

The week will also feature more lighthearted  speaker events, including a talk on the science of sports and human sexuality.

Verma spoke about the society’s choice to host a somewhat unconventional talk by sex therapist Dr. Laurie Betito.

“We have always been looking for fresh ideas to incorporate into our weekly repertoire,” he said. “Dr. Betito’s work seemed to be a novel application of the fields of psychology and sex therapy, which we felt would be very well received by McGill students.”

–Anand Bery

Student Life

Montreal Winter Activities

Don’t let those winter blues get you down. Just because it’s cold outside doesn’t mean you should stay inside all day at the library. So, to bring some variety to the snow-filled months that lie before us all, the Tribune has compiled a list of the winter activities Montreal has to offer.

Tubing

The exhilarating feeling of whizzing down an icy slope on a piece of plastic never seems to get old. So, if you want to go tubing, it’s nice to know that every year Mount Royal grooms the hill near Beaver Lake into organized tubing lanes. You can bring your own $5 Canadian Tire sled, or rent an inner-tube at the hill. Get your friends together and see who can make the longest run or race each other down the slope. Loser buys the drinks later. 

Renting an inner-tube costs $9 for the day, which gives you access to the exclusive inner-tubing lanes. The hill is open from 10 a.m. to 3:30 p.m. on weekdays, and from 10 a.m. to 6 p.m. on weekends.

Montreal’s Ice Village 

For the first time in North America, an ice village has been constructed at Parc Jean-Drapeau. This village consists of an ice hotel, igloos, an ice restaurant and ice bar, snow sculpture exhibit, snow labyrinth, a giant snow slide, and replicas of Montreal buildings.

Unless you feel like splurging $195 per person to stay in a Polar Igloo for the night, or $295 for a standard room in the Ice Hotel, make a day trip to check out the village for a much more affordable price of $17. While their activities program has yet to be officially released, visitors can look forward to a snow sculpture contest, outdoor evening dancing with guest DJs, and live music.

Having just opened this month, the ice village is here until March 31. To get there, just take the yellow metro line and get off at the Jean Drapeau stop.

Skating

Montreal has two excellent skating venues to suit your fancy.

Frozen during the winter, Beaver Lake on Mount Royal turns into an outdoor rink. Grab some friends and go for a few laps around the lake, day or night. Frequented by families and groups, there’s absolutely no pressure to perform a triple Salchow or to dress to impress. Practicality is the name of the game. Make sure to bundle up well and wear good gloves, since it’s pretty difficult to skate with your hands in your pockets.

You don’t need to worry about owning skates, as they can be rented on-site for $8.50 for two hours. 

Beaver Lake is open to skaters from 9 a.m. to 9 p.m., Sunday through Thursday, and 9 a.m. to 10 p.m. on Friday and Saturday. You could make a full day of it by adding some tubing into the mix.

If you prefer to remain indoors, make your way down to Atrium Le 1000 located at 1000 De La Gauchetière Street West. With an admission price of just $6 with your student I.D., you can enjoy a smooth rink and lively music. 

Different nights bring a variety of activities such as Girl’s Night Out on Tuesdays from 4 p.m. to 9 p.m. where admission is two-for-one. Wednesdays are Date Night from 4 p.m. to 9 p.m. Couples can enjoy two-for-one access and romantic music while they skate. Also, two-for-one admission is available to couples on Valentine’s Day. Then, on Thursdays, all students can enjoy two-for-one access starting at 4 p.m.

Not only that, but February 27th is an “all-nighter” evening with the rink open from 5 p.m. to 2 a.m.

Skate rentals are $6.50.

Hot Cider at Else’s

After spending the day out in the cold, it’s always nice to finish the evening off in a warm, cozy environment. There’s no better place to do this than at Else’s. 

Located in the Plateau, at 156 Roy Street East, Else’s small space, dark walls, and dim lighting creates an intimate atmosphere. The music is of the jazz/blues variety, and isn’t so loud as to stop conversation from flowing.

Not only does it boast a great beer selection as a microbrewery along with good food, but Else’s hot alcoholic ciders just might be the best thing to warm your insides when it’s cold outside. Not only do they taste great, but they look good and keep your hands warm too. 

The closest metro to Else’s is Sherbrooke metro on the orange line. While you may have to dress warmly, the walk to the bar will be worth the trip.

Decadent hot chocolate at Juliette et Chocolat 

 If you’re craving chocolate, Juliette et Chocolat is the place to go. With over 20 chocolate drink selections, there’s something for everyone. Their many hot chocolates will surely have you saying ‘mmm’ as you seek refuge from the cold.

Boasted as one of the best in the city, their hot chocolates come in three varieties–traditional, dark vintage, and milk vintage–each with a number of options to choose from. For those who want to mix it up, they also offer alcoholic chocolate beverages such as the Snow White, Chocolate Ruby, and Irish Chocolate.

On its website, Juliette writes that it all started with her search for the perfect hot chocolate: “I wanted a hot chocolate like our grandmothers used to make, a thick and velvety drink that warms, consoles and nourishes.”

And, if you’ve worked up an appetite after tubing on the mountain, they have plenty of food to choose from too, including delicious crepes.

Juliette et Chocolat is located in multiple venues around the city. The closest location to the McGill campus is at 3600 St. Laurent on the corner of Prince Arthur. In the Plateau you can find it at 377 Laurier West on the corner of Parc and at 1615 St. Denis.

Student Life

Hangovers: learn to fix ’em or learn to love ’em

The average university student is aware of the crippling effects suffered by after alcohol consumption. They call it: The Hangover. As the years progress in my university life, I can’t help but notice that the day-after effects are getting worse. Our bodies are aging and our society is expecting more of our mental capacity and overall productivity, a combination that does not compliment the disorientation and lethargy that comes with a hangover. As the volume of groaning from discomfort, mixed with the unappealing sound of morning nausea after an evening of fun reaches new heights, the quest to find a cure for my fellow students and I commenced. 

I quickly discovered that there are two distinct schools of thought in hangover academia: hangover cure and hangover prevention. Prevention is focused on measures you should take before the liquid falls down the hatch; cure focuses on what to do when you’re crawling out of the next-morning hole of discomfort and misery. 

Wikipedia, my initial research pit stop, set the benchmark for the salient prevention and cure recommendations. Wiki describes hangovers as “the experience of unpleasant psychological effects” after drinking. The most common recommendations for prevention were eating a big meal, drinking a glass of water between beverages, and keeping to one type of beverage throughout the evening: your hangover will be worse if you sample all the bar has to offer.

As cures, the most common advice I discovered was to drink as much Gatorade and water as possible. Taking an Advil to curb the headache, while digesting a simple carbohydrate-heavy meal is an effective way to attain some energy without increasing queasiness. Some more nuanced strategies I discovered were drinking coconut water and eating sardines and chasing them with pickles (the food version of your routine the night before). 

Through my research, the only recognizable pattern was variety. There are many different things one can do to prevent or cure a hangover; each individual experiences a hangover differently and thus there is no one singular cure. Of course, the only way to truly prevent a hangover is to peel oneself away from that can of beer, bottle of wine, or mixed drink. 

But, since complete abstinence is seemingly not an option for many of us who have engrained the college culture of work-hard-play-hard so deeply into our identities, I sought to reevaluate my understanding by attacking the source. I went to my fellow students to ask them how hangovers affect their life. 

First, there is the responsible, enviable consumer, who does not experience hangovers at all, such as Whitney Smith (U3 Management) “I don’t get hangovers because I practice hangover prevention: I put coconut water in a smoothie or I have a Gatorade when I get home.” On the other hand, Jessica Firestone, U3 Management, walks away from a hangover feeling defeated “[hangovers] make me lazy and unproductive—I sleep in much later than usual so I waste away my day.”

And then there are the exceptions. There are those who find a way to appreciate hangovers, and those who even respect what hangovers offer us. 

Roxanne Voidonicolas, U3 Psychology, claims, “I actually enjoy hangover days. I indulge on all of the things I know I shouldn’t but want to. I watch TV for 18 hours straight and don’t move. Most importantly, hangovers renew my zeal for life— after being so immobile, I look forward to a day of productivity.” Like Voidonicolas, Jan Roos, U3 Management, understands hangovers in a positive light: “Hangovers are God’s gift to the true animal. They weed out the weak. If it weren’t for hangovers, talking to people at bars would be as inane as talking to them in the day. You need them to make sure the only people doing whiskey shots at 5 a.m. are the men and women of bravery and character.”

There you have it. You can have a big meal before you go out, drink a sports drink before bed, or have a big breakfast when you wake up in the morning—all the while being acutely aware that these procedures may not even work. Or you can learn to love hangovers for what they are: an excuse to relax all day, or a Darwinian method of abolishing the weak. Picking a coping method will be your first step from departing from that age-old weekend lie you tell yourself and your friends: “I’m never drinking again.”

Opinion

McGill’s Shortest Course: Premiers 101

Canadian premiers are like janitors: you’re not always sure how they got into the building, or how long exactly they will stay. Yet unlike janitors, our provincial leaders get six-figure salaries and don’t always leave the place clean. In Canada’s federal system they wield a fair amount of power, and some of them serve chunks of land bigger than a whole host of countries. The least we can do is know who they are. So here, in as much time as it takes to read a column, is all you need to know about every provincial premier. Kind of. 

Ontario’s up first because of its sway in national politics, but more importantly because Toronto will be annoyed if another province starts first. Their stalwart Liberal man-in-charge is doing his job for the third time around, although voters have cautioned against complacency through recently giving the province its first minority government in decades. Dalton McGuinty is the archetypal Canuck Liberal in that he’s socially progressive and fiscally either/or, depending on the situation. 

Next up, we swing across the country and the political spectrum to introduce one of Canada’s four female premiers: Alberta’s Progressive Conservative, Alison Redford.  As Eastern Canada continues its perpetual preparation for a neo-con zombie invasion of homophobic cowboys from Alberta, it might be healthy to notice that their leader is defying gender roles. Her province’s largest city, Calgary, is also, oil business ‘n all, one of Canada’s greenest. 

To the right of Alberta (this little lecture comes with geography, too!) lies the Land of Living Skies, which is monopolized by Brad Wall’s Saskatchewan Party. Mr. Wall leads a province that was disillusioned with its far left, so its centre-left had a baby with its centre-right which is called left-right. To avoid confusion, their Manitoban neighbours to the (geographical) right have continued with their just-plain-left party for more than a decade,  Greg Selinger ably taking the helm in 2009. That same year Selinger’s New Democratic Party colleague Darrell Dexter took power in Nova Scotia. They are the only two just-plain-left party leaders in the country.

We’ll keep the superhero vibe alive here as we move from Darrell Dexter to Christy Clark, who is a feisty premier for a province—British Columbia—that is often stereotyped for its laid-back scene. This so-called  ‘champion for families’ joins Newfoundland and Labrador’s Kathy Dunderdale and Nunavut’s Eva Aariak to round out the female premiers. In a nustshell, the former has battled to maintain the popularity of her predecessor while the latter has continued to fight her territory’s startling high rate of suicides. 

Like Saskachewan, the Yukon has its own party. And like Saskachewan, political creativity ran a wee bit thin during the naming process; Darrell Pasloski leads the Yukon Party. He is trained as a pharmacist and is almost never seen without a goatee. His partner in northern governing is premier of the Northwest Territories Bob McLeod, who has served on hockey league boards and—just in case anyone is tempted to stereotype all northern activities as involving snow or ice—is president of a golf club. It’s not clear to southern Canadians where they play. 

The premier of New Brunswick was born and studied in the U.S.A., but chances are David Alward speaks French since his province is our only constitutionally bilingual one. His maritime neighbour Robert Ghiz governs Canada’s province of long bridges, and red-haired heroines, Prince Edward Island. 

That leaves us with Quebec’s own Jean Charest. This man’s CV includes time in a national Conservative cabinet, as well as defeating a Parti Quebecois government while leading a Liberal party. He is both the longest currently-serving premier in Canada and the first Quebec leader to usher in a minority government—in 2007—in over a century. 

There you have it, folks. The people who attempt to put the provincial houses in order day in and day out, laboring in the shadows as international news dominates headlines, plowing ahead despite the world’s cruel indifference. I’m kidding; read the Globe and Mail or watch CBC and you’ll meet our heroes all the time. But now you’ll recognize them.

Opinion

Speech vs. SOPA

The US House’s Stop Online Piracy Act (SOPA), and its Senate counterpart, the PROTECT IP Act (PIPA), began as fairly obscure pieces of legislation. Introduced in October and May of last year respectively, both acts floated under the radar of the news media (and it seems, many congressmen) until last week, when a crescendo of internet-organized opposition led to Wikipedia, reddit, and many other online sites mounting blackouts in protest of the bill. The problems with the twin pieces of legislation have been well documented, from the ability for sites to be essentially wiped off the face of the Internet on the whim of an aggrieved copyright holder, to many others. The two acts, while new as individual pieces of legislation, contain a series of bad ideas that, through industry lobbying, have continually resurfaced. 

 An case of this is the The PROTECT IP Act, a redraft of the 2010 Combating Online Infringement and Counterfeits Act, a piece of legislation that tried legislating similarly wide powers to block websites but was stillborn on the Senate floor after being passed in committee. 

Similarly, the powers given under SOPA would supersede  the current centerpiece of U.S. intellectual property laws, the Digital Millennium Copyright Act. The 1998 legislation exempted Internet Service Providers (ISP’s) from legal liability for copyright infringement provided they take down or block access to infringing material, if a copyright holder notifies the ISP in a formal document that it is being housed on their network. The person or site accused of infringement can also request to have material placed back up if they argue in a legal notice of their own that the original claim is not legitimate. Creating such a system has led to many cases of copyright owners requesting takedowns of content that isn’t necessarily infringing, but simply not to their liking––creating a chilling effect on what users post on the internet. 

Furthermore, the Act prohibits consumers from attempting to circumvent copy protection measures added to products by their manufacturers, such as Digital Rights Management measures on a piece of software. While exceptions exist for academic uses and the like, these provisions still infringe on the ability of those who have purchased content to fully “own” it in a sense––modifying the copy protection on a DVD, even if only to put the file on your phone or music player, for example, is technically illegal under the DMCA.

With all of its problems, the DMCA at the least gives those accused of infringement sufficient due process to challenge the sanctions on their content. Where SOPA and PIPA are particularly pernicious is in the power it gives the government to regulate online content.  The original version of PIPA would have allowed the government to remove the domain names of sites accused of copyright infringement from the web’s address book, or the Domain Name Service. In addition, any name that this site switched to would be blocked, and search engines, such as Google, would not be allowed to index so-called censored sites. Moreover, credit card companies and services that provide internet advertising would not be allowed to do business with such “blacklisted” sites. These sweeping powers are already quite troubling, but  legal scholars, including the Harvard law professor Laurence H. Tribe, have pointed out the vagueness of the bills’ definition of a “copyright infringing” site, the fact that material on only a small part of a site can form grounds for an infringement claim against the whole domain, and, most dangerously for free speech, the fact that there is little due process; earlier versions of the bill would have allowed these sites to be frozen out of the Internet solely on the basis of the copyright holder’s accusation.  

Whether the supposed “shelving” of SOPA/PIPA will be a victory for the first amendment on the internet is yet to be seen. The provisions of the bill could be written again as another bill, much like what happened with COICA. International treaties such as the Anti Counterfeiting Trade Agreement raise even further concerns. Unfortunately, it seems that there is consensus among America’s political leaders on the need for tougher intellectual property laws, despite the dubious claims that piracy is costing “thousands” of U.S. jobs. Future legislation should deal with this supposed problem with a scalpel, rather than a sledgehammer.

Arts & Entertainment

The demon barber gets a haircut

Sam Reynolds / McGill Tribune

There are stories that are fun, pleasing, and uplifting to the soul and spirit. Then there are others that are dark, brutal, and challenging to watch unfold. And then there’s Sweeney Todd. 

One of Stephen Sondheim’s best known works, Sweeney Todd: The Demon Barber of Fleet Street follows the titular antihero through a tale of revenge, blood, and star-crossed love. The various dimensions are fleshed out skillfully by the cast and crew of the Arts Undergraduate Theatre Society in a largely faithful rendition that features personal, idiosyncratic twists, combining in a vividly haunting experience. This won’t be quite like any previous Sweeney Todd you may have seen before. 

Fifteen years can be a very long time. For Sweeney Todd, fifteen years saw the loss of his wife to the arsenic bottle and the loss of his daughter to the corrupt judge who orchestrated it all. Having now returned to London, Todd, together with the delightfully amoral Mrs. Lovett, is determined to slice his way to the vengeance that he seeks. 

Benjamin Harris’ Todd was one tormented and torn asunder by his powerful passions. His emphatic characterizations bordered on schizophrenia, moving from sullenness to rage with psychotic fluidity. Songs were strong overall, with “Epiphany” being the apex of Harris’ various emotional surges.  

Zara Jestadt’s Mrs. Lovett featured fantastic physicality, a living proof that dilapidated poise and scruffy grace do not have to be contradictions in terms. This dedication is carried through to musical numbers, where Jestadt’s nuanced vocals made her perhaps the most well-rounded and consistent actor in the production. Full disclosure: “By the Sea” holds a special place in this reviewer’s heart, and Jestadt pulled it off beautifully.

Together, the two showcased lovely interplay on several occasions; “A Little Priest” was one of the show’s highlights as a result, durng which Harris was his most natural. 

Among the strong supporting cast, Judge Turpin (Mike Sornberger) made a truly indelible impression. Possessing an unsurpassed gravitas on stage, centred on his full-bodied vocals, Sornberger skillfully crafted what may be the darkest and most disturbing moment in the production (“Johanna: Mea Culpa”).

As the juxtaposing love story, Antony (Niko Gelfars) and Johanna (Julia Bradshaw) provided  pleasant reveries from the bleak arch-narrative. Gelfars’ amicability and enthusiasm was his greatest strength while Bradshaw was served well by a formidable voice, although struggling to fulfil the non-musical dimensions of her role. 

The set was very much spartan, which paradoxically served to limit the amount of space available to the cast. Signage high above was relied upon to denote locations instead of the set pieces. Make-up suffered from inconsistencies, with Todd’s approaching mask-like density, while the Beggar Woman appeared to have been the cleanest in all of London. Lighting was only effective during the choral interludes, when stark contrasts amplified the onstage intensity. One success was the orchestra, who, under the direction of Sean Mayes, executed Sondheim’s score with mastery.  

Director Phaedra Nowak implemented a few quirks, placing a personal print on the fairly popular tale, even though the moments themselves were to mixed effect. The surprise reveal of Mr. Todd was an ingenious start to the performance, while the later ballet interjection was quaint but felt assuredly out of place. 

Staging in the production appeared underdeveloped, with significant amounts of sedentary moments, although “Kiss Me” and “God, That’s Good!” were choreographed brilliantly.  

The tale of Sweeney Todd is not for the faint of heart, and this is certainly true for AUTS’ rendition. It won’t be the most polished piece you see this year, but in those brief moments where ecstasy and horror become one, it may be the most evocative.  

 

The Arts Undergraduate Theatre Society’s production of Sweeney Todd: The Demon Barber of Fleet Street is running at Moyse Hall from January 26th to 28th, 7:30pm.

Arts & Entertainment

Common: The Dreamer/The Believer

Common’s The Dreamer/The Believer is not just an album, but also a statement to critics and fans alike in response to 2008’s disappointing and generally dismissed Universal Mind Control. This time around, Common is defiant and triumphant; his sound enhanced by longtime friend and producer No I.D., who produced the entire project. On the single “Sweet,” Common reminds fans of his legacy in hip-hop, boasting “some people say that they be missing creativity/but when it comes to hip-hop, it begins and ends with me.”

The album offers a nostalgic ‘90s-era sound built upon No I.D.’s frequent use of sampling, distorted drums, and heavy synth, and Common’s signature poetry is strongest on “The Dreamer,” “Blue Sky,” and “Windows.” The chemistry between them creates an engaging and entertaining listen. The album shifts from a mosaic of racy street tales on “Raw,” to the hopeful John Legend-assisted balled “The Believer,” to the outstanding “Cloth,” a track written for Common’s ex-wife Erykah Badu. At a concise 12 songs, The Dreamer/The Believer focuses not necessarily on creating something new or unorthodox, but on a strong combination of No I.D.’s celebrated boom-bap with Common’s consistently clever, witty, and occasionally deeply poetic lyrics. It is clear that Common is conscious of the negative response to his previous album, re-inventing himself with a style that pays tribute to rap’s past and current musical palette. Common makes his point early on: “No I.D. said give ‘em that ‘80s cocaine, something raw, something pure, so I stayed in that vein.”

—Nazim Elnur

Arts & Entertainment

Laughter is the best medicine

Sam Reynolds / McGill Tribune

My mother, like many, used to stress the importance of good manners. But what happens when yours has none to spare? Well, something like Hay Fever, apparently. Set in the bohemian period of the roaring twenties, the play follows the eccentricities of the Bliss family as they drive their guests and each other to the edge of insanity—and then over it. In the hands of Players’ Theatre, the script is as zany as ever and cringingly sharp. No worries about indecent pleasures; here, the pleasure is in the indecency.  

Looking at the set, a country home immaculately decked to bourgeois tastes, one would never intitally guess the bizarre nature of the Bliss family. This, of course, is soon remedied. Siblings Sorel and Simon Bliss are nothing less than spoiled brats with issues of temperament. Played respectively by Alex Borkowski and Spencer Thompson, the pair’s initial banter eased the audience into the oddities of the upper-class. Borkowski managed to find pleasing dimensions in her role, including the semblance of a restraint that few others in the cast adopted. Thompson largely hit a single tone, although one that is uproarious. 

The two appear to regard housemaid Clara (Norah Paton) as just one of the furnishings, despite Paton’s bird-like posturing having given the character plenty of quirk of her own. She was certainly not missed by the audience, who seemed to find delight in all of her cameos.  

 Soon waltzes in retired actress and boisterous matriarch Judith Bliss (Annie Schreck) who wastes no time in attempting to outdo her two children in outlandishness. Schreck fit the role well, although occasionally stretched the character too far. Her husband, David Bliss (Andrew Cameron), is no less strange, having apparently shirked all parental and spousal responsibility.  

Before long, it is revealed that each of the members of the house have invited a guest for the weekend without telling the others. Of course, instead of attempting to resolve any of the problems that this miscommunication may cause, the Blisses carry on, leaving their unsuspecting invitees to brave the chaotic frenzy that ensues. 

Director Zoë Erwin-Longstaff seems to have found an inscrutable internal calculus to the show; the fluidity and acuity of the pacing makes Hay Fever a peculiar exercise in functional dysfunctionality. The frenzy of one-liners are relayed more often by caricatures than by characters. Should the audience ever get the chance for a breath and some introspection, they’d see that much of the show has been over-acted. I don’t believe this chance ever really comes. The force of the pacing negated the force of logic.  

The velocity of the show also meant that actors were not (could not?) hold for laughs, which was a shame, as the Noël Coward script is very funny, and has some remarkable turns of language. Other bits of comic gold were left unmined when an actor simply rushed on over it. This also meant that the occasional tone shift made for a bewildering experience, while the rest was cardiovascularly-taxing.  

That said, the locomotive force of the production allowed for absolutely zero dull moments. The comic lines that the cast do hit are hit exceedingly well. Darcy Drury gave the most disciplined performance as Sandy, with his presence an anchor of sanity in most scenes. Costuming under Logan Williams was very appropriate, and showed considerable care and thought. 

Altogether, Players’ Theatre’s Hay Fever is not your typical show. Few productions could pull off such absurd levels of energy so successfully. An abundance of laughs is practically guaranteed, but be sure to bring your own defibrillator.  

 

 

Players’ Theatre’s production of Hay Fever runs from Jan 25 – 28 on the  third floor SSMU building at 8 p.m.

Arts & Entertainment

Coriolanus: he is the one per cent

aceshowbiz.com

Coriolanus is not an easy movie to watch. Ralph Fiennes’ directorial debut, an adaptation of one of Shakespeare’s lesser-known tragedies, is no popcorn action flick. The plot is complex, the war scenes are more brutal than exhilarating, the dialogue is heavy, and the characters defy empathy. But for those who are willing to endure the onslaught of Coriolanus, the rewards are great.  

Caius Martius Coriolanus (Fiennes) is no hero. Above all, he hates his mortal enemy Aufidius and his own people. He enacts martial law to stave off a food shortage, attacking the neighbouring Volscians, inspired more by revenge than the defence of Rome. When he returns and vies for political office, the Romans reject and banish him.  

Coriolanus is incompatible with his society. All he knows is war. So he does the unthinkable—he teams up with Aufidius and sets his sights on sacking Rome. 

Fiennes enraptures as Caius Martius Coriolanus. He handles scenes of pure rage, chilling egomania, and raw vulnerability with explosive passion. His mother Volumnia (Vanessa Redgrave) is a powerful and obstinate woman who might just be responsible for all of Coriolanus’ problems. She is as ambitious as Lady Macbeth, craves danger, and has an odd, reverse-Oedipal fascination with her son. Volumnia is unique and complex, and Redgrave does her character justice. Coriolanus’ wife Virgilia is naive but steadfast like Penelope, and ever-radiant Jessica Chastain plays her with pathos and charm. Gerard Butler as Aufidius is the least adept at making the iambic pentameter his own, but still brings depth to what could have been a mere stock villain. 

Coriolanus makes storytelling decisions that would be, by any other standard, wrong. Jarring cuts take us from the height of action to mundane suburban scenes. The music is excessively loud during fight scenes, racing like an adrenaline-fuelled heartbeat, and deathly quiet during the most dynamic moments. The staging is ugly—teeming with graffiti, battered buildings, and grime. But the risks pay off. What should be wrong is right. The soundtrack, editing, and art direction shock us out of any semblance of comfort, exposing the meanest sides of war, where children and the elderly are casualties. Wisely, Coriolanus follows Alfred Hitchcock’s advice: to shoot murder scenes like love scenes and love scenes like murder scenes. The episodes between Coriolanus and Virgilia are austere and distanced. In utter contrast, the Roman general and his mortal enemy scratch and claw at each other in suffocating embraces. 

The themes of the original play are relevant in the film’s 21st century setting. Coriolanus’ elitism and conflict with his people are reminiscent of the Occupy movement—but our so-called protagonist is on the side of the dreaded one per cent. He refuses to pander to those he sees as below him, and is exiled for it. The gritty fight scenes evoke recent episodes of police brutality and a kill first, ask questions later policy. Above all, the film reminds us how fine the line is between peace and chaos. 

Coriolanus demands a great deal from its audience, and it presents an unsettling view of modern politics, creating a queasy sense of moral ambiguity. Cinema’s latest Shakespeare adaptation is a movie for people who are okay with unanswered questions. What happens to an uncompromising man when he moves out of a world of absolutes? The first time Coriolanus breaks his convictions he gets banished from his country. And the second time? You’ll have to watch to find out. 

Read the latest issue

Read the latest issue