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Debating Union wins nationals

The McGill Debating Union had its most successful performance on the national stage in years, winning the 2010 Canadian National Debating Championships in Edmonton just over a week ago.

Half of the quarterfinalists, three-quarters of the semifinalists, and both of the finalists were McGill teams. Additionally, six McGill debaters were among the top 10 speakers at the tournament, including Sean Stefanik, who was named top speaker.

“It was the best McGill’s done in as long as anyone can remember,” said Stefanik, a U2 political science student who is also the incoming president of the McGill Debating Union. “Four out of the top eight teams in the tournament were from McGill, where no other school had more than one in the elimination round.”

McGill Debating Union President Sophie MacIntyre, U3 economics and biology, and Vinay Kumar Mysore, U3 philosophy and psychology, won the national championship, defeating the team of Stefanik and Saro Setrakian in the all-McGill final. It was the first time a McGill team won the championship since the 1998-99 season.

“It was a great experience, it was very nice to do really well,” said Mysore, who is also the president of the Canadian University Society for Intercollegiate Debate. “And it was really great because we had a number of different people from the club do really well, and the tournament itself was a lot of fun.”

The University of Alberta Debate Society hosted the tourament, which featured over 250 participants from more than 20 Canadian universities.

Six two-person teams represented McGill, which was most likely twice as many as there would have been had the union not received financial help from the Students’ Society through the new Ambassador Fund.

“It’s always a struggle to get funding to send teams to tournaments, especially when they’re out of province and you have to pay for flights,” Stefanik said. “This year, we were fortunate enough to get money from the SSMU Ambassador Fund, which we’re very grateful for. So that made it possible to send six teams as opposed to three, which is what we usually do.”

Along with the additional funding, Stefanik cited the strong focus on development as one of the main factors in McGill’s success this year.

“We’ve invested a lot of time into training, particularly with people who come and join the club in their first year,” he said. “That’s something we started last year, and it’s starting to pay off already.”

MacIntyre also saw this as a big reason for McGill’s success at nationals.

“I think we’re known on the university circuit for putting a lot of emphasis on development and training,” she said. “We tend to be a club that relies on having really smart undergrads coming in instead of relying a lot on graduate students and we gear our training program toward that. That sort of strength on recruitment and development is how we keep our club strong, given that we don’t have a lot of grad students who have already been on the circuit for a while coming in.”

With the team’s success this year, Stefanik is optimistic for next year because of the depth of the club and its strength in recruitment and development.

“We’re fortunate enough that out of the eight McGill debaters that made the elimination round, five of them will still be here next year, so we have a great group to start off with,” he said. “We have a huge and dedicated group of enthusiastic individuals, which is by far the most important thing. When you have people who are committed, success usually follows pretty quickly thereafter.”

Sports

FOOTBALL: Redmen let upset slip away

There’s an old cliché in sports: “You have to play 60 minutes to win.” McGill found out the hard way on Saturday that there’s still a lot of truth in that expression. Despite going into halftime with an 11 point lead, the Redmen failed to pull off what would have been a huge upset against the top ranked team in the country, losing to the Laval Rouge et Or 43-27 in front of 1,749 spectators at Molson Stadium.

McGill was dominant in the first two quarters, amassing 303 yards of offence to Laval’s 147. But the second half was a completely different story. The Rouge et Or exploited the McGill defence, scoring on all but two of their second half possessions.

“I told them they have to play 60 minutes and we didn’t do that,” said Head Coach Chuck McMann. “They were intense in the first half but we lacked a bit of that in the second half. I told the guys I was proud of how they played and that if we start playing like that the whole game, we’re going to start winning”.

Coming out with guns blazingThe Redmen came out like they had something to prove. Coming off an embarrassing 27-16 loss last week at Bishop’s and going up against a team that had beaten them in 13 of their 18 meetings, few would have given McGill a chance in this one.

But a quick start on offence and a motivated showing on defence made it clear that this was not going to be a cake walk for Laval. Quarterback Matt Connell led the Redmen into the end zone on their first two possessions with drives of 57 and 107 yards respectively, while the defence pressured Laval Quarterback Benoit Groulx, forcing an interception and causing two sacks.

“I think we should have won,” Connell said. “I think we outplayed the number one team in the country, so I hope people actually start realizing that we’re a team that can play. Hopefully we can come out and play like we played in the first half the rest of the season”.

McGill’s offence proved potent, if not one dimensional, in this affair. Connell went 38 of 53 for 426 yards with two touchdowns and an interception-setting new school records for most passing attempts and completions in a game. It was also only the third time a McGill quarterback has thrown for over 400 yards, with Connell holding all three of those marks.

That didn’t leave much work for star running back Michael Samman who carried the ball just five times for five yards, giving him 15 yards on 11 carries on the season.

“We watched tape all week and were well prepared,” Connell said. “We knew what we wanted to do, we have a great group of receivers; we wanted to hit the underneath stuff and let the receivers make a play”

That’s just what they did. The receiving corps was led by slotback Greg Heatherington, catching eight passes for 172 yards, including a 57-yard bomb for his only touchdown of the game. Not to be outdone, Erik Galas racked up a career high 12 receptions for 112 yards and a touchdown of his own.

Upset dashed by ugly third quarterWhatever magic the Redmen had in the opening half, they lost it on their way back from the locker room. On their first play from scrimmage of the half, Connell threw the ball right at two Rouge et Or defenders giving Laval the ball at the McGill 22 yard line. It was a sign of things to come. Laval would go on to score on every one of their third quarter possessions. In 15 minutes, McGill would see their 11 point lead evaporate into a six point deficit.

“I don’t think we played badly in the second half, they just came out stronger,” said linebacker David Riendeau. “They’re a team that’s known for closing out games well. We have to be better in coverage, we were too loose and they burned us on it”.

Coverage was only the beginning of the defence’s troubles. Groulx led the charge for his squad completing 21 of his 26 pass attempts for 316 yards, with two touchdowns. But McGill also failed to stop the run for a second consecutive game as running back Pierre-Luc Yao ran for 128 yards on just 11 carries.

To pile on the Redmen’s woes, they may also have lost the services of defensive leader Jean-Nicholas Carrière. The third year linebacker had to be helped off the field in the third quarter with an apparent knee injury and was seen on crutches after the game.

McGill will look to notch their first win of the season next week at home against Mount Allison. It’s certainly a game they should win as the Mounties didn’t win a single game last season.

Sports

FROM THE CHEAP SEATS: Canada, Tom sucks!

I guess I’m unpatriotic. Though, born and raised in Canada-and a lifelong fan of the gridiron game-I have never made a secret of my disdain for this country’s knock-off brand of football or its ramshackle convening body, the Canadian Football League. What mystifies me most about the CFL isn’t its poor management, weak talent pool, inferiority complex or laughable quality of play. These things I understand. I am confounded by the fact that, in spite of all these problems, people actually enjoy this stuff. Believe it or not, the CFL has many fans. Though watching this tripe in minus-28 degree weather doesn’t appeal to my sensibilities, I know people who squirm with excitement just at the thought. May the Lord have mercy on their souls.After my attempts at letting sanity prevail, invariably the intransigent lover of single points and cumbersomely large pigskins will ask me whether I’ve ever actually watched a full game-surreptitiously assuming that I’ll instantly fall in love with this Canuck junk once I do. Mostly out of protest, but partially because of my short attention span, I’ve always responded sheepishly that, despite my best efforts, I had never seen an entire match. I have now rendered that argument null and void. I viewed every last excruciating moment of Friday night’s snowy mid-September match-up between the Calgary Stampeders and the Winnipeg Blue Bombers. Some things I noticed: 1. There is actually a CFL player named Tom Canada. It’s not too good to be true. He plays defensive end for the Blue Bombers. I like to think that his parents uncovered a World War II-era propaganda comic at the exact moment of their son’s naming.  Except for the fact that was born in Iowa!2. You know that curious play where the kicking team can get a single point even if it screws up? Apparently, they don’t call them “rouges” anymore. What a shame; it truly incorporated the unique bilingualism of Canada. Sadly, Francophones can no longer fête their favourite team scoring a “red”.  3. Bluebomber’s cornerback Robert Bean picked off a pass in the end zone and was pushed out of bounds. How come that’s not worth a point? Consistency people, please. 4. Announcers Chris Cuthbert and Glen Suitor were acting like a couple of codgers over last week’s touchdown celebration by the Stampeders. TSN replayed the clip and it was quite possibly the most amusing thing a CFL broadcast has ever known. Receiver Elijah Thurman teamed up with the other wideouts and used the track that surrounds Commonwealth Stadium’s football field to run a mock 4 x 100 relay, with the football as the baton. It was brilliant. Personalities are what keep us watching: Everybody knows Warren Sapp despite the fact most NFL teams have a better defensive tackle. Market the entertainment, folks. 5. The CFL promises scoring and wide-open play. On a night when one team scored 43 points, the pace was lethargic-I can only imagine what a low-scoring contest must be like! All that punting seems to be the culprit; the three-down format requires frequent changes of possession- it’s not the teams’ faults.6. Wait, maybe it is their fault! I noted three times in the first half where Winnipeg ran the ball on first and second down, then punted. Infuriating!7. The quality of play is remarkably lousy. Passes routinely sailed yards away from their targets and there were several big gains that were only permitted by shoddy tackling, including one where Bombers defenders missed Stamps RB Joffrey Reynolds six times before bringing him down.8. Though the score was 43-9 after two late scores by the Stamps, some 30,000 hardy fans were still sitting in the stadium, despite the blustery winds and sub-zero temperatures. This was oddly reassuring; Instead of concluding that the sport must be worth braving these conditions, I was more convinced than ever that there was something wrong with them and not me.  Either way, I did it. I actually made it through all four harrowing quarters. Should someone engage in the CFL versus NFL debate again, I can now defend my contempt for the CFL with a little more credibility. More than ever, I have little doubt in my ability to settle the dispute once and for all. Unless, of course, my opponent pulls out the ultimate trump card: What else is there to do in Calgary, Winnipeg or Regina on a Friday night?

Behind the Bench, Sports

THIRD MAN IN: Two Longs don’t make a right

Does anyone else hear that laughing? It’s coming from the south, somewhere below the 49th parallel. That sound is our American counterparts buckling over at our blind devotion to this pastime of ours-one which, yet again, has embarrassed us for taking it seriously.

That laughter is a direct result of the actions of the New York Islanders. Do the Isles realize that the lockout produced a new salary system? Under the NHL’s new collective bargaining agreement, salaries were to be regulated by multiple caps on player earnings. A direct by-product of this new rule was supposed to be the extinction of long-term contracts. With a hard cap system, teams could no longer afford to bind themselves to one player for an extended period of time as that salary would count against the cap each year. Now, NHLers would have to settle on frequent trips to unrestricted free agency and shorter-term engagements with any team.

But clearly, the Islanders missed that memo. Maybe their former general manager Neil Smith shredded it on his way out of town. Either way, it’s led to problems. Last week, Charles Wang-the enigmatic owner of the once dynastic Islander franchise-signed goaltender Rick DiPietro to a 15-year contract worth $67.5-million, amounting to roughly $4.5- million per season. So for the next 15 years, no matter the level of DiPietro’s play, he will be earning $4.5 million. When this goalie is 37 and on his last legs, the Islanders will have to shell out $4.5-million each season for another three years. The contract is sheer lunacy and shows a total lack of foresight.

DiPietro, a former first overall draft pick, has been, at best, an average goalie in the NHL up to this point in his career-he has a .900 save percentage and a goals-against average of almost three. Additionally, and probably most tellingly, he has won exactly one playoff game in his career. Finally, DiPietro’s strongest attribute-his puck handling ability-is a skill that has been severely restricted under the new NHL rules. The simple truth is that DiPietro isn’t very good.

Now, the Islanders are stuck with a mediocre goaltender for the rest of his career. Why the rest of his career? Because the way the contract is structured makes DiPietro untradeable. No GM will ever take a player under contract for such a long term, and no GM will ever relieve the Islanders of a signing that will cripple them for the next 15 years and, possibly, beyond. When DiPietro’s skills inevitably decline due to age and the Islanders become interested in a new goaltender, Ricky D’s $4.5-million will still appear on their balance sheet, eating up a large fraction of now valuable cap space. And for good measure, Wang, being the nice guy that he is, included a clause which allows DiPietro to receive the full value of the contract should the goalie suffer a career-ending injury. Hypothetically, if DiPietro blows out his ACL this year in preseason and can never jump in the crease again, the Islanders will be stuck paying a ghost $4.5-million each year for 15 seasons. Also, DiPietro has ultimate job security now. Where is his incentive to play? He will never have to elevate his game to earn a new, higher-paying contract.

What is happening on Long Island? Wang is already paying hack Alexei Yashin top dollars because of an ill advised 10 year contract he signed when he first arrived on the Island. One would have thought that experience would have been the ultimate teacher.

What else is there to say? Charles Wang signed Rick DiPietro to a 15 year contract!

Sports

PROFILE-MARTLETS SOCCER: Rishworth brings a world of experience

Aside from its claims of Canadian superiority, McGill loves to boast about its international flavour. It is a magnet for many foreign students who wish to study in the West, or more specifically, in Canada. However, the international character has typically been confined to the lecture halls and seldom seen on the soccer pitch.

Hannah Rishworth is the only player on the McGill Martlets soccer team who hails from outside North America. Not only does she provide a unique worldly perspective to the already powerful Martlets side, but she also adds something even more valuable and rare: international experience.

While most of her fellow students were enjoying their last moments of summer freedom, Rishworth-a native of Auckland, New Zealand-spent this past August in Moscow representing her country at the FIFA Women’s Under-20 World Cup. Although the Kiwis did not advance past the initial group stages, the experience of playing for her country and participating in the top-flight competition was a treasured moment in her soccer career, as well as her life.

“FIFA really treats the women like they treat the men in the competition,” Rishworth said. “We stayed in five-star hotels in Moscow and we had police escorts driving us around. It was really cool. But no one really expected us to make the World Cup, and we were an underdog team. We put in a lot of hard work and the whole team stepped up.”

It is this international experience, along with her sense of hard work and attitude of winning that makes Rishworth such an important addition to an already talented Martlets squad. When he recruited her, Head Coach Marc Mounicot quickly noticed Rishworth’s skill and knew she would be a valuable a piece of the Martlet program.

“You always have to recognize the players with international experience,” Mounicot said. “You never see these types of girls at McGill who have played at the World Cup. For me, this experience is priceless.”

New Zealand to CanadaBorn and raised in Auckland, Rishworth spurned New Zealand’s premier sport-rugby-and found her passion on the soccer pitch early in life. Quickly, she developed into a tenacious central defender with a keen ability to make the solid defensive plays.

“My strength is in understanding and reading the game,” Rishworth said. “I’m not a flashy player and I’m not the fastest person out there but I think I’m very consistent and dependable back there. Those are the qualities you need in a defender.”

Although she lived and played soccer in Ottawa earlier in her life, being in Canada at McGill has been a new experience for her. Only here on exchange for a semester, Rishworth will have a short stay in Montreal. Coming out of high school in Auckland, she considered going on exchange to an American university for soccer, although she eventually settled on Canada and the academic-athletic synthesis of the McGill Martlet program, where she could play a pivotal role as one of the team’s central defenders. She clearly picked the right time to join the system – the Martlets have an extremely potent squad this year and their focus is undoubtedly on capturing an elusive national championship.

“I’ve always said that I’d like to see this team [McGill] play my Under-20 team,” Rishworth said. “I think that it would be a really good game. We have a strong side and we’re very similar.”

Down but not outUnfortunately for Rishworth, the sports gods have thrown her a cruel twist of fate. Last week, the star defender severely damaged ligaments in her foot when making a slide tackle during practice. Although no bones were broken, the injury will threaten her season with the Martlets. While she will be fully healed in about three months, because she is only at McGill for a semester, her career here may be over as soon as it began.

“She is a very humble person with great skills and I’m just so upset that she may be out for the majority of the season,” Mounicot said.

Even though the injury has derailed Rishworth’s contribution to McGill, the international flavour and experience she provides will still be crucial intangibles necessary to any championship run. Relegated to cheerleader for the time being, hopefully McGill will have one last chance to see Rishworth’s talent before she hops a plane back to Oceania-in the national championships.

Arts & Entertainment

POP RHETORIC: Moshing to Mozart

Let’s talk about a typical concert experience. First, there is the jazz concert, the one at a trendy bar downtown. You go to swanky clubs such as Upstairs and listen to some whacked out players spin out jazz tunes. These tunes are so full of energy and funk that you won’t hesitate to scream and shout, whistle and holla’, especially considering all the noise from the drunken 45-year-olds in the back of the room. In fact, the more enthusiastically you appreciate the music, the better. It is deemed socially acceptable to express yourself as loudly as possible. At rock concerts this is particularly true, as fans are expected to react to the music both vocally and physically: Throw your entire body onto the stage and yell like a horse… or until you are hoarse. I wouldn’t personally recommend this action because you might get kicked (literally) off the stage and break a bone or two, but some people seem to dig it.

Now, imagine another scenario: You arrive at a different type of concert. As you enter the auditorium, the usher hands you a program filled with everything you would ever want to know about the Grieg String Quartet in G minor. Perfectly respectable and spectacled people arrive in polite fashion; everyone whispers amongst themselves as the lights dim. Four performers take the stage wearing glittering black gowns, stringed instruments in hand. As the first chord sounds from the violinist, you show your anticipation with a good loud holler: “Now THAT”S what I’m talkin’ ABOUT!!!” The socialite crowd, noses slightly higher than the average person’s, turns around in silent shock. Meanwhile, the concert continues without a flinch from the performers onstage. A few moments later, there is an amazing demonstration of perfect vibrato from the violist. Of course, you are beside yourself, so you let out a good loud “Woooht Woooht,” which takes care of that. It’s all about personal expression after all.

The grand finale of the concert ends in a frenzy of chromatic scales followed by a few good loud chords, all of which require something emphatic to exhibit the full extent of your appreciation for the music. Therefore, you launch yourself up onto the stage, arms waving above your head and bellow: “YAAAAA!”

I guarantee that you will not get thrown off the stage, that there will not be any broken bones involved and that everyone will remember you for a very long time. And unlike at the overrated rock show, you will not be deaf for a week afterwards due to high decibel levels. The adrenaline rush from a classical music show can be just as intense as any other concert experience, if not more so, due to the fact that everyone else is watching YOU the whole time. Talk about performance art.

While many classical concerts are perceived to be low-key unemotional events, there is no reason why they cannot inspire energetic audience participation. There needs to be more spunk, funk and roar to Beethoven and more jubilant, intoxicated Mendelssohn concerts. Both performers and audience members need to be in hysterics, or balling their eyes out, for at least a third of the duration of the show. I’m not suggesting that fans go to these concerts drunk out of their minds, however, classical concerts are not just extended naptimes either. When listening to classical music, let yourself loose. If you feel like screaming, do so without hesitation; if you have an impulse to stomp your feet, go for it. Please do not bore the musicians to sleep with your lack of enthusiasm. We appreciate a few good loud bellows from offstage to keep us on our toes… so roar away.

Arts & Entertainment, Theatre

THEATRE: Off with your head!

“In the beginning, there was lust,” and in the end, there was still lust. Alexandre Marine’s latest stage production, L’evangile selon Salome, is a harrowing tale of a struggling youth, Salome, trying to resolve internal and external conflicts. The classic tale follows a series of modern theatrical twists, boasting musically inspired moments complemented by a world of incestuous perversion, deception and homoeroticism.

Viewed through the eyes of 13-year-old Salome (Marie-Eve Beaulieu), the play is a retelling of John the Baptist’s beheading. It begins with a brief introduction of characters and history that serves as a prelude for a misanthropic clash between mother Heroditias (Monia Chokri) and her daughter, Salome, over John’s affection. Although the play shoots off in many directions, it is centered on a dysfunctional family where – through their sexual wiles – women, rather than men, command power.

The piece weaves through a series of subplots involving uncle-stepfather Antipat’s pedophiliac obsession with Salome, father Phillipe’s never-ending confusion and Salome’s first sexual experience. The conclusion of the play, while abrupt, is in line with the notions that characterize the text and performances. It provides resolution for undeservingly nasty male characters, yet does not assign any redeeming qualities to female protagonists.

Marine’s spot-on casting and sprinkled irony provide brief comedic pauses in the rather intense narrative, allowing viewers to enjoy the complex sous-entendus that would otherwise be lost in passing.

Monia Chokri gives a wonderfully sensual performance as Heroditias, while Marie-Eve Beaulieau’s Salome is a mesmerizing portrait of innocence. Phillipe Cyr’s interpretation of John is in line with classic elegiac figures and presents nothing innovative in terms of theatrical expression, whereas Vitali Makarov’s (Antipas) fulfillment of a particularly deranged character yields a more liberal interpretation.

Various symbols in the play are employed to reinforce plot and character identity. The most notable include money, balls and a table. “The balls are supposed to represent innocence and at the same time are pieces of a phallic symbol” says Marine.

In a brief post-performance interview, Marine explains that the crux of the work is “its focus on the development of youth and how it relates to current adolescents. It’s about female mendacity, sex as platform for power and the reconciliation of one’s desires.” He adds that as an artist, “it is for the audience to take away what they want from the play and not for me to tell them.”

This play gets a favourable review, though with a few disclaimers. Some audience members might be shocked at the sight of partial or complete nudity, and all who attend should be able to understand quickly spoken French. A working knowledge of contemporary theatric productions as well as an overview of Salome’s historic importance would also be helpful; otherwise the piece may appear somewhat strange or even a bit offensive. But for those who enjoy boobs, balls and twisted family relations: two thumbs up!

Catch L’evangeline selon Salome at Theatre Prospero (1371 Ontario E) until Sept. 23. Call (514) 526-6582 for reservations. Showings are at 8 p.m.

Arts & Entertainment, Music

MUSIC: Ears wide open

Unending curiosity regarding the content of the evening’s set list was likely at the forefront of a Snow Patrol fan’s mind on their way to the band’s Sept. 12 Metropolis performance. In 2004, the Irish heartthrobs relased The Final Straw Stateside and it was among the 30 best sellers in the U.K. that year and one of the best records of its generation. It was – and still is- a breath of fresh air in the ever-tiring, over-burdened realm of indie-rock songwriting. Cut to the present and the 2006 release of Eyes Open, a significantly less impressive studio effort that plays to the crowd – and to every pop-rock radio station this side of Istanbul. The burning question of the night: “Will they pull out the tried-and-true Final Straw material to appease the crowd, or will they impress upon their loving masses the strength of their newer songs?”

They elected to do what any band of Snow Patrol’s stature ought to do. They pulled off both.

After some off-setting technical difficulties early in the show, the band slid into a more comfortable rhythm, displaying a much stronger command of the stage than in live recordings from two or three years ago. The five-man touring lineup, which has only been in effect for the past year, gave the band room to move and to do their more epic arrangements justice onstage. Old favourites “Chocolate” and the momentous “Somewhere a Clock is Ticking” – which singer/guitarist Gary Lightbody dedicated to all the hard-working, emerging Montreal groups of recent years – were performed with all the depth and texture that were present on the album versions, infused with the more emotive dynamics of what was inarguably a stellar live performance. The audience ate the songs up like Biftek popcorn.

“To those of you who are here for the first time: welcome,” quipped Lightbody early in the show. “You’ll find it’s very much like the Borg. You will all be assimilated.”

By then, much of the audience could feel the allegorical nanotechnology running through their veins. Surprising to most of them, however, were the rather staggering renditions of newer songs that even some die-hard Snow Patrol fans had dismissed as fluff. Rather than leap right into “Hands Open,” the first U.S. single from Eyes Open (which, incidentally, was not heard throughout the entire evening), the band elected to play lesser known, smaller marvels like “Chasing Cars” and “Open Your Eyes.” Granted, none of these songs achieve the grandeur, or the sheer majesty of the Final Straw years, but the band truly committed to the songs onstage, embracing them with as much overt passion and dedication as they did any other song on their set list, which, aside from being truly admirable in and of itself, taught the audience a good lesson. Any band good enough to produce a record like Final Straw ought not be underestimated while still in their prime.

L.A. quintet Augustana opened the show with a bang, echoing Dylan and the Wallflowers in a smouldering set that not only transcended their merely average debut, All the Stars and Boulevards, but practically upstaged the headliners of the evening. Be on the lookout for their return.

Arts & Entertainment, Theatre

THEATRE: Takin’ off

The air was filled with a sense of unholy curiosity at Player’s Theatre on Friday night. The playbill of Around the World with les Dames en Disdress unabashedly labels the show burlesque, a term that for most conjures up risqué mental images of scantily clad females and provocative striptease acts. From the first scene, the performance succeeded in fulfilling preconceived notions of the burlesque genre. The show was brimming with slapstick humor, bawdy songs and yes, striptease acts and nearly nude woman (and men!). Oh, and tasseling, lots of tasseling. That said, les Dames is worlds away from a Super Sexe style performance. In the words of co-producer and head choreographer Shauna Feldman, “while there is some nudity in the show, we focus more on the art of the tease, reminding people that sometimes it’s what you can’t see that turns you on the most.” Feldman points out that “in a city like Montreal where there is no shortage of naked flesh, it’s nice to revive an older, more traditional version of ‘sexy’.”

This was exactly the most striking feature about les Dames in Disdress. In a society continually inundated with very specific ideals of beauty and sexuality, it was a pleasure and a relief to watch a performance that used the body, sensuality and nudity to celebrate a different kind of sexy. These girls and guys do not just conform to any consumerist notion of what it is to be sexy. As Feldman puts it, a burlesque performance like les Dames “allows women [and men] to own their performance and by the nature of that performance, their own sexuality as well.” Maxime Bégine, who plays M. E. Norme, pointed out that one way in which the actors of les Dames are able to own their performances is through the huge amount of improvisation that constantly occurs on stage. Also, unlike many traditional forms of theatre, many of the les Dames’ performers are actively involved in the staging and choreography of their show. The show is brimming with highly talented individuals, many of whom are seasoned veterans in opera, dance and musical theatre.

Unlike some more traditional forms of theatre, it is blatantly evident from the beginning of this show that the performers are all fully comfortable with themselves and with each other, and as a result, have an outrageous amount of fun. The energy on stage is infectious; it took only minutes for the cast to completely engage their spectators. Small though the audience was, I have seen many a high budget West End or Broadway performance that failed to engage its audience even half as much as les Dames did. Adding to the energy in the room was the wonderful support of a live band. In a small venue, it is refreshing to experience the talents of real, live musicians, as opposed to recorded music only.

Around the World with les Dames en Disdress is a high-energy, bawdy, musical and dance performance that will leave you toe-tapping and dancing long after the music stops.This show has the rare ability to impart to its viewers an original kind of sexual energy not often seen on stage. Oh, and as an added bonus, if you sit near the front, you’ll get one genuine shot of vodka courtesy of Luci Furr, Miss Sugarpuss during the “Those Russians” scene.

Runs Sept. 21-24 at 3480 McTavish, 3rd floor. Call (514)398-6813 for reservations; tickets are $8 for adults, $6 for students/seniors. Thursday and Friday shows at 8 p.m.; Saturday at 2 p.m. and 8 p.m.; Sunday at 2 p.m.

Joke

JOKE ISSUE: Cultural Studies students take over DESA, have designs on AUS

Since taking over the Department of English Students’ Association this semester, the Cultural Studies Students’ Association is reaching out to English students by offering new courses, vegan bake sales, used American Apparel clothing swaps, and Mile End bike tours. But after seizing control of DESA, CSSA is preparing for bigger things. Rumours that the group is planning to take control of AUS have been confirmed.

CSSA meets every Tuesday in Architecture Café to drink organic fair-trade coffee out of mason jars and discuss issues pertinent to cultural studies students, such as Lacanian psychoanalysis, literary pretensions, plastic-rimmed specs, skinny jeans, and the comings and goings of various current and former members of Broken Social Scene.

CSSA is expanding the cultural studies department by expanding next year’s course offerings with an exciting new array of classes. New courses to be offered in the Fall 2010 semester include ENGL 353: Theories of Sameness, ENGL 443: Cinebrechtianism and Marxist Discourse in Godard’s Later Films, and ENGL 509: Derrida: Pre-Semantical Rationalist or Neo-Semioticist? An additional course has also been added in the Philosophy department, PHIL 417: Homoeroticism in Hegel and Schopenhauer, which may also be of interest to students pursuing a cultural studies degree.

CSSA is particularly enthusiastic about the Theories of Sameness course, and encourages all English students to enroll. “We’re taking a post-de-re-constructionist approach to critical theories of whiteness, using Foucauldian power relations as a lens through which to examine the othering of the white male subject,” says Professor Greene, who will be teaching the course.

Von Berg cites cultural normativity and neo-colonial misappropriations within the English literary canon as a reason for CSSA’s break from DESA. CSSA feels that the classical approach of the literature program should be supplanted with a more deconstructivist, postmodernist agenda. And it seems that AUS is CSSA’s next target

“There are hegemonic paradigms and heteronormative undertones at play within the operations of AUS,” says CSSA President Sebastian Von Berg. “If the Arts faculty was run by cultural studies students, we could eliminate the neo-capitalist forces at play in student politics at McGill.”

Von Berg accused the AUS of owning the means of production and enslaving workers.

“No worker is paid his fair share at Bar des Arts. Beers for the bourgeois are one dollar each, yet the staff go unpaid,” he said. “Also, we should abandon the failed Leacock SNAX franchise. Capitalism is dead! We must replace it with a socialized vegetable slop giveaway like Midnight Kitchen.”

According to Von Berg, a vote for cultural studies is a vote for continued post-dialecticalism within the faculty with no regard for Freudian transgressive sexual identity mythopoetics.

“It behooves us all to aspire to participate in an anarcho-syndicalist commune which is governed by du Garbandier’s great wisdom: ‘If one examines capitalist theory, one is faced with a choice: either reject neotextual materialism or conclude that society has objective value,’ ” he said.

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