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a, McGill, News

McGill’s Board of Governors interrupted by Divest McGill

by Liam Kirkpatrick on

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Members of Divest McGill interrupted the McGill Board of Governors’ (BoG) first meeting of the new year on Feb. 11. The students demanded recognition of their petition to remove university investments from the fossil fuel industry, presenting it as an opportunity to work with the board towards making McGill a more environmentally conscious place. The BoG also heard from Principal Suzanne Fortier on McGill’s international prominence at the World Economic Forum (WEF), and on the progress made in developing the Royal Victoria Hospital (RVH) site into a constructive part of McGill’s campus.

Divestment from fossil fuels

Members of Divest McGill joined the meeting unannounced to appeal to the governors to consider their  petition to have McGill University remove investments in the fossil fuels industry.

“Where we put our money is the most important effect we can have on the climate crisis […] because of this we recognize that we need to move our investments out of fossil fuels,” said  Victor Frankel,  PhD candidate in biology, and environment commissioner of the Post-Graduate Students’ Society  of McGill (PGSS).

More than 40 McGill alumni have pledged to return their diplomas if the board has not moved to divest from the fossil fuels industry by March 30.

“We have support from almost the entire McGill community who are ready to support you when you chose to divest from fossil fuels,” said Robert Thibault, a third year doctoral student in neuroscience. “We hope you take this amazing opportunity to prove McGill as a leader in the world and in Canada.”

Interim Chair of the Committee to Advise on Matters of Social Responsibility (CAMSR) and Chair of the BoG Stuart Cobbett updated the board on the status of the committee report on Divest’s petition.

“We are now […] working on our report and we expect to be able to come back to the board for the consideration on schedule,” Cobbet said.

The report is expected to be completed in time for the board to make a decision at a special BoG meeting to be held March 22. When asked by another member about the possibility of community consultation prior to the release of the preliminary report, Cobbett announced the committee had decided against it.

“Our decision was that we thought that we should issue our report and not get involved in a  to-and-fro on a preliminary report.” Cobbett said.

The World Economic Forum 

McGill Principal  Suzanne Fortier travelled to Davos, Switzerland last month to attend the WEF. McGill was the only Canadian university represented in Davos and one of only 25 universities invited from around the world.

“As a result of this participation we have been approached to establish a more long term partnership with the World Economic Forum,” Fortier said. “With my colleagues I am working on that so McGill will be a participant in the forum for many years to come.”

RVH project 

Fortier went on to discuss the RVH development task-force’s progress. She stressed the importance of the multi-purpose nature of the new campus space. The goal of the task force is to break down the boundaries of a more traditional campus.

“The vision is really to create a real neighbourhood where there is a dynamic environment- an environment also that will bring us into the smart city/smart campus mode,” Fortier said. “We are building for the long term: If we do this project it will be for the next 100 years at least of McGill.”

Fortier reminded the board that the future of the project is contingent on acquiring the former RVH from the Quebec government.

“We are in the middle of a feasibility study and if the conditions are right we will move to acquire the site,” she said. “We are very clear on what conditions are needed for us to be in a position to acquire the site and develop it successfully. If the conditions are not right we will not move to acquiring the site.”

 

leacock building
a, News

AUS Council discusses potential space improvements in Leacock

by Noah Sutton on

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The Leacock Building may soon be under renovations to improve usable student space because of the Arts Undergraduate Society (AUS). On Feb. 10, the AUS Legislative Council held their bimonthly meeting, during which they discussed these renovations as a potential use for AUS reserve funds, and approved a motion to require beneficiaries of AUS funding to publicly acknowledge the funding.

AUS President Jacob Greenspon presented an update on the Leacock Space Project, an initiative that began in 2014 through discussion by the AUS executives on how to use the estimated $265,000 in reserve funds. AUS has been working with the McGill Space Project, a student led group working to optimize the use of space on campus. In addition, AUS paid McGill Campus Space and Planning a $3,000 consultive design fee to look at redesigning five spaces in Leacock.

“The study encompasses the corridors and lobby of the first floor of the Leacock Building, as well as the mezzanine space on the second floor and the open space in the basement at the foot of the staircase, [as well as SNAX]” Greenspon said.  

Design changes would be aimed to create informal seating areas, including new furniture, a new floor finish to delineate the space as well as additional power outlets. The proposal requires the removal of some computers from the areas on the first floor under renovation. This prompted concern from Anthropology Students' Association (ASA) Vice-President (VP) External AItai Gibli.

“In my experience I always see students using those computers presumably not for Facebook,”Gibli said. “Isn’t that something that should be prioritized over aesthetics?”

According to Greenspon, student needs will be taken into account when modifying these spaces.

“I think students usage of those computers has gone down a lot, and I don’t think cutting all those computers is necessary, but maybe five [computers] will be enough,” Greenspon responded.

AUS VP Academic Gabriel Gilling questioned how much student consultation was considered for these design choices.

“I was wondering the extent to which students were consulted on what they wanted to see be improved in Leacock,” Gilling said. “I know there's been talk within the Faculty but have students been able to voice what they want to see?"

Greenspon responded that the process had been mostly executive-led.

"I was not on the executive last year so they can give better answers to this question, but my understanding was that this was an executive led issue,” Greenspon explained. “There was consultation especially with and the wider student body, but this was mostly an executive led issue.”

AUS is also considering renovations to SNAX.  

“There’s three possible subproject there which are a new booth for SNAX, including a glass display case, and an enclosure for the recycling bins under the stairs because right now they’re all over the place, and some sort of formal seating spaces,” Greenspon said. “There is a caveat here, that the recently signed Memorandum of Agreement (MoA) Letter of Permission states that SNAX may not have a seating area [….] But [the MOA] expires in 2016, so it may be an option in the future.”

While the five projects do not need to be undertaken together, the estimated total cost is $242,300. However, the final cost can vary as much as 30-50 per cent from the estimate according to Greenspon. The presentation highlighted four potential sources of funding besides the AUS reserve fund, the Arts Undergraduate Improvement Fund, the Faculty of Arts Info Tech Fund and the Arts Computer Lab Fund. Greenspon also mentioned the AUS Council's ongoing interest in renovating the Arts Lounge.

“There has been a lot of talk on the executive Council about doing some sort of renovations to the Arts lounge, and I think it’s worth considering that both these projects will compete for funding […] as well it being hard for executives to handle this many projects at one time,” Greenspon said.

Council also voted to pass a motion to amend the financial bylaws.

“This is a straightforward and simple movement, we’re just making a small amendment to the financial bylaws so that any unit that receives any sort of funding that [AUS] is able to give out,” Gilling said. “We just ask for public recognition that the fund comes from us. There two dual objectives in advertising our funds [and] through receiving recognition that we are funding it.”

a, Arts & Entertainment, Music

Beyoncé’s “Formation”: The Queen’s reign over a monumental weekend

by Morgan Davis on

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It’s been a monumental week for Beyoncé. On the morning of Feb. 6, one of the most influential women in the world released her surprise new song and video, “Formation,” to her official website and a music streaming service, TIDAL. The single is her first in over a year, after a well-deserved break following the success of her unexpected self-titled album that took the music industry by storm in December 2013. One day after releasing “Formation,’ she accompanied Coldplay and Bruno Mars in the Super Bowl 50 halftime show where she then announced her world tour, which will happen this summer. The most significant aspect of those whirlwind twenty-four hours was without a doubt the masterpiece music video for “Formation.” The immediate response to the video exemplifies Beyoncé’s tight grip over the music industry; within one week, the video has racked up over 23 million views despite being unlisted on YouTube. But her power doesn’t just reign over the music world. After being mentioned in an iconic one-line, Red Lobster witnessed a 33 per cent spike in sales only one day following the song’s release.

Filmed in New Orleans, the video covers topics such as Hurricane Katrina, police brutality, and black heritage. The lyrics are unique and quotable, but still manage to express the controversial and significant messages needed. A consistent theme throughout the video remains evident: Beyoncé’s black culture and the pride she takes in it. Lyrics explaining her ancestry, featuring an Alabama father and Louisiana mother producing a “Texas bama,” are accompanied by her dancers in natural hair wearing twists, braids, and afros. The singer goes further than just an ode to her own heritage though, drawing on references to Dr. Martin Luther King in a newspaper headline reading “More than a Dreamer” that pays tribute to his legacy.

Released on the day after what would have been Trayvon Martin’s 21st birthday and the day before what would have been Sandra Bland’s 29th birthday, the timing of the video is extremely relevant to the message of black solidarity and pride. Both were victims of police brutality, and became figureheads of the Black Lives Matter movement. Beyoncé uses her influence to substantially advance the movement, reportedly bailing out black rights activists in both Baltimore and Ferguson. Symbols of police brutality in America are also scattered throughout the five-minute film: Police cars submerged in water transition to scenes of police vests and flashing lights. One poignant scene portrays a young African-American boy dancing to the beat of the music in all black and a hoodie. Before him stands a line of white police officers dressed in riot gear. As the dancer enacts “hands up, don’t shoot” the police copy in return and a tracking shot of a wall spray painted with “Stop shooting us” closes the scene.

Unfortunately, not everyone accepted the video with open arms. Many critics, including former New York City mayor Rudy Giuliani, attempted to boycott her Super Bowl performance by insisting that she used the stage as a “platform to attack police officers.” This is the hypocrisy: If Beyoncé had remained silent on the matter, she would be criticized by others for not using her monumental voice to make a change. Further, many are criticizing her for using the platform to promote her record and world-tour. But Beyoncé is more than just her activism, she is also a businesswoman. “I just might be a black Bill Gates in the making” serves as a smirking reminder that Beyoncé’s talent is a business. After her surprise album in 2013 sold over five million copies, her complete net worth to date is over $450 million. This world tour and album will undoubtedly rack in a substantial sum of money, and Beyoncé knows that, as she reminds listeners that the “best revenge is your paper.” She attempts to embody and present the circumstances of what it is like to be a black American in 2016 through culture and struggle. The purpose of the video is as simple as the fact that Beyoncé is black: Unafraid to show it and proud.

I Medici d McGill Winter concert
a, Arts & Entertainment, Music

Doctors deliver a superb orchestral performance at the I Medici di McGill Winter Concert

by Donovan Burtan on

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I Medici di McGill is an orchestra comprised of doctors and students of the McGill medical program who wish to contribute to the community through the healing power of music. This past Sunday, the stage was set for their Winter Concert, where old friends could be seen mingling and conversing with the ensemble throughout the intermission. The positive energy that filled the room fueled the ensemble through their diverse program. The orchestra touched upon the works of Verdi, Mozart, and Dvořák.

The afternoon began with the Nabucco Overture, a work from the famed Italian Opera composer Giuseppe Verdi. The vastness of the Notre Dame de Grace Church became evident once the quiet, lush brass chorale began the piece. Clean, lyrical playing from every member of the section resonated into the ceiling, allowing for each pause to melt into the next melodic line providing a luxurious tone colour. Although the resonance of the hall aided the ensemble in their quiet playing, it made precision a vital component of the louder sections as each and every mistake would painfully stick out. Attention to detail was apparent as in the members’ playing the notes of the brass section were clean as a whistle and the violins led the charge to the finale with driving fury. Beginning the program with an overture proved to be a smart tactic as the ensemble was able to expose a vast array of musical ideas in a short period of time thus, setting the tone for the rest of the performance.

Conductor Gilles Auger framed the second piece with his conspiracy that “Mozart was an alien.” He described how Mozart’s spectacular ability to compose in his head allowed him to write his pieces neatly on manuscript paper on the first shot. This ease of virtuosic accomplishment was portrayed in lead violinist Byungchan Lee’s fluid interpretation of the Fifth Violin Concerto. Every note bounced effortlessly off of Lee’s violin unaltered by any sense of struggle resulting in a serene musical experience. The ensemble expertly guided him through the piece, complimenting him with a light approach to Mozart’s challenging rhythmic lines. Lee was especially impressive at the end of each movement when he captivated the audience with an awe-inspiring improvised solo. The classical era valued beautiful melodic content and I Medici’s strings were able to embody this skillfully throughout the Concerto.

The final piece of the performance focused on the introspective Symphony No. 8 by Dvořák, which thrives on tension. The “Cello Symphony” (as Gilles Auger likes to call it) was a fitting finale to an exciting evening as the ensemble achieved electrifying tempos, extreme decibel levels, and high intensity. A flawless communication between the ensemble was evident from the very start; a long melodic idea was uttered first by the cellos, then passed on to the bassoons, before the principal flautist’s solo, which ended on a held note that felt as if it lasted for hours. With the second movement came dreary, descending chords that created a dark sounding aesthetic not seen in other parts of the program. Dvořák’s use of French horns was executed to perfection before moving on to the trumpet heavy finale. In this finale the trumpets finally got to showcase their powerful playing abilities and they did not disappoint. The high notes were played in perfect unison and the energy brought forth by this section translated into an epic performance from the whole ensemble. This moment was the true culmination of all the music played throughout the evening.

I Medici’s winter showcase was truly magnificent. Not only did they accomplish a relaxing sense of community, they also played on a level that made the fact that they were not music students quite unbelievable. Any performance of theirs is worth the inexpensive ticket price as they will surely not disappoint.

I Medici di McGill Orchestra’s Spring Public Concert will take place on April 3 at 4 p.m. at the Notre-Dame-de-Grace Church (5333 Avenue Notre-Dame-de-Grace).

a, Arts & Entertainment, Theatre

High infidelity: McGill Savoy Society’s “The Merry Widow” brings a classic into the modern era

by Christopher Lutes on

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Opera is an art form that has been in jeopardy for at least the last few decades. With a near complete lack of any notable new operas since the early 20th century, the entire genre is in danger of becoming stagnant without the intervention of passionate fans who are willing to update them for a modern audience. McGill’s Savoy Society delivers another valiant effort to keep opera alive in its production of The Merry Widow, its first non-Gilbert and Sullivan production since at least the 1980s.

Composed by Franz Lehar, written by Viktor Leon and Leo Stein, and directed by Russell Wustenberg, the opera follows Anna (Ana Toumine), the widow of a recently-deceased banker focusing on the question of who she will marry, and thus share her wealth with. The Baron (Jonah Spungin) of an economically floundering Baltic state tries to convince her to marry a countryman to keep his nation from crumbling. Though she has a trail of suitors from all over the globe following her, she is drawn to Count Danilo (Bruno Roy), a caddish ex-lover who now spends his time boozing and womanizing. The show wrings every bit of farce that it can from the scenario, piling up intersecting subplots about love and infidelity among the cadre of elites who find themselves in the widow’s orbit.

Despite some of the expected creakiness of an opera written in 1905, the production has a comic sensibility that is surprisingly modern. A lot of this comes from the fact that most of the opera’s comedy comes from highly versatile territory: Comeuppance for the arrogant, physical comedy, and dramatic irony. In other places, the line readings are delivered with more of an edge than was probably present in its original incarnation. But most importantly, the play attempts to directly address the highly outdated gender politics of the opera. This was an explicit concern of the production team, who recognized that the mores of the past are greatly out of sync with the present.

“The biggest concern that I had […] was what was the context of the time?” said Stage Director Russell Wustenberg. “My biggest change is I actually took the most famous piece of music [from the opera…] and instead of having it entirely sung by men, I allowed the women to sing their response to the men.”

Of course, a production can only take so many liberties without losing thread of the text, so Anna never really considers the idea that she doesn’t have to marry anyone. Instead, the opera ends as one would expect, with a highly sentimental third act set in the fairy-lit glow of Anna’s ballroom, underlining the importance of love. While it’s somewhat disappointing that a production this comparably modern would end on such a predictable note, the sentiment feels earned, mainly due to the performances.

Toumine and Roy anchor the production, each bringing their own brand of charisma and playing off of each other in numbers like “All’s one to all men where there’s gold” with a fantastic ease and sense of timing. Valencienne (MacKenzie Stone) and Camille (Zachary Rubens) serve as younger, more naive counterpoints to the central couple, bringing a welcome ray of earnestness amid the cynicism of the older married couples. The rest of the cast serves a mainly comedic role with Spungin’s oblivious Baron and Talia Fuchs’ put-upon emissary Njegus as the clear standouts. The sheer number of subplots means that no character wears out their welcome, but each gets a moment to shine.

The music is top-to-bottom fantastic, accompanied by an especially well-oiled orchestra. Russell’s aforementioned tweaking of “You’re back to where you first began” lends a satirical edge to what could otherwise come off as woefully outdated. Accordingly, the choreography is loose and modern, full of anachronistic flourishes that imbue the opera with a modern energy. The sets and lighting are beautifully impressionistic, giving each act a distinct feel and colour palate that correspond with the emotion of the main characters.

Guided by Producers Narmada Gunawardana and Maia de Graaf, The Merry Widow manages to mostly transcend the trappings of its source material, making the opera feel modern again.

The Merry Widow is playing on Feb. 19 – 20 in Moyse Hall. Tickets are $10 for students.

Trib Mix: LDR
a, Arts & Entertainment, Music

Trib Mix: LDR (long-distance relationship)

by Laurie-Anne Benoit, Adrien Hu, and Noah Sutton on

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Despite the short days and cold weather—or maybe because of them—February has become the month for coupling, perfectly etched into the global holiday that is Valentine’s Day. Unfortunately, with love comes heartache, a feeling that can be greatly exacerbated when every grocery store and pharmacy is decked out in heart-shaped trim and the one you love is an ocean away. To honour all loves near and far, the McGill Tribune has compiled some of the best songs from across the world. Scroll down to listen to Trib Mix: LDR and learn more about three of the songs that made the list.

“Crystal” – Kaaris (France)

It’s not terribly surprising that America dominates hip hop. The US birthed and nursed the genre that has since failed to find its wings. International rap almost never gains notoriety outside of its home country, which is disappointing given the immense talent that exists beyond North American boundaries. Rap remains one of America’s largest cultural exports, however, undoubtedly influencing the international artists who repurpose US tropes to their domestic audience.

This one way exchange is perhaps most evident on French rapper Kaaris’ track “Crystal,” where well-known US rapper Future lends his drawling voice to the track’s hook and one verse, while Kaaris compares himself to young American rapper Bobby Shmurda ("J'rentre dans le carré comme Bobby Shmurda"). The comparison to Shmurda, a young figure in rap with an uncertain career, is surprising for how current it is. Kaaris has his ear towards US rap and he is taking notes.

Kaaris glides over trap beats with french slang so coded that even fluent speakers need to take pause. But understand it or not, the words are backed by hard hitting production from producing duo Therapy, that underscores every violent lyric. In “Crystal," Kaaris uses his fast, choppy flow that is indicative of his style while simultaneously mimicking US trends.

Despite the presence of Future on “Crystal," Kaaris has not been awarded any notoriety outside France. Perhaps this is just the place of international rappers. Kaaris acts as a domestic gatekeeper to the broader rap scene, taking US tropes and co-opting them to make them feel authentic to a French audience. Even if this is the case, Kaaris’ music cannot be pushed aside as a cheap imitation. “Crystal” provides a mere glimpse into the expansive and truly excellent discography of Kaaris.

— Noah Sutton

“Comme des Enfants” – Coeur de Pirate (Quebec)

Following the release of her first album eight years ago, Coeur de pirate, Beatrice Martin—better known as Coeur de Pirate—has risen to stardom and made Québec’s francophone music bloom in popularity. Originally from Outremont in the heart of Montreal, Coeur de Pirate’s musical style diverges from more traditional Québécois styles. While many francophones were used to folk music and nationalistic songs about the province, Coeur de Pirate dissociated from the norm by producing stripped-back pop music.

Singing entirely in French, her vocals are primarily accompanied by piano, and at certain occasions, strings, tambourines, or guitar to influence the melody as well. Since 2008, she has then released two others albums, Blonde, in 2011 and more recently, Roses last year.

While her eponymous first album travels through the woes and complexity of love and relationship. While the lyrics resonates the melancholy of past relationships, the stripped back melodies contrast them and lighten the songs. “Comme des Enfants”, second track of the album, begins with the simplicity that Coeur de Pirate is all about. Starting with a piano melody, the story begins gently with simple vocals. As the tune embarks into the chorus, strings come in support to the piano melody. It doesn’t really matter if you can understand the lyrics or not, this francophone track is sure to make any day brighter.

— Laurie-Anne Benoit

“Fukai Mori” – Do As Infinity (Japan)

“Fukai Mori” is one of the first Japanese songs I remember ever listening to. Out of my repertoire of East Asian songs, soundtracks, and instrumentals, “Fukai Mori,” remains the most memorable. Contemplative and down-to earth, this song sings in melodies of yearning and desire—imploring hope, compassion, and purpose in a life of endless wandering.

Known in English as ‘Deep Forest,’ “Fukai Mori” was famously used as the second ending theme in the hit fantasy anime Inuyasha, which entered Canada via YTV in 2003. In terms of origin, however, the song was released by the band Do As Infinity in 2001; till this day, it remains one of the group’s best-selling singles.

There is a certain uniqueness to “Fukai Mori” that is often amiss in other foreign-language tracks. Simply put, the meaning of this song is not confined to language. Listening to Deep Forest, every aspect of the melody comes together to paint a story. The strum of guitar, like footsteps, gentle but firm; a voice, pressing—searching for what was once familiar. This is a tale of a heart that has lost but still dreams. Persuasive and relatable, the colours of this song dye the scenes through listening and feeling. To any audience, its essence is easily intuited without the meaning of words. This, truly, is fantasy reified.

— Adrien Hu

a, Out on the Town, Student Life

Valentine’s Day dinner made simple

by Jenna Stanwood on

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It’s easy to pretend it’s all hearts and roses, but Valentine’s Day can be stressful. It’s supposed to be an opportunity to share some quality time with your significant other, but pressure to design the perfect evening can be overwhelming. Here’s a list of tested and approved restaurants to help you enjoy the holiday without worrying about where to eat. With an option for everyone’s budget, you’re sure to find the perfect fit.

$: Amelia’s

Pizza may not be your first instinct for a Valentine’s Day date, but Amelia’s on Rue Milton and Rue Ste. Famille is your best option for a casual date night within comfortable walking distance. Serving up some of the best pizza in the city, Amelia’s features classic, Italian pasta dishes that may be simple, but leave you satisfied. The dining room is small, allowing patrons to feel cozy at a table for two. The restaurant is accessed through a staircase from street level, furthering the feeling of entering an intimate hidden gem. The decor is not over the top, so there is little distraction from your special someone. A small pizza—enough for one person—will cost around $11-13. Amelia’s is the best bet for those looking for an affordable and accessible, yet intimate and tasty dinner.

$$: Kazu

This Japanese gem on Rue Sainte-Catherine is a great way to enjoy a unique Valentine’s Day experience. Serving up authentic food beyond the usual sushi, Kazu has a funky atmosphere complete with menus that are handwritten on the walls, an open kitchen, and authentic Japanese decorations. The restaurant is small, and doesn’t take reservations, which means that getting a table often involves waiting in line; however, its size also keeps the atmosphere lively and exciting, with its chefs serving up the food to match. Their ‘48-hour pork’ rice bowl and their tuna and salmon bowl are popular favourites among diners. The menu also features some vegetarian options, such as homemade tofu. The wait is more than worth the time. For dessert, they have homemade soft serve ice cream with flavor powders in varieties that include unique options like matcha and ginger—a refreshing break from your usual date night meal. Dinner at Kazu will cost between $15-20 each, and chances are you’ll be trying something new, providing you and your date with plenty to talk about.

$$$: Marche 27

With their wide selection of meat tartares and raw oysters, Marche 27 on Rue Prince Arthur gives patrons the opportunity to bond over trying new foods. The menu consists mainly of tapas-style servings to enjoy in the restaurant’s sleek, modern atmosphere. It is minimalist, featuring clean white tiles and mirrors on the walls which are contrasted by black furniture. The dining room doesn’t hold many tables, and its open layout guarantees you an intimate and uncrowded experience. Market prices for oysters are listed on the blackboards hung throughout the restaurant, as is their current bar menu. Dinner costs around $30 per person, and the menu does not feature any vegetarian options; however, for meat-lovers, the food is fresh and delicious, and is certain to add excitement to your date while providing plenty to talk about.

$$$$: Chez Victoire

If you’re looking for something upscale and romantic, the french cuisine tasting menus at Chez Victoire’s are the answer. Located at 1453 Avenue du Mont-Royal, the restaurant itself is a combination of class and modernity, featuring warm lighting and crisp white paint paired with dark wood. The front of the dining room faces the street with floor length windows, setting a romantic scene for your candlelit dinner. The menu has classic meals, like beautifully cooked steak over a seasonal vegetables, paired with more modern and unexpected dishes like deer tartare. The menu features some vegetarian options as well, including a mushroom risotto and a tomato salad with buffalo mozzarella. The Valentine’s Day six-course menu costs $60 a person, but if you’re looking to enjoy Chez Victoire’s high quality food at a more affordable price, they have a late night, two-course menu for $25 a person available after 10 p.m.

Anne Frank Secret Annex
a, Arts & Entertainment, Theatre

The life not lived: “The Secret Annex” uses alternate history to examine the Anne Frank mythos

by Morgan Davis on

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What if Anne Frank had survived? What would her life and struggles consist of after enduring the most well known genocide of the past century, possibly of all history? This is the alternate universe that writer Alix Sobler portrays in The Secret Annex, directed by Marcia Kash. With a cast of only five, Sarah Farb stars as the surviving heroine. A veteran to the role of Anne Frank, Farb played the protagonist at the Stratford festival last season and now reprises her role effortlessly in Montreal. Anne Frank, a young German Jew, was hidden in an attic for three years during the Nazi control of Amsterdam. In Sobler’s world, however, Anne survived through Nazi rule and is now living in New York City at the age of 25. As an aspiring writer, she struggles to have her diary published to show the world her collection of memories from her confinement.

The play takes its time settling into the characters and plot, but the connections between the actors are what really make the relationships onstage work. Anne and her older sister Margot (Anne Cassar) share an intricate relationship, yet the poignancy of Margot’s maternal instincts towards her younger sister are pure. The reality of their relationship is organic and unforgiving, exploring jealousy and resentment from over a decade and transforming it into a touching moment of forgiveness and unconditional love. Anne’s relationships with Peter Van Pels (Brett Donahue) and Michael Stein (Marcel Jeannin) embody a misguided love triangle, with Peter serving as the dashing new mystery man and Michael the lifelong friend. Yet, despite the overused storyline of a man in love with his childhood friend, their outwardly platonic love for one another is tender and true. Editor Judith Baribeau (Virginia Belair) embodies the feminist American dream, but declines Anne’s book because of its doom and gloom message.

The simple set design sophistically portrays scenes such as an apartment living room, editor’s office, and bedroom with minimal furniture. The open space is used to the actors’ advantage; the audience can perfectly see the actors maneuver their way through a decorated and furnished room. The lighting is versatile and effective, transitioning from the naturally lit living room to the dimness of a bedroom, and a late night winter’s walk.

The play occasionally undermines how monumental the events in Europe were. Director Marcia Kash mentions in a program interview that she was hesitant to join the project, as it seemed “sacrilegious” to fabricate a life “so cruelly cut short.” At various times, it was clear that the dialogue was meant to produce a laugh from the audience, yet only uncomfortable chuckles were ever heard. The casual attempts at humour overshadow and belittle the true emotion of the script. The ‘joke’ regarding Anne’s lack of sexual willpower due to her imprisonment was not only disrespectful but also incredibly disturbing.

Sobler’s revisionist spin on the historic accounts of Anne Frank’s life is clear, however they fail to make their mark. The play succeeds in asking the uncomfortable and disturbing question: Do people love the story of Anne Frank because she represents a martyred heroine of tragedy? Would Anne’s beloved story be as loved if she had survived, or would it never make it past the publisher’s office? It’s lovely to pretend that her story had a happy ending, but it didn’t. The reality of the holocaust pervades even the alternate universe of the play. Anne never lived to see her 16th birthday; an infinite amount of possibilities halted the day she entered the Amsterdam attic. Anne’s diary serves as a stark reminder of the lives that were lost during the Holocaust, and the dreams that could not be followed because of it.

The Secret Annex will be playing until Feb. 21 at the Segal Centre for the Performing Arts (5170 ch. de la Côte-Ste-Catherine). Tickets begin at $44.

Mustang
a, Arts & Entertainment, Film and TV

Sisterly love: Mustang gives nuanced portrayal of female coming-of-age stories in patriarchal societies

by Rebecca Potters on

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Content warning: This film features elements of sexual abuse.

The coming-of-age stories that frequently grace movie screens are those of teen rebellion, unrequited love, and summer adventures. Deniz Ergüven’s Oscar-nominated film Mustang contains qualities of all of these aspects, but adds nuanced maturity and an overwhelmingly poignant storyline. At the heart of the film are five sisters living in a village on the Turkish seaside, whose strides to live spontaneously are thwarted by the customary guidelines and traditions of their culture.

Beginning with an end-of-school-year trip to the beach with male classmates, five orphaned sisters (Günes Sensoy, Doga Zeynep Doguslu, Tugba Sunguroglu, Elit Iscan, and Ilayda Akdogan) return home to their grandmother and legal guardian (Nihal G. Koldas), who greets them with a beating and unwavering accusations. What the girls see as innocent romping is misinterpreted by gossiping neighbors as sexual licentiousness, and the girls are made to submit to a virginity report conducted by their local healthcare center. They are then swiftly stripped of all possessions that can further corrupt them such as telephones, makeup, ripped jeans, and computers. Although showing the beauty of traditional Turkish culture, Mustang emphasizes the patriarchal injustices present in the sisters’ village and family, where a majority of the formal power lies with the man of the house, their Uncle (Ayberk Pekcan). Any efforts to defy the regulations placed upon them are answered with discipline, physical abuse, and stricter detainment in their already-encroaching space.

It is in the house that the girls are trained in domestic skills such as cooking, sewing, cleaning, and serving. Gradually, their grandmother preps them for marriage by inviting over prospective suitors and families and having one selected sister serve refreshments as the guests survey her appearance and manners. Each sister manages the situation in a unique way; some through protest, some through passiveness, and some through outright refusal and attempted escapes. Each circumstance is different, and each has a consequence.

A key component to the cinematography is the emphasis placed on natural light and shadows. The house, which serves as the main setting of the movie, is equipped with many windows and courtyards, all with intricate bars and gates that lend a dark sense of whimsy to the confinement of the sisters. Additionally, the house has a seemingly endless flow of doorways and rooms that create a sense of disorientation. With regards to the music, the director was very adamant that there be no electronic or synthetic sounds, to coincide with her preference of what is natural over what is synthetic. The utilization of natural elements and acoustic instruments supplements the will of the girls to live naturally and organically with their surroundings versus the demands of their uncle and his constant surveillance.

Ergüven was tactful in her portrayal of men and women in Turkish culture. Mustang neither aims for moral simplicity nor does it condemn the entirety of Turkish traditionalism. There are strong women, submissive women, traditional men, and progressive men. No one segment or gender is demonized, but the film does highlight the unfairness of certain aspects. In a Film Society of Lincoln Center panel with the director and actresses who played the sisters, Ilayda Akdogan stated that she and the other women working on the film felt a great responsibility to demonstrate the social injustices facing women in Turkey, specifically in regard to arranged marriage and the concept of purity.

Although its content is fueled by depth and sensitivity, on the surface Mustang is slightly reminiscent of Sofia Coppola’s The Virgin Suicides (1990). Both movies are narrated by main characters and told as stories of the past, and both deal with themes of loss and oppression. More superficially , both films are focused on five sisters in the same age group; however, in regards to substance, Mustang is far more riveting and confronts real world issues, as opposed those such as American isolationism in The Virgin Suicides.

Some argue that Ergüven leaves many questions unanswered and does not evenly distribute screen-time between the five sisters; however, although some girls are more featured than others, the director does a good job of creating a cohesive timeline and each girl serves a different purpose at different points in the film. With regard to questions unanswered and an open-ended resolution, the film is told from the perspective of the youngest sister, so it would make sense that she does not have a fully rounded perspective of their situation.

Mustang tells a poignant story of female empowerment and rebellion. The concepts of voyeurism and fetishization are completely vanquished by the close proximities of filming, and viewers are allowed to peek behind the curtain to see the intricacies of sisterhood, and  are also given an intimately tragic tale of growing up female in a male-dominated world.

Recovery of Antiquity
a, Art, Arts & Entertainment

The Recovery of Antiquity

by Katia Gorshkova on

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In line with the upcoming major exhibition Pompeii, the Musée des Beaux-Arts (MBAM) offers art and history lovers The Recovery of Antiquity. This discovery exhibition is situated in a secluded area on the lower level of the Jean-Noël Desmarais Pavilion, and is composed of a selection of paintings and drawings from the museum’s collection. Albeit small, The Recovery of Antiquity is somewhat a brief history lesson for its audience, providing short explanations for the fifty-something graphic works in the gallery.

The first room of the exhibition showcases classicist works depicting Ancient Rome from the 17th and 18th centuries by influential artists of the time, such as Greuze, Audran, Girodet, and many others. Most of the drawings are done either in pen and ink, red chalk, or pencil, which adds a somewhat modern touch to an exhibition focused on antiquity. Each piece depicts segments from Roman mythology and history in a clear and simple manner. The drawings are detailed and structured, and give off a slightly dry vibe. These works create a curious and almost contrasting atmosphere in this small gallery dedicated to the ancient world—a world that most people are used to seeing as colourful and grandiose, almost magical.

Although antiquity was not truly recovered in Renaissance-era Italy and France as the title of the exhibition suggests, some important archeological discoveries certainly renewed the artists’ worship of this particular era. Indeed, the description at the entrance to the second hall of the gallery tells the visitor that the discoveries of Herculaneum in 1738 and of Pompeii in 1748 refueled the enthusiasm and artistic interest towards Ancient Rome. This new knowledge led to the emergence of influential Italian artists, such as Giovanni Battista Piranesi and his important successor, Gioaccino Rossini.

Both Piranesi and Rossini were inspired by the grandeur of Ancient Rome, which they explicitly illustrated in their work. Piranesi inspired Rossini, and a number of other followers, by his exquisitely detailed etchings. The second part of the gallery is filled with works by both these artists, in which they illustrated the ruins of Roman temples and other monuments. Each piece requires close examination on the part of the visitor, as the artists put an extreme amount of depth and precision to each little corner of their drawings. Although they seem dark and complex at first, they are remarkable in their own way, as each detail was given the artist’s full and meticulous attention; from the tiny humans walking up the stairs of the Coliseum, to the carefully sculpted columns of destroyed temples. Piranesi’s and Rossini’s works depict the majestic and monumental ruins of Roman temples in juxtaposition with elements from the artists’ era, showing just how feeble and unimportant the artists believed their contemporaries were compared to the grandiosity of the Roman heritage.

The exhibition itself is quite short, but it does leave the visitor with a pleasant aftertaste from the intricately detailed drawings and an anticipation for the upcoming major exhibition on Pompeii. It is a glimpse into the history of artistic movements from Renaissance throughout Neoclassicism. The exhibit portrays small but nonetheless intriguing works, and guides the audience towards a better understanding of how the simplicity of Roman art shaped cultural movements throughout centuries.

The Recovery of Antiquity runs from Jan. 12 to June 26 at the Musée des Beaux-Arts (1379 Sherbrooke Street West). Admission is free for people under the age of 30.

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