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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.

VICEGRIP
a, Arts & Entertainment, Theatre

Improv Montreal’s VICEGRIP is a fresh take on a played-out trope

by Saif Cheval on

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The lobby of Improv Montreal resonates 'cool.' It’s immediately clear that it’s designed for audiences to sit back, relax, and enjoy the show. There’s a sense of calm that almost feels anachronistic, something that’s far too difficult to find in the most classically cool venues. It definitely sets the scene for the show, and perhaps even elevates the mood as audience members take their seats on fold-up chairs in the theatre. Entertainment is the goal, encouraging people to leave their minds at the door for an hour and a half of what can only be described as unfiltered fun.

The show opened with a duo called Nephews, who took the stage to play a variety of roles in a series of sketches, flashing back and forward as appropriate. The fact that the two actors did not crack up any more than they did was in itself an achievement: Their performance bordered on ridiculous. Featuring several gender switch-ups, 'political intrigue,' and a plotline based on Russian mail order wives, Nephews was entertaining and kept the energy high as the main act prepared to come on stage.

Following Nephews' departure, the show began with the entrance of protagonist Michael Bertucci (Travis Reason) clad in a tracksuit over a wife-beater. His appearance provided the show with a second of sobriety.

“This is VICEGRIP,” he announced.

The show is a three-part episodic series performed over three different days, meaning that as an audience member you had the chance to see all three episodes, and follow the drama, or just stop by for one performance and enjoy the intrigue wherever it had last left off. In character, Bertucci provided the update for those who hadn’t seen the earlier episodes as he recounted the deaths of his mother and brother, setting up a serious tale of revenge and retribution à la The Godfather. But after declaring once again that viewers are watching VICEGRIP, it was clear that Michael Bertucci’s story was not going to get much more serious than that.

The tale played out, spinning conventional crime drama characters into amusing parodies of themselves. Kyle (Jess Fildes), the ambitious, cutthroat, hired gun turns into a bumbling fool who just wants to do the right thing. Bill O’Brien (Alex Gauthier), a grizzled police captain returning from a severe injury is now a shell of himself whose sole desire is to shoot a gun—an increasingly desperate attempt to reestablish his authority. The only serious character is the female detective, Lindsay Hardman (also played by Jess Fildes), who can hardly keep a straight face at the sheer absurdity that surrounds her.

After Kyle kills the head of the Russian mob at the orders of Michael, O’Brien, and Hardman are back on the case, heading to the Bertucci household for a round of questioning. Meanwhile, Michael attempts to win the affections of his brother’s widow, Cassie (Eve Majzels). When the cast convenes at the Bertucci’s, it’s clear that there are some absurd plot twists waiting to come into play.

And so begins the second act. Gunshots play with slight delays, throwing the performers into improv mode (“These Russian guns, they never work!”). A plot twist reveals Cassie to be the mastermind behind the Russian mob’s incursion into Bertucci’s territory. A shootout at the Russian’s fortress is scored by an instrumental “Speak Softly Love,” its second appearance in the show. VICEGRIP, bolstered by a very enthusiastic audience, maintained audible laughter throughout much of its runtime, and made sure things didn’t get too heavy.

Overall, the performance was entertaining, and the choice to stray away from serious subjects was welcomed. Clocking in at an hour and a half total, there was never a dull moment thanks to the perfect pacing of the seasoned cast. VICEGRIP is yet another example of the high standard set by Improv Montreal.

What's the problem?
a, Art, Arts & Entertainment

Asking a generation: What’s the problem?

by Emma Whitehall on

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Located in the Latin quarter of downtown, Théâtre Sainte-Catherine Café-Bar hosts What’s the problem?, an impressive photography exhibit by Ana Jovmir. The collection centres on a group of physically beautiful young adults and issues they feel themselves facing in capitalist society. The images capture their expressions and reactions to life.

The message the exhibit arrives at is one of taking inspiration from your frustration with your surroundings. It is a conception that would undoubtedly be taken to heart by the more creative crowds that are drawn to the venue the exhibit was presented in. Théâtre Sainte-Catherine Café-Bar is certainly not traditional in the sense of a gallery exhibit: The photographs and accompanying statements are displayed throughout the front café area as well as into the actual theatre performance area. A small space overall, it is difficult to get a sense of the whole project without feeling slightly intrusive to patrons at the café or theatre crew members prepping for the evening show.

The photographer’s subjects feel constrained, whether by inequality, violence, imbalance of political power, loss of true communication, or a simple lack of enthusiasm about life itself. Each model brings focus to an issue in their lives by providing the photographer with a quote to be displayed beneath their portrait. The photographs are unabashed, effortless, and spontaneous. The collection feels timeless due to Jovmir’s decision to set all of the images in black and white. The power of the photos are only intensified by the incorporation of text quotes taken from each subject and displayed below each image.

Italian photojournalist Paolo Pellegrin famously stated, “the abstraction of black and white allows photography to speak in more symbolic term- colour, sometimes is all too real.” By removing colour from our interpretation, Jovmir brought the images down to their bare bones and allowed for the humanity underlying each subject’s experience to project with greater focus.

Self-discovery was a focus of the photographer as she conceptualized this project and selected friends and acquaintances in her life to photograph. As the project evolved it came to be an ever important illustration for creative individuals, and Jovmir stated in the exhibits description: “The inevitable destination: the place where shackles, struggles, dilemma and grief reconfigure into action.”

These individuals, who appear to be at different stages of life, illustrate the variety of challenges along the way. Along with their individual photographs, Jovmir included a quote from each of her subjects to further illuminate their humanness. One of the models, a young man named Brian, hid his face while displaying a tattoo along his bicep that reads ‘what a life.’ His quote was one of confusion and despair, as he stated to the photographer that, “What bothers me most is how little I give a fuck about anything.”

Just a few feet away, this image was contrasted to the portrait of an unimaginably free and unguarded image of a woman named Tessa with arms raised, eyes closed, and head titled up. She looked incredibly at peace with herself, and her quote was one of greater optimism and inclination towards taking action and reads: “We’re just as responsible for the consequences of our inaction as for the consequences of our actions. There is no difference: Either way you’ve made a choice, and the longer you refuse to act the more things turn to shit.”

Unless you are already visiting the theatre for a show, do not expect to easily explore the whole exhibit. Visiting the café-bar earlier in the evening would likely be the best chance to peek inside the theatre and glimpse the entire exhibit. Whether you want to take in a theatre performance, or simply sip on the espresso or alcoholic drink of your choice surrounded by art, What’s the Problem is certainly an exhibit worth visiting.

What’s the problem? is running until March 13 at the Théâtre Sainte-Catherine Café-Bar (264 Rue Sainte-Catherine E). There is no entry fee.

a, Arts & Entertainment, Theatre

Players’ Theatre’s production of “Dinner!” offers a feast of life and death

by Anna St. Clair on

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The ideal audience member of Players’ Theatre production of Dinner! is someone who played with their food as a child, and sat in on philosophy lectures as a first year wondering how the hell this applies to real life.

Dinner!, written by Moira Buffini and first premiering in 2002, follows an out-of-the-ordinary dinner party of upper class London suburbanites. While the action takes place in the present, the posh accents and sharp class barriers feel as though they’ve been taken out of an episode of Downton Abbey. The dialogue features countless discussions of philosophy, the meaning of life and death, and microbes. While the lengthier discussions of philosophy can be head-spinning, the driving force is the characters and their obsession with verbally dissecting every experience, event, and conversation. While early on a philosopher declares that nothing in life has meaning, the characters spend the rest of the dinner finding meaning in everything.

The play begins with Paige (Georgia Pearson) and Lars (Alastair Pitts), a married couple awaiting the arrival of their guests for a dinner party celebrating the successful publication of Lars’ new philosophy book. The first guest is Wynne (Eleónore Lamothe), Lars’ old college friend with whom he has reconnected, much to Paige’s dismay. Wynne initially appears as the creative and passionate free spirit, who greets new acquaintances with a full kiss on the lips, paints pictures of her ex-lovers’ genitals, and couldn’t bare the thought of eating an animal, a perfect juxtaposition to the shrewish and controlling Paige. Then there is Hal (Guillaume Doussin) a dorky, but hot-tempered microbiologist with his new girlfriend Sian (Sarah Foulkes), the cold and silent journalist, who serves as the most likeable character for the first act. The upper crust-y dinner guests must change their perspectives a bit after the arrival of Mike (Victor Prive), a working class truck driver who has crashed his van nearby.

Director Sophie van Bastelaer highlights the drama and emotional chaos of the characters, which sometimes means the comedy is overshadowed. There are clear moments that are set up for dark humour, like Sian’s verbal catalogue of murder weapons, but these scenes can feel tedious when the comedy doesn’t reach it’s full potential. It’s hard for these moments not to feel like intermissions between philosophical talks. As with any play that deals with such dense subjects there is a risk of feeling like you’re sitting in on a lecture.

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While performances from much of the cast sometimes verge on over-acting, Pearson plays Paige with a balance of subtlety and grandeur. When presenting her culinary creations, she is the spiteful wife who greedily demands her husband’s attention as she humiliates him in front of his friends. Yet she also manages to invoke pity, and we see her character almost like a child. In the gruelling scene where Lars shares a romantic moment with Wynne while Paige watches in stoic silence, making us aware of the destruction of her spirit.

On the black box stage is a large and heavy table, designed to look like marble and set for a classy dinner party. With actors sitting on one side of the table, as well as either end, there is a sense that the audience is looking in on the last supper. In this painting Jesus and his disciples are selfish narcissists, comfortably insulated from the real world by their money. And like a passover seder, the meal is more metaphorical than nourishing or enjoyable. Paige is on a mission to prove just what Lars philosophy is worth by applying each one of his nihilistic concepts to the meal itself. The dinner starts off with a literal primordial soup in order to make the guest contemplate their evolutionary lineage, while the main course makes them choose between life or death.

Paige repeats the line, “Waiter, we need drinks,” whenever the conversation gets tense, which leads to the table slowly filling up with empty wine glasses. The wine glasses on the table act as a clock, letting the audience know both how much time has gone by, and how inebriated the guests are. So the more drunk the guests get, the more the truth comes to the forefront. The unexpected ending forces both characters and audience to stop dealing in abstract thought and face what is real, and what has been right in front of viewers the entire time.

Exercise for Mood
a, Sports

Exercise for Mood works out for mental health

by Nicole Spadotto on

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It’s no secret that exercise releases endorphins and that endorphins make us happy—this has been known to be true since 1974, when hormones were scientifically discovered. Exercise for Mood, however—a program in its fifth semester at McGill—is built on an often disregarded concept: The human element of exercise. Created by two McGill faculty members, Nurse Louise Lockhart, and Medical Faculty Wellness Consultant Stella Miller, Exercise for Mood originated as a study about the ways in which exercise can ease depression, sleep deprivation, and anxiety. It has since evolved into a program integral to the McGill Mental Health Services.

“McGill is a great place to do [a program like] this,” Lockhart said. “We’ve got the space, we’ve got the professionals, so it’s easier to pull something off like this.”

The main goal of Exercise for Mood is to encourage students to integrate regular exercise into their lives on a long-term basis. The program encourages participants to focus on the immediate benefits of exercise, including just feeling good, as opposed to future goals, such as losing weight, which can seem far off and unattainable, and thus discouraging. Exercise for Mood isn’t solely about getting stronger, faster, or even happier; it rather aims to use exercise as a frame for goal-setting and community-building in order to combat mental illness.

“The program is good because it gives people a space to actually talk about self-care,” Lockhart said. “We exercise together, but we also talk about nutrition, and sleep, and goal setting, and positive self-talk. We get together every week and we work on it.”

The program isn’t just about releasing those endorphins either. There are many health benefits to exercising that aren’t just limited to the instant gratification that hormones give participants.

“[Exercise] increases blood flow to the brain,” Lockhart explained. “It helps the brain […] rebalance.”

People who exercise are known to feel calmer: Exercise reduces muscle tension, which in turn eliminates signals of stress sent to the brain. Physical activity also breaks down the growth and development of adrenaline and thyroxine, which then increase oxygen flow to the cells, as well as the use of fatty acids and protein within an individual cell. This process relaxes the body, and a healthy body is a precursor to a healthy mind. Exercise also tends to strengthen posture, which is shown to lead to a more psychologically positive outlook.

“It’s actually so multifaceted,” Lockhart said.

Understanding the science behind the benefits of exercise encourages participants to continue exercise after completing the program.

“We teach [participants] a bit about the science in the sense that it has to be moderate intensity aerobic exercise in order to get the mental health benefits,” Lockhart said.

“We’re wanting a paradigm shift in the way we look at exercise,” Miller added. “We’re focusing on exercise and how it makes you feel in the moment […] all the physiological factors that flow into our bodies right after actually make us feel better.”

Though initiatives such as #BellLetsTalk have helped mitigate the stigmatization of mental illness, one cannot help but to imagine that participants would enjoy the atmosphere of an exercise class—an activity that is well-regarded in society–in conjunction with weekly, supportive meetings and a team-oriented, unstigmatized setting.

“We’ve noticed with some of the participants [in] our program [that] there’s been a huge shift in their engagement even within the sessions,” Miller said. “They are building community and they’re talking more, so they’re coming out of their shells. They tell us how much better they feel.”

Exercise also has wider mental health benefits. Lockhart explained that studies from the University of Toronto have demonstrated that exercise can prevent mental illness in certain people. A study by University of Toronto PhD Candidate George Mammen and Professor Guy Faulkner analyzed over 26 years’ worth of research to find that even modest levels of physical activity, such as walking for roughly half an hour per day, has the capacity to limit the likelihood of depression later in life.

“[Exercise for mentally healthy people] helps increase concentration, increase focus,” Miller said. “It has so many physiological and mental benefits that every one of us can benefit from.”

The benefits of these findings are especially pertinent now, at a time when efforts to combat the stigmatization of mental illness in society are taking place. Exercise is a fairly simple and cost-effective way to prime people for better mental health. The key is for people to make a habit of being physically active. Especially at universities, students don’t want to sacrifice study time for exercise. The time spent exercising, however, has been shown to alleviate stress, increase concentration, and make students more productive.

“This isn’t [only] for people who have mental health issues,” Miller said. “This is for everybody. This is for anyone who lives a high-paced life, who has the regular stresses and anxieties of day-to-day life, who is in a rigorous program at a rigorous school.”

Another reason why mental health professionals are focused on prevention is because it allows for the high medical costs of treatment to shift to other demographics, like the aging baby-boomer generation.

“We need a prevention strategy now more than ever,” Mammen said in an interview with the University of Toronto Media Room. “We need to shift focus and look for ways to fend off depression from the start.”

While Exercise for Mood encourages everyone to exercise to achieve optimal mental health, the program predominantly exists for those suffering from mental health issues. Quantitative results have not yet been analyzed, but qualitatively, the effects on participants have been incredibly beneficial.

“The people who actually feel the greatest improvements [in their] mood from exercise are those who are struggling a bit more,” Lockhart said. “But exercise is often much harder to attain for those folks. We need to give them a hand.”

Based on the improvements that Miller and Lockhart see in the participants, both within the program and during frequent post-program check-ins, Exercise for Mood extends beyond being a helping hand; for many, it’s also a lifeline. 

“People are getting better, they’re getting well in terms of their overall wellness,” Lockhart concluded. “I know we’re doing the right thing.”

McGill Redpath Museum
a, Student Life

McGill in hindsight: Thoughts from soon-to-be graduates

by Rachel Summers on

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While it is important to remember that hindsight is 20/20 and people who don’t dwell on the past are happier overall, fourth-year students’ reflections of their undergraduate experiences highlight some valuable information for current students.

Overwhelmingly, students in their last semester stressed the importance of taking advantage of the resources available at McGill. They highlighted how their approach over the past four years has changed in terms of meeting with professors, seeking peer help, and attending advising.

“What I never took advantage of was going to see [the professors],” Daniel Chetner, U3 Economics, said. “I think there’s a lot to be said [for that], especially in a larger class. If you make that effort to go and see them, it might be the difference between you getting a couple more questions right on the final, or you really understanding a concept. It takes 20 minutes. If you’re stuck on something, don’t just blow by it.”

Chetner’s advice is especially important for third and fourth-year students who are considering graduate school in the future. Academic reference letters for graduate school, and some jobs as well, are an important part of the application process. Developing genuine relationships with professors is pertinent to ensuring that the letters are personalized and serve as a strong element of the application. While some professors may seem intimidating in class, it is worth overcoming the anxiety to go and talk to them. They are usually happy to help and appreciate students’ interest in their research.

Taking advantage of the surrounding network of peers is also important. Josh Schulman, U3 Finance, explained how students should be skeptical of the stereotypes attributed to different faculties.

“Even though there’s a stigma that [in Management] we’re all sharks and really bad people, when you actually break down the facade, most people are a lot nicer than they seem,” Schulman said. “If you can get past the hurdle of asking for help, most people are willing to give it.”

The advantages of asking fellow peers for help and studying in groups are twofold. Discussing course material instead of just reading it makes it easier to determine whether or not one actually knows the material. It is also beneficial in terms of easing exam season blues, as studying with others is less isolating and breaks the monotony of studying by oneself.

For Tori Sung, U3 Economics, picking the right courses was a struggle at the beginning of her university career. She noted, however, that McGill’s academic resources are valuable tools that can ease difficult decisions.

 

 

 

“Go to advising. When I was in first year I thought I had time and I didn’t see my advisor. I think it would have taken a lot of pressure off of picking courses later and then feeling like I constantly didn’t know if I was doing the right thing [….] Whether it’s networking or physical resources, you should use [McGill’s services]. I finally gained a respect for that in my last year.”

“Go to advising,” Sung said. “When I was in first year I thought I had time and I didn’t see my advisor. I think it would have taken a lot of pressure off of picking courses later and then feeling like I constantly didn’t know if I was doing the right thing [….] Whether it’s networking or physical resources, you should use [McGill’s services]. I finally gained a respect for that in my last year.”

As students know all too well, going to see an advisor can be quite the hassle, especially if it is during the first couple weeks of each semester; however, being proactive and making the time to see an advisor in person is important. No one wants to have graduation delayed because their degree requirements haven’t been met.

Although university is a time of individual growth and discovery, the students remarked that the highlights of their undergraduate careers have revolved around the experiences they shared with their peers.

Being part of a committee that works hard to put on successful events can be one of the most rewarding experiences at McGill. For Sung, her role as Vice President (VP) communications for McGill Women in Leadership (MWIL) is one of her favourite McGill experiences.

“[MWIL] was a relatively new organization when I started working with them, so we were able to put a lot of input in and decide what we wanted to do with it,” Sung said. “For our Trailblazers conference we got all these really cool speakers to talk and it turned into this big event [that] was bigger than we thought it would be. That was really cool because you felt like your input actually mattered. People respect you from outside of McGill now that you’re older, so if you reach out to them, you would be [surprised] how many want to get involved.”

Along similar lines, Schulman points to his role as co-chair of the Management Frosh planning committee as a standout experience during his McGill career.

“I was really happy with how Frosh went this summer,” Schulman said. “We broke all the records for attendance and satisfaction rates [….] In fourth year, you may take the initiative to run the entire event [….] I would say, if you have any interest, apply for something, you never know what could happen.”

The experiences shared with other McGill students extend beyond specific committee achievements. More generally, students highlighted the friendships they’ve made as their favourite aspect of McGill. Jake Kantorowitz, U3 Honours Pharmacology, stressed this when reflecting on what would be most helpful to share with younger students.

“With such a large school in such an enormous city, find a way to make a small community of supportive friends,” Kantorwitz said.

Chetner’s thoughts reflect the same sentiment—he was quick to point to his friends.

“It’s been a short four years, but I can easily say the people that are in my network now, I will be friends with for a very long time,” Chetner said. “I feel privileged and really lucky.”

Even though there is an overall sentiment of ‘I can’t believe how fast these four years have gone by,’ these students serve as a model for the benefits that younger students may reap if they too take advantage of every resource available to them, and take the time to develop meaningful relationships.

 

 

 

 

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