"A Nice Family Gathering" is Refreshing

Even the turkey is imperfect in Whittier Community Theater's ad for "A Nice Family Gathering"

           Especially around the time of Thanksgiving, everyone experiences a little family dysfunction along with the comradery that the holidays bring. None so more than the Lundeens who gather to celebrate their first Thanksgiving after death of their father. “A Nice Family Gathering” focuses around not only his absence from the family, but his presence. Dad (Jerry Marble) comes as a ghost and haunts his son, Carl (Justin Murphy), in attempts to try and relay the idea that though he never told them, he loved his family. The script by Phil Olson contains an accurate depiction of family life and director, Karen Jacobson, led the actors through supporting that vision through their portrayals.

            Olson got to the heart of the issues that a lot of families face and that is the reason this play has been growing in popularity across the country. The main issue was that the children felt their parents played favorites. The play explored the idea of “the golden child” and the pressure and tension that causes each member of the family. What makes the play so enjoyable is that everyone can see aspects of their family in the characters and family dynamics of the Lundeens. The feelings of each character are relatable and cause empathy. Most people struggle with their parents’ love and approval and Olson capitalizes on that subject matter to bring the play to life.

The set picturing the Lundeen family's home

            The cast was full of personality that splashed throughout the series subject matter. They were able to bring humor to an array of difficult topics, just as Olson had intended. Mom (Andrea Townsend) tried to handle the death of her husband of 35 years with strength, but lost her mind missing him. Her Alzheimer’s-like forgetfulness laced with humor gives the play its most unrealistic aspect, yet necessary comic relief. Laura McDowell played the role of Jill, the perfect daughter-in-law who struggled with barrenness amidst the pressure to bear grandchildren. Her raging hormones from fertility drugs were over the top and the only annoying, displeasing part of the production. Besides Townsend and MacDowell, the rest of the cast was very real and down to earth. John Warner, who played “the chosen son,” Michael, and Megan Duran who played the forgotten daughter, Stacy, rounded out the cast rather nicely with their seriousness as they were the true examples of favoritism among siblings and the pain and separation that follows.

            Jacobson pulled the show together with not only that near perfect casting but with a phenomenal set and blocking, and manipulation of the audience’s emotions as well. The set was cozy and automatically made the audience feel right at home. It was perfectly detailed to look like the living room of a house, from the family portrait, to the stockings hung by the chimney,down to the trophy case in the hall.  Her blocking established the family dynamic, like in the way she always had Stacy sitting at a separate chair or banished to the coffee table for dinner until the very end where the family came full circle with Stacy joining them on the couch. In ways such as this, Jacobson was able to keep the audience engaged and their emotions high.

Through her interpretation and execution of Olson’s script, the angle changes every couple of minutes and you find yourself rooting for different characters. One second the father is the bad guy who never showed the affection his kids and wife deserved and the next he is the father that was too busy providing, even though that meant giving up his passions. At first glance Carl, the main character, is looked down on by his family, and the next we see that he has been the pride of his parents the entire time. The changes in point of view are drastic and keep the audience on their toes, so Jacobson put Olson’s script into action well.

            The cast and crew did a great job taking Phil Olson script to the stage. “A Nice Family Gathering” is not perfect, but what family gathering is? You can see all that love for yourself at the Whittier Community Theater for its last two performances on Nov. 18 and 19 at 8 p.m.

Time is Money and "In Time" is Worth Both

            In a world where time is money and people work so that they can keep their clocks ticking, writer and director Andrew Niccol has produced a truly thought provoking sci-fi film. It has all the components of a fan favorite—innovative ideas and morals, action, adventure, romance, and Justin Timberlake. “In Time” takes place in the future where everyone is born with a biological clock with one year etched into their arms, and when they hit the age of 25, that clock starts ticking and also becomes their means of currency. This allows the film to have a cast of beautiful people who have the luxury of looking 25 forever. More than that though, “In Time” brings up a lot of ideas about time, living, and the status of America’s socio-economics. 

Timberlake has 25 seconds to spare to take the picture for this movie poster.

 

Courtesy of 20th Century Fox.

                 Timberlake plays Will Salas, a poor man who sees dead people “timed out” in the streets while higher zones, or classes, have people gambling thousands of years of their life away with no consequence. While Niccol is setting up the story, it is truly heartbreaking to see how heartless some are, and it forces you to invest feeling into this movie. Salas has had to work hard for every minute of his life, so it shocks the entire economic construct when a rich man with a death with gives him over a century of time and the message, “Don’t waste my time,” before plunging off a bridge. Too bad it was not punctual enough to save his mother (Olivia Wilde) from timing out. From there Salas tries to live it up in the richest zone by gambling his years and multiplying them tenfold while being on the run from a timekeeper (Cillian Murphy), or a cop who tries to keep balance among the zones. During his insane gambles, Salas meets the richest of the rich (Vincent Kartheiser) and finds unspoken chemistry with his red-headed daughter (Amanda Seyfried). Turns out, the rich’s burden of living forever makes a girl restless. The movie ends up taking a hug e Robin Hood meets Bonnie and Clyde twist when she realizes how drastic the difference in lifestyle is between those who rush everywhere because every second they have is precious, and those who take their sweet time because they have a billion to spare.

Timberlake and Seyfried on the run. Courtesy of 20th Century Fox.

            This film is a huge social commentary by Niccol in a time we probably need to hear it. It is a radical idea about the state of our economy in the midst of a banking crisis. He also throws out rich philosophical ideas like the difference between living and merely existing and the morality of what precious time we have. It gives something for the audience to wrestle with inside and out of the theater. Sure, it may not be attracting the audience that a huge blockbuster film would, but that is not the point, rather it is to struggle with the idea that we take everything for granted while some people are fighting to live for just another minute. People do not want to see the extremes in the difference of socio-economic statuses because that would mean a calling to do something about it, when there is not much one can really do to change the constructs.

            All these philosophical ideas are wrapped up in a hot people package. Timberlake takes on the more serious role of the vigilante from the wrong side of the tracks pretty well considering the transition from his last movie, “Friends with Benefits.” Seyfried is mediocre as the restless spirit, tough girl trapped in a safe and luxurious world. Her sweet persona is pretty hard to believe in this role, but she gets the job done. Murphy was most notable in this cast though as he got down to motives of the timekeeper and is astounding as one of the outside forces against the power couple.

            “In Time” gets down to the heart of multiple issues while throwing in some exciting car chases, crime, and romance to keep your attention. This may not be an edge of your seat kind of thriller, but it is definitely exciting long after the credits role. Now playing in theaters everywhere.

“To Kill a Mockingbird” Sure Murdered More Than Just Mockingbirds

Biola's Theater 21 advertisement for "To Kill a Mockingbird", which runs October 27-November 12.

       

          “To Kill a Mockingbird” is a classic novel by Harper Lee that is commonly a reading requirement in high school these days. With its beautiful symbolisms for racism and innocence, the book really made a statement at a time in America’s history when the color of your skin defined who you were. Biola’s Theater 21 production of “To Kill a Mockingbird” was unable to translate all those impactful ideas and pressing symbolism to the stage. Director Forrest Robinson led a cast of young adults trying to play small children with bad accents and more time and attention was spent on that than on the depth of meaning behind the story Harper Lee constructed 51 years ago. Despite its faults though, the play did exhibit some redeeming qualities, including the set, the directing, and some of the supporting roles.

            Theater 21, which is the small black box theater located on the outer edge of Biola’s campus is where the play was presented and because of the size, not much quality was expected. However I was pleasantly surprised with how Robinson and his team utilized what little space they had to create the quaint little town of Maycomb, Alabama. The houses’ facades, the balcony, and even the creative touch of the tire swing were elaborate and well done. Along with that, Robinson’s blocking and the way he utilized such a small stage was masterful.

            My favorite part of the entire play was Atticus Shires, the personality behind the role of Dill Harris. His mannerisms and speech were wildly funny as they rode the fine line between childish and a lisp. Shires portrayed the shy, yet adventurous, tall tale telling, naïve six year old with accuracy as well as with his unique personality. Though a minor character in this play, he provided the comic relief that really stole the show.

Director Forrest Robinson also acted in the role of Bob Ewell (pictured left). Forrest Robinson and Jeremy Pfaff (Boo Radley) prepare for their performance of "To Kill a Mockingbird." Photo Courtesy of Tyler Otte of The Chimes.

            The rest of the casting was one of the most distracting things of the entire play. Julie Ploehn played Scout Finch and while she did a fair job acting child-like, it was so far cast against type that it was completely unbelievable and it really brought me out of what was going on in the story. It was just bizarre watching a large 18 year old trying to play a tiny six year old well. On top of all that, another thing that took me out of the fantasy of the play was the way the actors slipped in and out of accents. It was most noticeable in Cris Cockrell who played Jem Finch, but could be seen also in the narrator, Miss Maudie (Sydney Grafft), in Mayella Ewell (Emily Leigh) and many other characters throughout the play.

“To Kill a Mockingbird” is just such a phenomenal novel and the play version did not quite live up to that. The script really missed out on the subtext of the story, like in cases with the symbolism of the mockingbird. The idea that killing a mockingbird was a sin because they are pleasant and never harm anyone was raised in the very beginning of the play by Grafft, but she did not project well and from the back row I did not understand what she was trying to say. After the first two minutes of the play, the idea was never brought up again. It happened like that for many other ideas as well, and so the audience really only got the surface level story in the play’s interpretation.

            So I would not say the play was bad, but it had as many strengths as it did weaknesses, leaving you with an “eh” feeling when you walk out of the theater. Sure it has some shining moments in the acting and directing, as well as an impressive set, but that may have been lost in the inconsistent accents, bizarre casting, and shallow story. See for yourself at Biola’s Theater 21 for $10 pre-sale or $11.50 at the door. The play will run at 8pm until November 12.

Kelly Clarkson is "Stronger" Than Ever

Album cover art provided by RCA Music Group

Kelly Clarkson, our American Idol sweetheart has struck again as she released her fifth album, “Stronger,” this past Monday. Her spunky demeanor, powerful vocals, and lyrics of hurt and bitterness are everything we would expect to hear from the pop-rock star based on her previous work, but at the same time, she sticks with it for a reason—she is phenomenal at what she does.

Upon first listen, “Stronger” comes off as generic and sounds the same as everything else we have heard from Clarkson in the past. The feisty attitude we saw in her single “Since You Been Gone” can also be seen in this album in songs like “Mr. Know It All,” and “Let Me Down.” One song ran right into the next and her traditional ratio of songs with attitude to songs with a softer tone is the same as every other CD.

Luckily this is a second-listen kind of album. The songs become more distinguishable and the potential for radio hits sky rocket because of the catchy choruses and the vocal prowess with which she performs. Her first single, “Mr. Know It All” has already made it onto Billboard’s Top 20 and the album’s namesake, “What Doesn’t Kill You (Stronger),” is sure to follow. Her tenacity is evident as she uses her life experience to make a point in every song. While she has tried to branch out of her genre within recent years, this album hovers right in the genre she belongs—pop-rock.

Clarkson performs on tour to promote her new album. Courtesy of the New York Times.

            In an age when auto tune rules, Clarkson is true to herself and her own voice. She hits the high notes and the unbelievably low notes with ease and achieves her goal of trying to sound the same as she does live as she does over recording. Her voice is just as strong today as it was the day she won American Idol at age 16.

           As honest as they are, the lyrics tend to sound a bit wounded. They play the role of the victim a little too much. Whether it be “You Can’t Win” about the scrutiny from her critics, “The War is Over” depicting how she believes she deserves better in a relationship, or “You Love Me” where she is told she is not good enough, Clarkson  sings like she doesn’t receive the credit that is due to her. Either way though, every song has a relatabliliy factor and that is exactly why Clarkson has kept such a huge following. That, and her awe inspiring voice.

           “Stronger” is an album that is a perfect demonstration of everything Kelly Clarkson is and has to offer—feisty pop songs, ardent ballads, a dominant voice, and heartfelt lyrics. It is now available on iTunes and in stores everywhere.

You Have To Be Made Of "Real Steel" Not To Enjoy This

            What do you get when you cross robots, boxing, absentee fathers, and an underdog story? You get Real Steel, a Shawn Levy film that is full of action and heartfelt moments that are sure to satisfy the whole family. My visual and emotional appetites were completely fulfilled. Of course, Hugh Jackman’s presence didn’t hurt either.

            Real Steel tells the story of Jackman’s character, Charlie Kenton, a jerk who loves boxing and making money more than anything, including his son. He sold custody of his son, Max Kenton (Dakota Goyo) in exchange for $100,000 and a summer with him. Charlie was down on his luck when it came to money and how he made it—through robot boxing. Then Max came a long and found Atom, an old sparring robot that was never supposed to amount to anything. From there Charlie and Max battled the odds and their father-son issues in order to become  successful.

            The casting in this movie was absolutely superb. Jackman played the rough-around-the-edges, abandoning jerk of a father well, as usual, but he also captured hearts with his attempts to win his son’s favor back. Twelve year old Dakota Goyo, a Canadian television actor, was just adorable, leaving the women all around the theater aweing and wanted to take him home for themselves. Goyo showed emotion and maturity far beyond his years and really stole the show for most viewers. He will be one kid to keep your eye on in the future. Other great performances were shown by Evangeline Lilly, who played Kenton’s long time love interest and partner, and Kevin Durand, the money grubbing cowboy that doesn’t play fair. Atom, the robot, didn’t have an actor play him, but I think it is important to note that he is just as crucial of a character to be played as any. Overall, the cast was well rounded and they really knew how to tug at the heartstrings.

            I can’t say the same thing about the characterization though. Whether it was John Gatins, the screenwriter’s, fault or just Levy’s translation, Real Steel’s characters had no depth, no motivations. Why would Kenton be so heartless regarding his son? Who knows! Important background information was withheld, leaving the audience a little bit confused as to why the characters are the way they are. That is my sole complaint about the film though.

            The visual aspects were unquestionably breath taking, thanks to the cinematography of Mauro Fiore and the visual effects department headed by Dan Akers. Each shot was crisp and well framed, and the whole movie just made my eyes dance with pleasure across the screen. It was aesthetically pleasing, to say the least.

            The story was really intriguing as well. We’ve seen stories about boxing before, we’ve seen films set in the future before, we’ve seen the fighting robots before, but we have never seen such a family bonding focus on these ideas. The combination is sure to have a little something for everyone in the family without making you feel like this was a happy-go-lucky children’s film. It was a little rough, showing how the real world can treat you, but still had an optimistic outlook. I personally really enjoyed how the story came to resolution because it was upbeat, yet it wasn’t the predictable happy ending. It wasn’t too “Hollywood.” It has commercial appeal and can be borderline corny sometimes, but at least it had a little bit more of a real life ending than “all the good guys beat the odds and get everything they want.”

            Real Steel was a phenomenal film that the majority of people I know and I all enjoyed. It kept everyone on the edge of their seat at some times and on the verge of tears at others. It showed that sometimes if you have no guts, then you have no glory, but sometimes that “real steel” comes from places you least expect it.

"Ringer" Proves To Be Just That In The Pilot

Most television shows draw you in from the previews as they display the basic idea so you know what you are getting yourself into when you watch the pilot. Not so with “Ringer,” which the CW aired this fall with just an aging Sarah Michelle Gellar and creepy music to entice you.

  Sarah Michelle Gellar watches for those chasing after her in yet another vague picture

advertising the show.

For those of you who need a little bit more to go on before you commit to wasting an hour on the pilot, “Ringer” is a mystery drama following the life of Bridget Kelly, a recovering alcoholic who witnessed a murder. In attempts to avoid testifying, Bridget escapes to visit her long lost twin sister and through not-yet-revealed circumstances, she finds herself hiding in her sister’s life. Little by little, the pieces of her sister’s life come to light and Bridget has to cope to stay hidden. Bridget soon finds out though that she is not the only one with a price on her head.

The plot line promises a lot of potential and the story seemed to be very multi-faceted. It has got alcoholics, fugitives, love triangles, action, sex, mystery, lies, and murder-- everything a viewer could ever want! Through this episodic structure, the viewers get all types of storylines and relationships that they must figure out along the way and as some the pieces come together, even more questions arise. The pilot was very scattered, yet organized as the CW tried to give you all the background you could possibly need in order to move forward with the series. They packed a lot of information into a little amount of time, but it worked splendidly and gave me a longing to watch the next episode. Thus, the pilot’s goal was successfully accomplished.

Gellar in “Ringer” as both Bridget Kelly and Siobhan Martin

It was good to see Gellar back on TV. We have not seen her in anything that has attracted the media’s attention for years, and she has come back as if she never left. Her acting in both the role of Bridget and her twin sister Siobhan was believable and the emotion was relatable. She was supported on screen by the actors behind the many entangled characters such as Ioan Gruffudd, who played Siobhan’s husband, Tara Summers, who was Siobhan’s best friend, and Nestor Carbonell, who played the detective. Their performances were very alluring and after the watching the characters’ lives unfold, I could not help but want to feel for them and watch even more.

The only downside to the new show was possibly a little bit of the directing. They have featured guest directors for every show so this will not be a continuing problem, but for the pilot episode, I found two flaws. One, the green screen seemed very obvious and fake to me when trying to display the New York skyline. Two, there was a bit of confusion because some of the pivotal shots were not very clear, leaving the viewer to interpret the scene for themselves until clarification was provided. Those are simple things to fix and one would think that a big corporation owned by CBS and Time Warner would spend a little bit more time working out those kinks.

Despite minor issues that took me out of the fantasy of the show, I believed “Ringer” to be quite intriguing. The pilot alone has brought great ratings and guarantees that there are more of those to come. The story was clear yet the plot to come was a mystery, and one that I hope to follow and discover for myself. Gellar has done well for herself by picking this role because this show promises a lot of excitement and hopefully a lot of hype as the mysteries unravel this season.