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Crash Ensemble (photo: Ros Kavanagh)

As a critic, I do my best to find the meaning in art, to deconstruct why something exists, and sometimes that’s tough to answer. Sure, some art is overtly political, and some art can be a triumph of storytelling. Crash Ensemble, the Irish musical group that closed out another stellar season at Peak Performances, may have been both of those things, but I couldn’t tell—to me, the group was simply an aesthetic delight. 

Performing two separate concerts, Strange Folk on May 8 and Bright Visionon May 9, Crash Ensemble brought vitality and excitement to instrumental music that’s eluded my naive, pop-addled ears over my short lifetime. Perhaps I could make allusion to postminimalism or polystylism, but that would be doing a dishonor to the Wikipedia article I road in on. Instead, I’m content to share my delight over the sound that washed over the audience. Read more »

“So, what’s a dramaturg?” 

I’ve lost count of how many times people have asked me that question over the past couple years. Actually, the comedians in my life tend to ask about being a “dramaturd” just as often. And I don’t blame them—to be honest, I’m still trying to figure out the answer myself. 

I usually answer the age-old question with the vague but typical response, “Oh, you know, someone who does a lot of the historical and background research for the show, making sure it’s accurate to the time period, that kind of thing…” 

Now, after reflecting on my first couple years of production dramaturgy experience, I think I’m starting to formulate a more complete definition. I’ve now officially dramaturged two MSU student productions: Crazy for You in the fall of 2008 and As You Like It this past fall. The vast difference between the various job “responsibilities” both entailed has taught me countless lessons about the field of dramaturgy—in particular, its wide range. Read more »

Hello Insite Readers!
Here’s another great batch of student responses! This time, to 1001, a play by Montclair State alum, Jason Grote, presented by the B.A. Theatre Studies Senior Class. Student Forum is very pleased to present our favorite three responses, by Joseph Rosario, Ally Blumenfeld and Gillian Holmes. These critiques were written for Dr. Neil Baldwin’s Play/Script Interpretation Class and fulfill the mission of Montclair State’s new Creative Research Center: to spotlight exemplary student writing. Montclair State’s Creative Research Center is directed by Dr. Baldwin. High-five, Neil! …and now, to Gillian Holmes!
–Sara Wintz

“What are any of us but a collection of stories?” Jason Grote’s Scheherazade asks the audience of 1001. All things considered, especially in the context of theater, Scheherazade makes a great point. Which is precisely why 1001 was a poignant, compelling choice as a piece to be put on at Montclair State University by the Theatre Studies Seniors. Often it seems as though theatrical productions overlook the very important aspects of stories that beg to be told, forgotten in the wake of flashy musical numbers or a political message. If the story is neglected, it would be extremely difficult for the audience to understand the piece on a deeper level, after all, if we are all just a collection of stories, the easiest way to comprehend the message of a piece of theatre would be to use information from our own lives. Storytelling, a tradition that goes back to before theatre ever existed, illuminates issues, gives us ideas, and offers solutions - among a host of other things. Which is why this particular piece was a bold, challenging selection done at an extraordinary level, much to the credit of the director and ensemble. Read more »

At the beginning of Vincent Dance Theatre’s North American Premiere of If We Go On, presented at the Alexander Kasser Theater April 15, 17, and 18th, Vincent Dance Theatre referenced Yvonne Rainer’s “No Manifesto.” Rainer’s “No Manifesto” calls upon negating or stripping things down, just doing in a very minimalist fashion. Yvonne Rainer’s iconic TRIO A is one example of this minimal approach to choreography. 

Rainer utilized everyday movements in her choreography. In the “No Manifesto,” she writes: “NO to spectacle, no to virtuosity no to transformations and magic and make believe.” The dancing in “TRIO A” comes across less like Swan Lake, and more along the lines of a task, as though Rainer could turn at any moment to operate an article of heavy machinery, or change a tire. As a result, Rainer’s choreography suggests that art-making itself could be like any other everyday activity, as opposed to a behavior of the supernatural. 

If We Go On contains this element of the everyday, too. The performer’s dialogue is plain-spoken, leading to odd pauses, complete silence. The actors’ onstage personas seemed very much like everyday people who question things, take things to far, make mistakes, learn to do things together. It was as though everyone from VDT had gotten together to tell us something. In fact, the first impulse of If We Go On seems to spring from the moment in which Charlotte Vincent had perhaps already given up, and decided NOT to go on. Read more »