Reviewer swept up in magic of 'Carnival'
The magic of a carnival lies within the illusion. But in “Carnival!,” Otterbein’s fall musical, the magic lies outside the illusion.
Use the fields below to perform an advanced search of T&CMedia's archives. This will return articles, images, and multimedia relevant to your query.
31 items found for your search. If no results were found please broaden your search.
The magic of a carnival lies within the illusion. But in “Carnival!,” Otterbein’s fall musical, the magic lies outside the illusion.
A womanizing magician, a melancholy puppeteer and a young runaway might seem like they have no business interacting.
I have been a Blondie fan for nearly half of my life, and as at the tender age of nineteen, this says a lot. Having read three biographies, attended two concerts, and owning more copies of Auto American than I can count, my life has been beyond Blondie-riffic. Unfortunately, this New Wave/Punk love affair has not accompanied their new album, Panic of Girls.
On Otterbein’s campus, things seem to be slightly confusing.
Little Monsters rejoice; Mama has a new anthem. Actually, a whole album full of them. With Lady Gaga's newest release, "Born This Way," it doesn't matter if you're a "Bad Kid," a "Government Hooker" or "if you love him or capital H-I-M." Gaga just wants you to put your paws up and join her on a journey through her most autobiographical album to date, not to mention the most musically impressive. She crashed into the music scene in 2008 with the party-anthem-fueled "The Fame" and continued with "The Fame Monster" in 2009, where she chronicled each of her demons. Though the latter was a bit more personal, a seemingly superficial screen kept the demons at bay while listeners jammed carelessly to hits like "Telephone" and "Bad Romance." With "Born This Way," we are taken on a no-holds-barred trek into her deepest fears, fondest memories and the formation of Gaga as an identity. The album commences with "Marry the Night," a Springsteen-esque ballad with the type of New Jersey angst that only the Boss (and now Gaga) can bring. The slight organ ringing in the background brings a baptismal feel, and with each throbbing electro pound, the listener is immersed and initiated into this new land where love of all kinds is the obvious theme. The second track, "Born This Way," has undeniably become the national anthem of Gagaville. A strange mix of synthetic sounds and authentic lyrics, it perfectly sums up the ideal of creating an identity and truly embracing it. The third track, "Government Hooker," sounds like the drowning of an opera-trained robot in a vat of Chanel No. 5 and sets the scene for the next track, "Judas," a tragic tale of biblical proportions. The dark undertones of this Catholic conundrum chronicle the life of Mary Magdalene and her inner struggle to choose Jesus over his betrayer, Judas, and to bring down a "king with no crown." "Hair," which serves as a personal breath of fresh air, shines light into the once turbulent relationship between Gaga and her parents. Whether one can be as free as his or her hair is yet to be determined, but with the mix of siren-like synth beats and Springsteen sax (provided by E Street's own Clarence Clemons), the allure of this song will certainly make him or her want to. Other highlights include "Highway Unicorn (Road to Love)," the ultimate fast-car ridin' and rock-rollin' American fight for freedom, as well as "The Edge of Glory," where possibility pounds through the listener's speakers in an almost tangible way. This playful power ballad piques the listener's interest by pushing any and all limits, and the triumphant wail of a familiar saxophone sails through the once omnipotent darkness. All of this might be a bit overwhelming, but what's Gaga without excess? Anyway, there is really only one thing she wants you to take away from the album: "Baby, you were born this way."
In the world of academia we refer to as "campus life," many things rank high on the collegiate totem pole: tuition, studies, books and lectures. Then there are the other more frivolous ideas that aren't taken so seriously: the campus drama, the parties and so on. Though there is one subject that many would categorize with the latter, in actuality, it deserves much more. It is how you give a first impression, how you show yourself to the world, even how you portray your attitude to professors or employers: fashion. With so many student-focused ideas on how to dress for class (save the sweats for a lazy day), how to dress for job interviews (UGGs need not apply) or how to dress for any situation possible, we decided to take a look at some fashionable professors. Be they fashion-forward or couture-challenged, if you've noticed their style, we've noticed it too. After asking around campus and receiving some suggestions, here is a look at a few of the more fashionable professors on Otterbein's campus. When asked about their style, the professors each gave their own reasoning. Norman Chaney said: "My basic rule of dress when I come to the college is to wear a different tie every day. I have nearly 100 of them, many bought at Goodwill. The color of the tie dictates everything else." Karen Steigman said: "I always wear scarves. I think they give the pretense of looking put-together. I can't say that I have a favorite store, but I will say that I hate the mall, so I do a lot of shopping online." Michael Levin said: My Style A student once remarked that I had a "classic" style. Until that point, I had not considered my sense style, which remains unchanged since I was an undergraduate. I wear muted color slacks or pants depending on the occasion, and button down shirts. In the summertime, I concede the season by wearing a short sleeve, colored polo shirt when I am around the house. Anyone who has had the misfortune of seeing me at the Rike or Clements would rightfully question my sense of style. Why Those Clothes As an undergraduate, I was fortunate to befriend a fellow student who worked at Latham's, a men's apparel store in Oklahoma City. I spent a couple of hours with him at the store as he showed me how to build a wardrobe and an outfit. As a consequence, I started wearing braces, or suspenders, instead of a belt. I let the tie become the point of flair, or personal statement. The rest – the jacket, shirt, and pants – should not draw attention to me. My body shape and size probably save me from adopting a more fashion forward look. A lot of clothes for today's man would hang poorly on my frame. I would appear rather silly. At work, I dress for a place of business. Recently, I left campus to meet someone at Chase. While waiting in the lobby, I was undistinguishable from the other male employees. On the other hand, when I met someone at Lane Bryant. I looked like a relic of a past fashion era. My Fashion My sense of fashion is guided by a well-worn cliché. The clothes make the man. I wear a sport coat and tie at work because it sets a tone in the classroom and at the office. I do not make a distinction between the two because I am at work. Depending on the time of day, and the day of the week, I am in different rooms. Regardless of whether I am teaching, researching, or performing service, I am still at a place of business. I should dress in an appropriate manner. Plus, my undergraduate students should gain a sense of how they need to dress for the workplace while my graduate students should notice a consistency between the classroom (i.e, my workplace) and the office (i.e, their workplace). Thought I knew someone while in high school who attended a private school that required a uniform. When asked if he found the uniform requirement restrictive, he said it was the opposite. It was liberating. He knew what he going to wear each day. The catch, was how to make the uniform distinctive without violating the stated and unstated rules about the dress code. I feel that way about dressing for work. The tie is my personal statement. I wear a stripe tie when I want something quite or muted or a patterned tie if I want to draw attention. The shark tie is reserved for special occasions while the Martini tie is most likely to appear on a Friday. A few of my ties have significance or attachment. At home, I take a similar approach. The clothes should not draw attention to the wearer. A friend offered that I look like a model for the LL Bean catalog. Considering it sells the same style of fashion since I was a kid, I took the offering as a compliment. Anthony DeStefanis said: My great grandparents were shepherds in Italy, so I'm partial toward wool. Otherwise, I try as much as I can not to dress like a typical male academic. That means avoiding the uniform of jeans and khakis that baby boom generation professors seem to prefer. I came of age during the 1980s and early ‘90s (a member of generation X) listening to punk rock, which taught me to look skeptically at the baby boomers. The late 1980s were full of corporate-sponsored anniversaries of (supposedly) important 1960s cultural events: the 20th anniversary of the summer of love (1987), the 20th anniversary of the release of Sgt. Pepper's Lonely Hearts' Club Band (also 1987), and the 20th anniversary of Woodstock (1989), to name a few. Why, I wondered, were the baby boomers so gullible? Why, more specifically, did they fall so hard for these corporate music industry efforts to sell them their past on CD at much higher prices? The right-wing politics of the 1980s made this nostalgia even more grotesque. The boomers--who had become yuppies--seemed to be saying that they were no longer interested in political activism. Instead, they were going to roll a fatty and cue up their new, digitally re-mastered CD version of the White Album ("you say you want a revolution, well, you know . . ."). And why in the hell did baby boomers (and so many others) embrace the Grateful Dead's 1980s comeback? The Grateful Dead? Really? This is why I try as much as I can not to model myself on the boomers. I avoid developing attachments to soulless corporate entities that are intent on making us all believe that we have a special relationship with them. I also avoid buying clothes that were made in sweatshop conditions by people who are younger than my students. It's hard, but it's possible, and I encourage you to do the same.
On Thursday night, a man will sit in a chair and invite all of Otterbein into his living room. This man, no doubt a gracious host, is also the main character of the Theatre Department's most recent production, "The Drowsy Chaperone." Here, "a man in New York is feeling blue, so he puts on his favorite record and takes the audience along," said freshman musical theatre major Preston Pounds, who leads the show as the man in the chair with a "non-specific sadness." Unlike most theatrical productions, this one takes the audience along in a different sense. "It exists in two different worlds. It takes place in a man's living room," junior musical theatre major Andrea Varadi said. "His bad day prompts him to put on his favorite record, which is "The Drowsy Chaperone," and the show comes to life in his house. It is the story about the man in the chair." A show within a show might be new to some audience members, but the intentionally clichéd 1920s characters aren't quite so novel. "There are so many different stereotypes of different characters from the '20s, and we were really able to put our stamp on them," Varadi said. "There were a lot of technical elements, like an airplane with a working propeller and a refrigerator that the cast uses to enter the living room," he said. With the new experiences through tech design came new experiences through directional means. David Caldwell, a guest director who has directed over 20 plays and choreographed an impressive 10, brought his talents to Otterbein to help produce "The Drowsy Chaperone." "The guest director has been great because it's different than what we're used to. We mostly get people from within the department, but it's great as a student to work with a guest director because it offers a different viewpoint," Varadi said. "Most of the directors we work with are acting professors, too. They teach acting workshops, which would make a play production feel like another workshop. This is what makes guest directors so great to work with," Pounds said. "The Drowsy Chaperone," which has lived on Broadway since May 2006, has earned awards for best book and best score at the Tony Awards. It started off as a spoof of the typical musical, housing each of the humdrum characters of the Broadway of yore. Fans and critics have raved in the name of its excellence since Toronto birth in 1998 and stake it as a comedic gem honoring the jazz age. With the likes of such playbill connoisseurs bowing at the glitzy toes of this play, the hardship of the production might come from finding originality within the characters. "With any show you have to bring your own flair to it," Pounds said. "We each have different experiences that we bring to the characters, experiences that would differ from anyone else playing this part, so we each bring our own flair to the characters."
There's a new shop in Westerville, and unlike the ones on State Street, you won't want to take your mother antiquing here. "Little Shop of ‘Censored,'" the title of this year's spring quarter drag show, gets its name from the off-Broadway musical-turned-cult classic "The Little Shop of Horrors." "We had issues with the name obviously because it says ‘wh----,' but we came up with the censored idea, which made it funny, but still got the point across," said Kyle McIntire, junior BFA musical theatre major and the show's coordinator and performer. Much like last year's "Real Housewives of Otterbein," it's meant to give those who wish to attend and become involved creative breathing room. "We always try to come up with something creative for the audience to dress up as, but that also allows us to stay pretty generic in our ideas so we can do many things in the show," McIntire said. The tounge-in-cheek ambiguity of this year's theme calls upon the nature of drag culture while allowing for the night's details to remain behind closed curtains, which allows for an element of surprise to reign supreme. Those who have attended previous shows know this very well. "At last year's performance, one of the drag queens was coming up the aisle, and I suddenly found them in my lap," said Jessica McGill, sophomore English creative writing major. Sophomore education major Matt Taylor said, "I'm excited for the show. I expect it to be fierce and a lot of fun." Those involved will remain tight-lipped until the unveiling on Sunday, May 8, at 7:00 p.m. "We don't want to give away any of our secrets, but the show is for charity and all the proceeds will go to ... Equity Fights AIDS," McIntire said. Equity Fights AIDS was started in 1987 and raises money for people with AIDS and other severe illnesses. Otterbein's queens in question for this performance are McIntire, Scott Drayer, Mike Weingand, Troy Burton, Hayden Clifton and Simon Trumble.
Swinging and rolling a molten blob from a pipe seems like a haphazard way to do anything, let alone create something of value. But Kriss Rogers of the Uptown shop Outside Envy knows differently. In 2007, she opened this local Garden of Eden that sells a great number of these blobs, which are commonly referred to as glass art. As April brings National Art Glass Month with it, these blobs are more prominent than ever. Outside Envy has moved the spotlight from its usual unique garden treasures to handmade glass in honor of Art Glass Month. The pieces (mostly made by a father-daughter duo in Ontario, Canada) create an eye-catching display in the middle of the shop, the colors of which shine vibrantly despite the gray Ohio weather. "My own garden is full of glass pieces, and it's so nice because you have wonderful color even when it isn't from the plants," Rogers said. It's hard to imagine something colorful and beautiful coming from that aforementioned molten mass before it's shaped, but according to local artist Therese Medley, "Glass is so dimensional; you see composition, color, texture, and you see through it. It can be awesome to create then view from different angles and see many different colors." Though many of Outside Envy's larger art glass pieces are from the Ontario-based company Kitras, Rogers said, "Local artists are a big part of our store. They allow us to tell a story through each of our pieces in three ways: through local art, North American art and if the customer requests, imported art." The origin of each glass piece is kind of an ugly duckling story. Beginning as a variety of raw materials, the soon-to-be glass is heated at roughly 2,000 degrees Fahrenheit. From there, it sits as the bubbles rise, not unlike kneaded dough, and cools to 1,300 degrees. The newly formed glass is pliable enough to blow into bubbles and create some form of container, roll and sculpt into a desired shape or even create some abstract pieces. Since the early signs of artistic glass pieces (some dating as far back as Mesopotamian ages), America has not had a huge presence in the art glass world. Recently, thanks to renowned glass artists like Harvey Littleton and Dominick Labino, America has made itself more known in the artistic field of glass. "The importance of art glass is doing it and enjoying what it brings to others," Medley said.
Since their 1973 founding in Washington DC, Sweet Honey in the Rock have found themselves on a very interesting journey. Beginning with four members, expanding to five, and capping it off with a sixth member who serves as their sign-language interpreter, the group visited Otterbein's campus this past Friday, March 11. Sweet Honey have raked in many accolades throughout the 30 years of their existence; they have received two Grammy Awards, performed at the White House, and have recorded 21 albums. While Otterbein isn't quite up to par with the White House, the experience was definitely one to remember. Performing various five-part harmonies, each part with its own astounding vocal range and sound, these well-versed women astounded the audience with their talents as well as their message. Of course the audience attended the show in order to hear a beautiful arrangement of sound, though the true beauty was found deep within the lyrics of their songs. Here, the audience found messages of equality, environmental care, and the love one needs to find within the world. Throughout the years, Sweet Honey has housed twenty voices, though the members that lent their voices and signing to us – Aisha Kahlil, Carol Maillard, Louise Robinson, Nitanju Casel, Shirley Saxton and Ysaye Barnwell – have made a special impression on the hearts and ears of Otterbein students.
On March 3 through 6, Fritsche Theatre held something fantastic – an event to excite each of the senses, and cause each audience ember to tap into their wells of emotion. "Trip the Light Fantastic," the "annual dance extravaganza" featured dance ranging from tap to interpretive while diving deeply into both the abstract and mainstream. Act I: "...And until we meet again...Slainte" As the house lights dimmed and the crowd quieted, the curtain was raised to reveal a world of by-gone days. Pictures flashed in an air of remembrance, just as bagpipes rang out signaling a Celtic celebration. Choreographed by Stella Hiatt-Kane (who also worked as the overall artistic director for the entire show) and featuring music by Gaelic Storm, the piece paid tribute to the lives of Irish Americans throughout the years. "Spider-Man" Choreographed by Heather White-Cotterman, "Spider-Man" dazzled using only a simplistic background, clever use of light, and killer dance moves, all set to the smooth voice of Michael Buble. Taking cue from the "Spider Man" movie series (with it's legendary upside-down kiss) and mixing original and vintage-looking costumes, "Spider-Man" combined all that has been loved about Spider Man throughout his history: colorful villains, the air of mystery, and plenty of action. "Kitchen Tale" The sounds of The Cinematic Orchestra and Patrick Wilson combined with Maris Glimcher's choreography (assisted by Colleen Creghan) seemed to slow time. Following a family's turmoil, "Kitchen Tale" is a powerful story of inner struggle brought on by familial stress. "Dodgeball Dance Off" Prompting a "warning"in both the program and before the show began, this was perhaps the most exciting performance of the night. Inspiring the audience to "get physical" and channel their inner Olivia Newton John, this '80s flashback chronicled the journey for championship between two rival dodgeball-dance teams. Brighter than that day-glo headband in the back of your mom's closet, this performance , choreographed by Tammy Plaxico, used the basic dodgeball poses to create a nail-biting exhibit of sportsmanship at its best. Act II: "It's NOT Personal...?" In the most abstract performance of the evening, "It's NOT Personal...?" , directed by Kathy Bartelt, seemed to show the lives of lovers caught in a bought of infidelity. Providing multi-sensory stimulation, the room was chilled to create an atmosphere of sorrow. Not only were the dancers attention-grabbing, but a radio-controlled stage moved the performers while encapsulating them in a cold, blue chamber. "Three" Choreographed by Jon Devlin, who was assisted by Molly Sullivan, this performance was definitely appropriately named. Telling three stories, each involving three people, a theme is definitely arising. The first involving a back-dated love triangle, the second, a marriage forced upon a bride by her mother, and the third, a happy couple with their newest addition to the family, this story in tri-fold ranges in a powerful spectrum of emotion. "Less We Forget" Featuring a live rendition of Beethoven's "Moonlight Sonata" this performance dapples between the worlds of life and death. What was meant to be a tribute to a friend lost by choreographer Scott Brown – assisted by Hope James –, this wonderful piece doubles as a beautifully thought-out example of performance art at its finest. "Play Time" This literal interpretation of the Dresden Dolls' metaphorical "Coin Operated Boy" (choreographed by Shayna Zalcberg) showed sibling rivalry brought to an extreme. As sisters quarreled over a wind-up toy-styled man – their own "coin operated boy" – they performed a choreographed dance that isn't quite reminiscent of "West Side Story" but equally entertaining. The only end to these sisters' struggle was the untimely death of their bot-toy as their fighting removed his wind-up key. "The Man in the Mirror" The nights finale, choreographed by Sue Sarer, payed tribute to the King of Pop. Featuring the entire cast dancing to a medley of Michael hits – inluding "I Want you Back," "Day and Night" "Billy Jean," and more – this was truly an ensemble of "Thriller" proportions.
This past Saturday, Feb. 26, Otterbein's Pit Theater housed a very special event. Many theater students get to tell a tale written long ago and performed by many others, though very few have the opportunity to tell their own story. At this event, the junior class did just that with a cabaret-style affair, titled "This is Our Story." Taking songs and styles from Broadway classics such as "West Side Story" and new favorites like "Wicked" doesn't seem to be a way to tell an original narration. Though as the song "Old-Fashioned Love Story" from "The Wild Party" was fused with several other performance hits, the medley was truly a unique experience. While blending enhanced some original tunes, a few classics remained virtually unchanged, such as a chill-inducing version of "Forget Your Troubles, Get Happy" by Judy Garland and Barbra Streisand, and an ensemble performance of "Something's Coming" from "West Side Story." Undoubtedly, the parts that received the most audience approval were the "Otterbein enhanced" pieces, where original show tunes were re-vamped with lyrics pertaining to our Westerville campus. The night's proceeds went to fundraising for the Senior Showcase which is produced in New York City.
Do you think you can't make a big impact with a simple sticky note? Think again. Otterbein PRSSA's Random Acts of Kindness campaign last week had the campus buzzing with quick and painless ideas to "pay it forward." The campaign, in conjunction with the national Random Acts of Kindness Foundation, was meant to brighten even the gloomiest days through spreading kindness to others around Otterbein. STORY CONTINUES BELOW With its own Twitter, Facebook, and YouTube accounts, this kindness campaign has definitely gathered plenty of attention, though perhaps the most popular part is the "Post and Pay It Forward" event, which started last Monday – hundreds of neon Post-Its with kind sayings do not go unnoticed. Lining the stairs of the campus center, these positive notes were meant to be taken and given away, inspiring happiness and more random acts of kindness. STORY CONTINUES BELOW "Yesterday a friend gave me a post-it from the wall. 'Magical' it read. Today I was inspired to do something magical. I added money to all of the expired meters in the parking lot I'm in," said senior Liz Watts on the Facebook wall of the PRSSA campaign. These random acts have continued all week, with an event for each day:?Monday – "Post and Pay It Forward,"?Tuesday – "Random Acts of Appreciation,"?Wednesday – "Be Kind, Recycle,"?Thursday – "Tunnel of Hope: Giving Back to the Community,"?and Friday – "Pass on the Kindness and 'Random Acts of Kindness Event.'" Throughout the week, students were encouraged to film their Random Acts and submit them to the YouTube channel to inspire further acts of kindness. At the event this past Friday, two baskets were given away, both worth $50. Despite the appeal of material prizes, those not seen are much more sought after. "I think this is a great idea because it gives people an opportunity to give back to people who have helped them in the past," said Matt Taylor. Though the Random Acts of Kindness is only officially on campus for one week, "The ultimate goal is not to be kind for a week, but everyday."
Have you ever wondered who invented that magical little sticky note called the 'Post-It?" What about the impact it can have? Surely, something so small cannot be of great significance. Well the people behind the Random Acts of Kindness Campaign would like you to think again. The inspiration behind the Otterbein PRSSA Random Acts of Kindness Week, this site provides inspirational quotes, stories and idea of kindness to brighten even the gloomiest of days. With its own Twitter, Facebook, and YouTube accounts, this kindness campaign has definitely gathered plenty of attention, though perhaps the most popular part is the "Post and Pay It Forward" event, which started this Monday – hundreds of neon Post-Its with kind sayings do not go unnoticed. Lining the stairs of the campus center, these positive Post-Its are meant to be taken and given away, inspiring happiness and more random acts of kindness. According to Liz Watts, senior, "Yesterday a friend gave me a post-it from the wall. "Magical" it read. Today I was inspired to do something magical. I added money to all of the expired meters in the parking lot I'm in." These random acts have continued all week, with an event for each day: Monday – "Post and Pay It Forward," Tuesday – "Random Acts of Appreciation," Wednesday – "Be Kind, Recycle" Thursday – "Tunnel of Hope: Giving Back to the Community," Friday – "Pass on the Kindness and 'Random Acts of Kindness Event.'" Throughout the week, students are encouraged to film their Random Acts and submit them to the YouTube channel. Two winners will be chosen at Friday's event, where they will be given one of two gift baskets worth $50 each, one for music, and one for movies. Despite the appeal of material prizes, those not seen are much more sought after. "I think this is a great idea because it gives people an opportunity to give back to people who have helped them in the past," said Matt Taylor.
What does February mean to you? Valentines or cold weather? Groundhog's day, or maybe the earliest signs of spring? Certainly, we've all familiarized February as Black History Month, a time dedicated to educating all people on the triumphs and struggles of African Americans, though at Otterbein University, it is taken a step further. Tunnel of Oppression, an event showing the struggles and oppression faced daily by many minorities, took place last weekend on Otterbein's campus. In addition to common minorities such as race or ethnicity, others, such as homelessness, were also included. The following types of oppression were showcases in this year's Tunnel: Stereotypes of African Americans in the Media: Presented by the African American Student Union, this room showed how stereotypes faced by African Americans, mainly men, affect their chances of success in society. A film played through the showing, during which high school students of various racial backgrounds talked about their own stereotypes regarding African Americans. "Race, Prison and the War on Drugs: Inequalities in Contemporary Society": This room, put together by INST 170, led by Miranda Hallett, showed the varying degrees of crime and rates of arrest among different races. A video supporting the "Just Say No" campaign of Nancy Reagan showed images of America's drug war, while fliers spread throughout the room stating "Drug war is the new Jim Crow" showed how the original "War on Drugs" became a race war due to racial prejudices. Immigration: Organized by the Heritage of Latino Americans group (HOLA), this room was intended to "give Otterbein students a feel for what immigrants go through on a daily basis when arriving to a foreign country, not necessarily the United States," said Karen Castro, the group's advisor. "We hoped to inspire students to be more understanding when encountering immigrants from any nationality and to understand that it is difficult to learn a different language," said Castro. The decor of this room did exactly that. Using trash bags to cover each of the walls, intimidating signs using foreign language and discriminatory words created the affect of alienation felt by immigrants to the United States. GLBTQ: Otterbein's Gay/Straight Alliance, Free Zone, constrcuted this room. They also used video as visual aid, though their metaphorical dropping of names on paper represented the harsh reality of "bullycide" - a term used for the instance in which an individual is bullied to the point of death - in the GLBTQ community. Homelessness in America: The Cardinal Corps (run by Caitlyn Tully) showed a rare glimpse into the world of America's homeless through this room.. Using tarps and newspaper to recreate a scene of poverty, --- showed a series of videos telling the tales of several victims of poverty and homelessness. While each room displayed a heartbreaking reality, some stood out more to certain individuals than others. "The statistics and the facts in the room were surprising. 40% of American forces become homeless. Also, the room on African American stereotypes was interesting because it had the most surprising facts," said freshman Jae Baldwin. "I think the Tunnel of Oppression is a GREAT way to raise awareness on societal issues, but I wish more people would want or take the opportunity to come and experience the issues first hand. I really wanted to reach people that don't usually come to these types of events...but it was a great experience to help set up and find ways to try to evoke some kind of emotion out of students walking through the 'tunnel' and I cant wait to participate next year!" commented Arian Williams, who heads the African American Student Union.
A marriage is sacred. It is the union of two people as one, and the ultimate act of love. In a spouse, one should find solace. They should find comfort and a peaceful place to hide from fears – at least in the ideal situation, which is far from where we find Nora and Torvald, the main characters of Otterbein's most recent production, "A Doll's House." Torvald Helmer (Jake Robinson) is a newly hired bank manager whose fear of debt casts a shadow over his marriage to Nora (Joyah Spangler), a thrifty little "flitter bird" whose desire to spend only worsens her husband's opinion of her. In what is said to be the first true feminist play, written by Henrik Ibsen, Nora is anything but the epitome of feminism: she is handed from her father to her husband, she is denied certain foods, and in this borderline abusive relationship, her husband is not afraid to get a little rough. While it is true that marriages were often this way during the 19th century (which is when it takes place), Torvald's behavior becomes more and more questionable as Nora becomes more brash. As Nora returns from a day of pre-Christmas shopping, an old friend comes to visit. Having no children and a deceased husband, long-lost Christine (Stanzi Davis) needs a job. Not realizing its negative effects, Nora offers a position at her husband's bank, however, this position belonged to someone else – someone to be feared. As the story progresses, the audience learns of Torvald's illness. He had been working too hard and needed a vacation that was not exactly within the family's budget. Once again acting sans thought, Nora borrowed a large sum of money from a family friend. Upon this act, Torvald's greatest fear moved into his house, where it dwelled for years, unnoticed. Though as Christine's job infringed upon that of this family friend, years of dark secrets were en route to daylight. Much of the play's initial success was due to its controversial matter. Surely a woman could not leave her family, nor could she disobey her husband; though this lack of social tension did not detract from this weekend's performance. "The most remarkable aspect of the show is the fact that it was based on an actual account of a Norwegian woman named Laura Kieler. She arranged a loan without her husband's consent and when he found out about it, he treated her like she was a criminal. She suffered a nervous breakdown and he had her committed to an insane asylum," said Stanzi Davis. Perhaps it was the twisting a multi-layered relationship of the characters that captivated Otter-audiences, or maybe it was the fractured relationship that most can relate to. Regardless of its cause, "A Doll's House" seemed to leap into a time machine, and translate well into this time nearly 200 years later.
A marriage is sacred. It is the union of two people as one, and the ultimate act of love. In a spouse, one should find solace. They should find comfort and a peaceful place to hide from fears – at least in the ideal situation, which is far from where we find Nora and Torvald, the subjects of Otterbein's most recent production, "A Doll's House." Torvald Helmer (Jake Robinson) is a newly hired bank manager whose fear of debt casts a shadow over his marriage to Nora (Joyah Spangler), a thrifty little "flitter bird" whose desire to spend only worsens her husbands opinion of her. In what is said to be the first true feminist play, Nora is anything but the epitome of feminism: She is handed from her father to her husband, she is denied certain foods, and in this borderline abusive relationship, her husband is not afraid to get a little rough. While it is true that marriages were often this way during the 19th century (which is when it takes place) Torvald's behavior becomes more and more questionable as Nora becomes more brash. As Nora returns from a day of pre-Christmas shopping, an old friend comes to visit. Having no children and a deceased husband, long-lost Kristine (Stanzi Davis) needs a job. Not realizing its negative effects, Nora offers a position at her husbands bank. Though this position belonged to someone else – someone to be feared. As the story progresses, the audience learns of Torvald's illness. He had been working too hard and needed a vacation that was not exactly within the family's budget. Once again acting sans thought, Nora borrowed a large sum of money from a family friend. Upon this act, Torvald's greatest fear moved into his house, where it dwelled for years, unnoticed. Though as Christine's job infringed upon that of this family friend, years of dark secrets were en route to daylight. Much of the play's initial success was due to it's controversial matter. Surely a woman could not leave her family, nor could she disobey her husband; though this lack of social tension did not detract from this weekend's performance. Perhaps it was the twisting a multi-layered relationship of the characters that captivated Otter-audiences,or maybe it was the fractured relationship that most can relate to. Regardless of its cause, "A Doll's House" seemed to leap into a time machine, and translate well into this time nearly 200 years later.
Last November, the students of Otterbein's Concert Choir left for a trip that would surely impact the rest of their lives. For over a week these lucky collegiates earned a well-taught lesson in culture - but most importantly, they learned of the universal language of music. Chinese New Year began on Feb. 3, which officially marked the Year of the Rabbit. Based on the lunar calendar, this age-old holiday takes its traditions from ancient Chinese folklore. This holiday seemed like a perfect celebration for the Concert Choir, given their recent international tour. The choir celebrated along with the Chinese language class and the Office of Diversity. The Otterbein Concert choir performed several songs they sang for Chinese audiences, including one that is said to be the most popular Chinese choir arrangement. The audience was treated to beautiful and worldly art, while learning the history of the festive holiday from representatives of the Chinese language class.
With a doughnut shop, coffee houses and plenty of antiques, it's hard to anticipate what a stroll down State Street might bring, though chances are a little taste of European charm will be on that list. Chocolaterie Stam is the newest shop in Uptown, bringing European fine chocolate to Westerville. It is this charming European feel that attracted Kris Michel, resident of 10 years, and her sister, Anna Nelson, who worked as her nanny. While on a trip to Iowa, the sisters paid a visit to a chocolate store, though what they left with was far from a bag of pecan clusters or any other generic chocolate treat. Upon their entry, they fell in love with the European feel and elegant style of this store, and asked to speak to a manager. Hailing from Amsterdam, the Stam family has been crafting fine chocolate since 1913. The first American store was opened in Des Moines, Iowa, where shipments of chocolate are received from Belgium and made into bon bons to be shipped to the American stores. The business is still run by family members and only five stores are run by "family friends," with Michel and Nelson being their newest addition as of Dec. 2. All of the stores have the same general stylistic elements, though each is altered slightly to best represent the area in which they reside. Each has the same wallpaper, chandeliers and golden arches, though the Uptown Stam is the proud owner of the most arches. Nelson said, "Uptown is very classy and elegant, and we wanted to reflect that." In addition to adding a new level of culture to each area inhabited by a Chocolaterie Stam, Tom Stam, who moved to the United States nearly 25 years ago, wants to keep each store as local as possible. "He wants us to give back," Nelson said. And giving back is exactly what Nelson and Michel plan to do. "We spent half a week with an Italian gelato chef, and we work with an Italian company for the ingredients, though we also plan on using a local dairy and farmers market for fresh ingredients," Nelson said. Having a European company in an "all-American" hometown area might seem like a bit of a mismatched situation, though "the Uptown merchants have been too helpful and willing to work with us," Nelson said. With State Street as one of Westerville's main attractions, it only makes sense that an air of community would infiltrate its storefronts. "The businesses really compliment each other. We don't serve candy-flavored gelato because there is a Dairy Queen across the street. And we don't serve our full range of coffee because we have coffee shops already on State Street." Though Stam serves the finest European products (Marzipan from Amsterdam, violet mints from a French company dating back to the 1500s), they proudly serve other State Street merchants' wares such as Java Central's house blend coffee. Nelson said, "We love all of the merchants. It's so overwhelming that they've been so supportive." t&c;
We've all seen the OtterDen crowded to capacity. You wait for what seems like hours and all you want is a chicken wrap. Certainly, this isn't the OtterDen's fault; You just happened to come at one of those times in the day where EVERYONE on campus is hungry, too. Last night, Friday, January 21, seemed to be one of those nights, only a different type of appetite was to be satisfied. Housing roughly eighty people, the performers of the Campus Programming Board's most recent Open Mic Night whetted the Otterbein's craving for the performing arts. Lasting nearly four hours with a start time of 8p.m. and a closing nearing midnight, the event never lagged or lacked in the talent area. The Campus Programming Board enticed participants with ten dollar gift cards to a business of their choice, though what kept the night going were the poets, musicians and comedians who kept playing well into the night.