REVIEW: UC Shakespeare Trial – ‘Julius Caesar’

As a pre-law student who loves the arts and humanities, this event had me geeking out. In their third annual Shakespeare Trial, University of California at Irvine was able to expand their audience to people across the country like me who wanted to tune in to have a say in Marcus Brutus’ criminal trial.

“Friends, Californians, Zoomers, lend me your screens,” began the prosecuting attorney Dean Erwin Chemerinsky of Berkeley Law. Using the text of Shakespeare’s “Julius Caesar” as evidence, and California law as the foundation of the trial, the trial centered around two questions: 1) Is Marcus Brutus guilty of the murder of Caesar? and 2) Is Marcus Brutus guilty of inciting insurrection? Professor Bernadette Meyler of Stanford Law argued that Brutus applies for the necessity defense–that he was protecting himself and the Roman Republic from immediate harm by killing his dear friend Caesar.

Prior to the official start of the trial, we were treated to monologues from the characters of Brutus and Antony, performed by the talented actors of the New Swan Shakespeare Company, to set the scene and bring the characters to life.

Completely unscripted and organized like a criminal trial, I enjoyed watching the seasoned lawyers make strong, compelling arguments in front of The Honorable Andrew Guilford Presiding. Brutus’ killing of Julius Caesar, and whether or not Brutus applies for the necessity defense, is a heavily political question. During the trial, the attorneys were not afraid of using parallels to our modern times to create an understanding of the gravity of the situation. 

I loved the concept of courtroom as theatre, audience as jury, and the idea of exploring Shakespeare through legal inquiry. What I am so interested in, in my own academic studies, is the intersection between the humanities and social sciences. Because both are things created by people, they are interconnected and important to each other. What can we learn when we examine one with the lenses we typically reserve for the other? In this specific case, what can we learn from Shakespeare putting it in this new light? How does putting Brutus on trial cause us to look more critically at the play’s text and thoughtfully formulate our own opinions about the events that occur? 

At the end of the trial, the Zoom audience voted to decide the verdict via Zoom poll. It was decided that Brutus was guilty of the murder of Julius Caesar, and by a smaller margin it was decided that he was not guilty of inciting insurrection.

I’m glad that I was able to attend this event, and I encourage those of you who miss live arts events as dearly as I to look for amazing events that would normally be restricted to geographical location, that are now accessible through online platforms.

REVIEW: ¡ACTIVISTA! An International Women’s Day Concert

In honor of International Women’s Day, I attended the live stream of HotHouse’s “¡ACTIVISTA! An International Women’s Day Celebration.” A virtual concert comprised of musical performances, spoken word and poetry, and a bit of Q&A with some of the artists, ¡ACTIVISTA! was a wonderful arts experience. Live streams are one way to mindfully engage with the arts during the pandemic, and this one was a masterfully curated experience, hosted by Chicago-based organization HotHouse and publisher Haymarket Books.

Natu Camara

The artists featured in the performance came from all around the globe, and covered a wide range of topics from refugee rights to environmental justice to anti-colonialism. I truly enjoyed the blending of music and poetry performances during this event. Culture and vision wove through each piece of the performance, beginning with Farah Siraj’s haunting song honoring refugee women, written in Arabic, and ending with Kyung-Hwa Yu, a South Korean artist reviving the Korean stringed instrument cheolhyeongeum in contemporary music.

Angel Bat Dawid

A truly intercultural collection of pieces, there were a variety of languages represented in the art. There were poems in Spanish and Zapotec, songs in Sousous and Arabic. A painful song written about child marriage performed by the lovely Natu Camara and her band from Guinea. COLLECTIVA, a group of women who formed recently online during the pandemic to share their passion for music virtually and across oceans. One of my favorite moments from the concert was a thoroughly enchanting improvised bass clarinet solo by Angel Bat Dawid. Lyla June of the First Nations, with the gripping words, “they say that history is written by the victors, but how can there be a victor when the war isn’t over?”

Janel Pineda

It was a beautiful experience to watch these powerful women and their art shared together in a common space, in celebration and solidarity. I am reminded through these pieces that art can be expressive and lovely while also being a firm call for change. While extremely personal and masterful, these pieces also contain the seed of movement. They contain past, present, and future.

Available online to watch at: https://youtu.be/d4Cn6eCvSX8. Consider a donation, if you are able, so that HotHouse can continue to provide virtual concerts free of charge to viewers all over the world.

REVIEW: Moxie

Moxie, directed by Amy Poehler, is a Netflix film about 16-year-old Vivian and her feminist awakening when she opens her eyes to the misogynistic culture of her high school. Vivian finds her mom’s old collection of ‘90s feminist punk zines and decides to make her own, anonymously printing copies and putting them in the school bathrooms. A cult following then amasses–a small group of girls get together to start taking larger action against sexism and gender inequality at their school.

I may have came in expecting too much from the film. I’ll try my best to judge it as the lighthearted teen dramedy it was meant to be, but I have to criticize Moxie for its ambitiousness and subsequent shortcomings.

Overall, Moxie felt like it was trying too hard to be too many things, and the end result was a messy and underwhelming teen rom-com. Too often I felt the issues being touched on in the film were important, but not given enough attention or screen time. Moxie tries to cover heavy topics like sexism, racism, transgender issues, sexual assault, and immigrant issues, along with mother-daughter conflict and healthy teenage relationships, all while tossing in a bit of barely-there LGBTQ+ representation and disability representation.

Vivan (left) and Lucy (right) in Moxie (2021)

While I’m happy that this film had representation of so many different identities and experiences, it was disappointing to see so many opportunities for nuanced coverage of these diverse topics disappear in the shadow of Vivian’s coming-of-age plot. As an important but unfortunate example, new student Lucy, a Black girl, is the one who inspires Vivian’s budding feminism by standing up against a sexist teacher and the aggressive school jock. However, Lucy and the other women of color in the Moxie group are basically relegated to the role of one-dimensional inspiration and backup for Vivian, while Vivan, a white girl, gets the privilege of a plot exploring the complexity of her budding political self, family life, young love, and teenage angst–which we don’t even truly get to invest in, because there’s simply not enough time to dive into character development with everything Moxie tried to squeeze into 2 hours.

Amy Poehler’s character, Vivian’s mom, makes a brief reference to the lack of intersectionality in the feminist movement back in her day as a ‘90s riot grrrl. Moxie also fails to fully be the feminism power statement it could be. I feel there simply wasn’t enough time in a feature film to cover intersectionality and discuss why and how misogyny affects women of color, or trans women, or disabled women, differently. And that there had seemingly been no push against the terribly misogynistic culture in the school before Vivian’s spontaneous feminist push is doubtful–but that’s all I’ll say about that.

As someone who was in the high school scene just a few years ago (though it seems longer), I will say I probably would have been inspired by this film as a 16-year-old. I saw some of my own Gen-Z high school struggles portrayed in Moxie, and I think Moxie is definitely more positive than other YA media that was being released in my teenage years (ex. 13 Reasons Why). I think Moxie was made in good intent, it just didn’t live up to its potential. Perhaps as a full Netflix series, Moxie could have been a lot more. 

Moxie was a cute modern-age girl-power flick, but it sure wasn’t anything groundbreaking or monumental. Worth the watch if you’re looking for something light–but don’t expect more than, as NYT’s Jeannette Catsoulis puts it, “a CliffsNotes guide to fighting the patriarchy.”

PREVIEW: Moxie

Netflix’s new film release, Moxie, directed by Amy Poehler and based off of a book by Jennifer Mathieu, has been all over the news for me lately. Netflix even sent me an email, saying “We think you might like this! Coming in early March.” I’m excited to see what Amy Poehler brings to this story.

Described as a “sweet, clear-eyed Gen-Z female empowerment story,” the film follows 16-year-old Vivian as she and other girls at her school push back against the misogynistic culture of their educational institution and eventually create the titular underground zine, “Moxie.”

I’m excited to see how this film handles feminism and politics in the high school setting of Gen Z. While I’ve heard the film does its best to be intersectional and inclusive of many different identities, I have read that the film’s shortcomings in this area can be distracting and disappointing.

Tina Fey’s Mean Girls, arguably the most well-known and iconic female-driven high school movie of my generation, came out in 2004. Even though I’m in college now, I think it’s time for a new girl-power film anthem, one that’s updated to better fit the high school experience of Gen Z and include broader representation.

REVIEW: Caustic & Bitters – UMMA + Chill

Last night I attended an UMMA + Chill Group Chat, a guided virtual art tour and group talk put on by the UMMA during the winter season, paired with recipe for an alcoholic or non-alcoholic cocktail to add a fun element to the night. I was invited by a friend to join this themed event, Caustic & Bitters–we would be talking about humor as an artist’s tool and looking at examples from the UMMA collection. I popped onto the Zoom call of about 7 participants (some attending with housemates or friends) and settled in while music played and people filtered into the call.

George Cruikshank,
Monstrosities of 1825-26

The tour began quite abruptly with the cocktail-making. I was a little disappointed with this section of the event–a brand new recipe was created by the Bellflower Restaurant in Downtown Ypsilanti specifically for this group event, and I had prepared by purchasing the materials. However, the making of the drink was restricted to a quick 3-minute video at the beginning of the event, blowing through the process before I could even get to my kitchen. I must have missed a step from my memory, because what I ended up concocting tasted pretty awful. It ended up going down the drain, an unfortunate waste.

Dmitri Baltermants
Agfa, Berlin

What I did enjoy about the event, after I was able to mourn my mixology failure, was the art, which is what I was mainly there for. 

We started by looking at humor in art as a purposeful tool, in art that is meant to mock or emphasize differences, something that is extremely useful in political or social commentary. We spent a bit of time talking about how capturing the humorous in photography takes a different form than in other mediums, because the artist can really only use what they see (for example, facial expressions) and exaggeration is more complicated to produce.

Umbrian; Italian,
Madonna and Child with St. Thomas Aquinas and a Bishop Saint

Something I did take away from the event is that sometimes, it’s okay to laugh at art that is not necessarily intended to be funny. It’s okay to look at unintendedly ridiculous aspects in pieces of otherwise serious art and find it humorous. For example, this 1400s Italian painting of Madonna and Child. Why do the baby Jesus and the saint in the back have the exact same face? How in the world is the baby being supported in Mary’s arms? I genuinely laughed out loud when we examined the details of the painting and pointed out these elements. 

In all honesty, I did expect a little more from the event. Overall, the event felt rushed and unengaging. It was the guide’s second theme tour of the day, which could have factored into the hurried nature of the ‘group chat’ part of the night, which didn’t seem to inspire much audience participation. While there were some comments and conversation starters from participants in the chat, the tour felt more like a lecture, which went against my expectations but still turned out to be an interesting event.

The freedom to find humor in anything is part of the beauty of the subjective experience of viewing art. This exercise helped me to fully grasp that concept. I can’t wait until I can wander the halls of the UMMA again, but until that time, I’m glad the UMMA is at least trying to expand access to their collection with virtual events like this one.

REVIEW: Play of the Month – 4 Genres by Ron Riekki

‘4 Genres’ is a short play written by Ron Riekki, produced as part of the Play of the Month series through Theatre Nova. Theatre Nova gives the opportunity for new works to be performed professionally, spotlighting the voices of new playwrights and making theatre more accessible and relevant to current times. ‘4 Genres’ was a perfect example of a playwright writing for the time and medium–I felt that Riekki really used Zoom as a tool rather than simply working around it, which brought something special to the performance.

Four characters reveal that they have been trapped within four respective genres in their Zoom boxes: horror, musical theatre, slapstick, and documentary. In order for their genre experience to end, they must say what they learned during their time there. After living in their respective realms, it’s clear they don’t seem to be enjoying it that much.

One by one, our characters reveal what they’ve learned. Our documentary character encourages the others to share, before he quietly bemoans that he’s disappointed that he feels he didn’t live through anything. While the other genres experienced running from vicious werewolves, learning about the power of friendship through song and dance, or slipping on banana peels, the man in the documentary says, he’s just sat there with a camera in his face. Sound familiar? 

It took me a while for the underlying messages of this short play to sink in and really take root. Since March of last year, I’ve so often felt like I’m living in the dark and dull page of a far-off future’s history book. How many times have I wished to be elsewhere, living in another time or realm free of the troubles COVID-19 has brought with it? But just as our documentary character realized: What we are living through is important. We are brave for having lived through this time. We are resilient and we’ve learned to adapt.

Like I said before, I applaud the writer and production team for really using Zoom for what it can do, in regards to effects and lending to commentary on our current times. My only perceived drawback to live Zoom performance is technical issues–lag between cast members, differences in sound quality, inability to hear overlapping lines. These are things that seem to be natural aspects of the Zoom culture most of us are experiencing right now, but they don’t always lend well to a scripted performance where every line counts. 

However, until we are able to see live shows again in person, I continue to appreciate how artists are working to keep theatre alive and growing through these difficult times.

For information on the next Play of the Month performance, go to Theatre Nova’s website: https://www.theatrenova.org/current-show