The Mockingbird Still Sings

Atticus reluctantly demonstrates his showmanship in front of the town.

It can’t be easy for a Southern California college student to play Scout Finch, a child living in the racial turmoil of Alabama in the 1930s, yet freshman Julie Ploehn succeeds with flying colors. In fact, the entirety of the cast was able to create believable characters with Southern twangs, not a hint of the collegiate vibe to be found.

Biola University’s To Kill A Mockingbird, directed by associate theater professor Forrest Robinson is an intense drama performed with passion and well-timed flow. The actors truly made the play enjoyable. The three main characters—Scout (Phlehn), Dill (Atticus Shires) and Jem (Cris Cockrell)—are young children and the college freshmen created childlike personas with seeming ease. They were not childish, but rather captured the heart of a child in their facial expressions, the way they moved around the stage and the way in which their dialogue was spoken, all while using very believable Southern accents. “I tell my students the technique of developing the characters… I like them to discover [the characters] on their own,” Robinson said. “I’m trying to lead them where I would like them to go.”

The entire play takes place on one set: three houses, a tire swing and a fence. In a small black box setting, it was easier to focus on the storyline and the actors without being distracted by stagehands moving sets back and forth. It also made the flow of the play move with near perfection. With the exception of intermission there were no breaks in between scenes. Each segment flowed right into the next as naturally as if one was reading the book, demanding the viewer’s attention with every line. Robinson did an excellent job of appropriately mixing comical relief in with an otherwise extremely intense show.

Jem and Scout speculate on a mysterious neighbor.

The entire play was carried out with professional ease. Sound effects, acting, lighting and set design created a world the audience was drawn into. Watching Atticus Finch fight for the right of a condemned black man in the courthouse left palpable suspense in the air. The chemistry of the lead characters sparked interchangeably with tension and loyalty. However, the performance was not without flaws. Some of the scenes had an awkward effect on the audience; lines that weren’t meant to be funny had the audience tittering. A couple of the minor characters stumbled over lines, but equally noticeable is the fact that the leads remained in character the entire time.

“To Kill A Mockingbird” is a literary classic, required reading in high school and made into several film adaptations. Watching the plot play out on stage made the book come to life again, thanks to believable acting under the leadership of Robinson.

To Kill A Mockingbird is playing at Biola University’s Theater 21 from Oct 27-Nov 12.

Photographs by Heather Tanji

How To Be A Sitcom: A Review of "How To Be A Gentleman"

A funny cast does not a hilarious sitcom make. The new CBS comedy (now airing on Saturdays, 8:30 p.m.) created by and starring David Hornsby (“It’s Always Sunny In Philadelphia”) consists of a cheesy script, an outdated laugh track and not much else. “How To Be A Gentleman” revolves around the concept that courtesy and chivalry are outdated and tiresome. Ironically, the show itself mirrors slightly old and tiresome jokes and plotlines. The title is derived from the 1998 book by the same name, although unlike the sitcom, the non-fiction work genuinely strives to help men with their manners and attitudes.

Hornsby plays Andrew Carlson, an etiquette columnist who rigidly lives and breathes the advice he gives. As Carlson emphatically states at the beginning of the show, “I am a gentleman.” Berated by his sister Janet (Mary Lynn Rajskub, “24”) for his uptight behavior and pressured to re-work his column for a younger, hipper audience, Carlson seeks the help of former high school bully-turned-gym-owner Bert Lansing, played by Kevin Dillon (“Entourage”). What unfolds in the next 30 minutes is the beginning of a new, typically ironic friendship between Carlson and Lansing, supported by words of wisdom by the reckless one and a willingness to loosen up from other.

Hornsby and Dillon work well together, bantering and bickering the whole time. Mimicking the chemistry of Oscar and Felix in “The Odd Couple,” the pair makes good use of body language and facial expressions to compensate for the script. Unfortunately, despite the notoriously funny cast, the acting doesn’t completely hide the lack of originality in the rest of the show. A sitcom is a sitcom, but with shows like “Modern Family” and “The New Girl,”—programs rich with original lines and great actors—new television comedies can’t afford weak jokes and cliché plot lines. As it stands, a brother-in-law with a New Zealand accent and an apparent lack of individuality and a boss rocking a toupee just doesn’t cut it for humor. How often has the more daring of a duo coerced the other to ask the hot girl out on a date or push him into a comical dilemma? Too many times.

In an era where “The Office” and “Big Bang Theory” are spitting out new joke after new joke, “How To Be A Gentleman” doesn’t quite make the cut. There were too few laughs and too many weak lines to capture interest. As Kevin Dillon’s character points out, “Life’s a jerk, and you gotta fight back or it’ll knock you out.” The writers should take their own advice and punch up the originality and cut back on the standard sitcom batch of jokes if they hope to stay in the fighting ring.

Conv Prod: "You First" Opens at the OCCCA

Hidden in a corner of downtown Santa Ana is a neighborhood called the “Artist Village.” Galleries and street art abound and visitors spend quite a bit of time exploring the passageways and staircases of the various buildings. On the corner of 2nd Street and Sycamore Ave sits OCCCA—The Orange County Center of Contemporary Art. A new exhibition entitled “You First” debuted this Saturday with over 50 attractions on display.



Based on the concept of “Relational Aesthetics,” many art pieces are designed to be interactive. One display titled “Identity Tapestry” by Mary March fills an entire wall with over 150 statements such as “I am creative” or “I can’t trust people” tacked onto the wall. Viewers pick up a ball of yarn from a basket and loop the string around statements they identify with. Although there are over fifty yarns to choose from, no color is exactly the same. The result is a colorful mish-mash of links between statements, each piece of yarn unique in itself, yet united. “I wanted to take little parts of people’s lives and string them together,” March said.

A lyrical dance show, a disc jockey and the steady clinking of wine glasses promises an artsy, upbeat and casual evening. Artwork ranges from paintings to film documentaries, photojournalism to sculptures; diversity is not a problem. Like the pieces themselves, the artists come from around the world, expanding from local Orange County to London and other parts of the United Kingdom. An artist from the Ukraine demonstrates his artistry through a musical interactive piece. Still another man exhibits his love of dance and music through a Soul Train display.

A family friendly event, free to the public and right in the middle of quaint restaurants and other unique galleries, the OCCCA gallery is a great place to take a date, a group of friends or hit up for an art assignment.
More information on “You First” can be found on the OCCCA website www.occca.org.

Review of A Review: "Just Can’t Say Goodbye to Gotham by Claudia La Rocco"

Claudia La Rocco’s review of “The Love Letter You’ve Been Meaning To Write To New York” summarizes her opinion of the performance within the first three sentences of the article. Having spent the past four days reading scientific literature that takes at least five paragraphs to summarize a point, it was refreshing to read a piece so concise.

The first paragraph summarizes the quality of the show, the second is a brief description of what the show is about, or rather what makes the show unique. The play takes place outside the theater, while the audience sits inside the building watching the performance take place, literally, on the streets of New York. I understand a review needs to be about evaluation and analysis but given the set-up of the show, La Rocco could have used a bit more description in her article.

After her initial analysis at the beginning of the review, La Rocco fails to explain why she wrote what she did. She didn’t say why actors seemed “amateur” and failed to give examples of how the script was “hackneyed,” leaving her audience of art patrons feeling a bit vague on what made the show bad or if it was even bad at all.

Despite the lack of clarity in her statements, La Rocco’s voice is easy to read, mixing colorful descriptions with short and concise sentences. A little more insight would have been helpful but overall the review was well written. She made certain scenes come alive to the reader. The descriptions she gave sparked interest but the evaluation aspect was lacking detail.

In comparison to other theater reviews, such as New York Times writer Andrew Dinwiddle’s take on “Get Mad At Sin!” her details fall short. Dinwiddle writes a thorough analysis, giving just enough background and description before diving into his analysis of the actors and the director. That being said, La Rocco’s article is more alive than other articles I read. For example, Jason Zinoman’s review of “The Bilbao Effect” lacked some of the personality La Rocco has to offer. His voice isn’t as distinct and some of his wording seems to be passive. He doesn’t stand out as much as La Rocco did to me.

It is also important to note that La Rocco is a dance critic. Scripted theater isn’t what she reviews on a weekly basis. Many of her reviews are of tap shows, ballet numbers or contemporary dance. Her writing is consistent there too. Her style is personable, her thoughts well articulated and she explains herself better. While I didn’t enjoy her review of “The Love Letter I’ve Been Meaning To Write To New York,” I thoroughly enjoyed many of her dance reviews.

http://theater.nytimes.com/2011/10/01/theater/reviews/jonathan-solaris-love-letter-on-a-sidewalk-stage-review.html?ref=theater