Christmas At Biola

Biola welcomes students, faculty and other guests to the concert.

Set against a backdrop of snowy white lace (an alternative to the traditional projector), twinkling lights and wreaths of holly, Biola University’s annual Christmas concert showcased the talented school ensembles including the chorale, studio orchestra and the six-man acapella group The King’s Men. Staying true to the university’s Christian roots, the concert did a fantastic job of leading the audience through the festivities of American Christmas traditions to a tribute to the soldiers overseas, (“I’ll Be Home For Christmas” and finally landing on the true reason for the season: Christ.

The school ensembles end with a lively performance of Glory! Glory! Taken by Heather Tanji

The show took off with a lighthearted and fun opening of “Sleigh Bells,” emphasizing the strong unity between the string section and the percussions although the brass section could have been tighter in their synchronization. The overall dynamics of the piece was excellent, not too loud and not too soft, creating an atmosphere of lively yet muted Christmas cheer. The orchestra continued to give a strong performance throughout the show, particularly during a medley of “The Most Wonderful Time of the Year” and a jazz rendition of “Jingle Bells.” If you were to close your eyes you might feel as if you were in the midst of a Disneyland Christmas parade.

Easily the strongest performers in the group, The King’s Men excelled in their harmonies, mesmerizing the audience with soulful stylings of “I’ll Be Home For Christmas” and “Road to Zion.” Senior Arnold Geis stood out in particular with his perfect pitch and stellar tenor range. Soloist Matthew Kellaway was equally impressive as he sang “The Promise.” His vibrato and pitch control created a compelling picture of Old Testament prophecies of the Messiah’s arrival, from his deep bass to a surprisingly beautiful falsetto.

The female soloists didn’t fare so well. Kristin Tucker—another senior singer—put far too many theatrics into her performance of “Grown-Up Christmas List,” creating the wrong tone altogether as she gave more Broadway than subdued sentiment. Her over-the-top vocals contrasted poorly with the lyrics, especially given the war and recent natural disasters of the past year. Lauren Bartels voice was not strong enough to carry her through “O Holy Night.” Her tone was pitchy, lacking the fullness needed to properly accentuate the dynamics the song requires.

The chorale stayed in perfect pitch throughout every song, sounding united as every singing group should be. Unfortunately, their volume was poorly mismatched with the studio orchestra, the brass and strings often overpowering the vocals. Still, the audience seemed to enjoy the program, from the joyful tones of the Christmas carols to the somber harkening of Christ’s birth and the triumphant ending of “Glory, Glory!” ending in satisfied applause and a spurt or two of fake snow.

"Heart Of Manger" taken from Biola University site

Thrice Brings Down The House (of Blues)

Thrice is greeted by an enthusiastic crowd. Taken by Heather Tanji

Days before Thrice announced an official hiatus (duration currently undetermined), fans flocked to the House of Blues in Anaheim to enjoy what could now be a final performance. Orange County locals lead singer Dustin Kensrue, guitarist Teppei Teranishi, bassist Eddie Breckenridge and drummer Riley Breckenridge brought talent, excitement and pure rock into the packed venue.

The best way to describe their performance is undiluted, constant energy. From the strums of the electric guitars to the rumbling bass solos, the clashing of cymbals and thunderous vocals, it never quit. They kicked off the show with “Yellow Belly,” a favorite from “Beggars” (2009), which calmed the audience for a few moments. Breckenridge’s talent on the bass was really showcased, right from the beginning of the song as heads bobbed and fists pumped the air.

The energy really revved up when they started playing “All The World Is Mad,” one of the first tracks from their newest album. Strobe lights flashed into the audience in sync with the rhythm of the song as they raised their voices in unison with Kensrue, screaming out lyrics as they heard the song live for the first time. It’s hard to say what was more infectious, the beat of the drums or the enthusiasm of the audience. Most of the crowd knew the words by heart, sending a fresh wave of chaotic frenzy with each new song.

The band got it's start in the Orange County venue, The Chain Reaction. Taken from ClulbZone.com

Thrice is known for the consistent development of their sound. Their newest album “Major/Minor” (2011) contrasts extremely from past albums such as “Vheissu” (2008) gradually transitioning from punk rock to hard metal to alternative and even acoustic sounds. The quality of each album is the same: excellent, but having such a variety of genres is difficult, given the wide fan base. However, the band didn’t forget their diehard fans—the ones who fell in love with their hard metal songs, the ones who have been with them since the beginning.

They ended with a satisfyingly deafening performance of “Anthology.” Each chord progression could be felt right down to the vibrations on the floor, the strobe lights blinding the audience as they sank into further euphoria, simply enjoying the precise riffs Teranishi brought and the endless roar of Kensrue’s vocals. During the encore they revved up an encore of “Phoenix Ignition” and “To Awake and Avenge the Dead.” Fans cheered frantically, immediately initiating a mosh pit, crowd surfing and a general rampage in appreciation of the throwback.

The House of Blues is an intimate venue, one that doesn’t have space for elaborate light shows or special effects. Thrice didn’t need the help as their talent and energy filled the space all by itself. Fans waited impatiently through the three opening acts (O Brother, Moving Mountains and La Dispute) half-heartedly applauding each band, making it clear that these folks were here to see one band, and one band alone.

Blue Man Group Brings Weird to Orange County

Blue Man Group beats on drums as paint explodes from the surface. Photo by Joshua Sudock, OC Register.


The epitome of eccentricity, avant-garde performance group Blue Man Group astounds audiences throughout the world in places as sultry as Las Vegas to as exotic as Berlin. How this weird trio found themselves in the pristine Segerstrom theater in Costa Mesa is anyone’s guess.

The only way to really describe their antics is watching children at play. The trio brings everyday, ordinary objects (drums, paint, marshmallows and even cereal) to the stage and with them creates a playground teeming with imaginative instruments, art displays and other inventions. There isn’t any rhyme or reason nor point or plot to the show and some may find that frustrating and almost bewildering. The only way to enjoy a Blue Man show is to take it in its stride; take it for what it is.

Although the performance is classified as theater, it is more an over-the-top art show above all else. At its heart, a Blue Man Group show is performance art, no more and no less. They come to make a statement, although what that statement is remains unclear but at least they made a big deal out of it, colors, special effects and all. Known more for their whimsical antics than for any talent in particular, the group made use of the audience and the stage, parading around in their brilliantly blue nonsense.

Blue Man Group is all about having fun, drawing fans and newcomers alike into their strange little world, sometimes even onto the stage to participate in their games. Their uniformity and their solemn expressions only enhance the comedic aspects of their performance. At one point, they brought one audience member on stage and lined her up with themselves at a table, placing a Twinkie on each of their plates. What ensued was a hilarious act of the three straight-faced performers grappling with their fluffy Twinkies, attempting to eat them simultaneously and all three glancing over at the audience participant, expecting her to follow suit and shaking their heads when she couldn’t keep up.

A glimpse of the finale. Photograph from Broadway.com


Spoilers withheld, the finale was undeniably spectacular. Loud upbeat music enveloped the audience as the three men splashed paint across the stage, beat drums and pipes to accompany the music and created a happening party right in the theater. Brightly lit lanterns gently descended into the audience, glowing and changing colors as they bounced throughout the crowd. Three large plasma screens bedecked in iPhone attire sparkled and exploded with designs as dancers dressed in neon-lit morph suits moved around them. Confetti floated gaily among the chaos.

What is so entertaining about three blue men spitting paint out of their mouths and banging on empty pipes to make melodies like “Bad Romance” by Lady Gaga come to life? It’s hard to pinpoint what makes the show so great. Well-timed physical comedy, special lighting effects or just an innovative way of looking at things? There is no answer, but whatever it is they do, it works. The audience was on the edge of their seats, waiting to see what would happen next.

It is the Blue Man Group after all. What else are you to expect besides the unexpected?

Citizen Kane Deserves Respect

Dubbed by several critics as the greatest American film of all time, the highly acclaimed 1941 film “Citizen Kane” continues to make an impact 60 years from its initial release. Directed by, produced by and starring world famous filmmaker Orson Welles, the film follows the life of fictional Charles Foster Kane, a newspaper tycoon who begins his career with high ideals and ends in an obsessive pursuit of power and control. The similarities between real-life newspaper industrialist William Hearst and Kane are inescapable and bring the inspiration behind the plotline to reality.

The creative way in which the plot line was executed is reason enough for praise. The basic outline of Kane’s history is shown through newspaper headlines and a few well-chosen words. A reporter investigating the life of Kane conducts several interviews attempting to answer why Kane’s final dying words are “Rosebud.” Journeying from Kane’s childhood until his divorce with his second wife, each stage of his life is told from a different perspective (filmed as flashbacks) giving the film and Kane’s character itself multiple dimensions.

Arguably the most notable aspect of the film is the cinematography itself. Considering that the movie was made in the early 1940s, the angles and scene transitions are extremely progressive for its time. From the very first sequence, when Welles leads his audience from the “No Trespassing” sign, up the hill and eventually into Kane’s palace where he lays dying, the technique lent interesting methods for inviting viewers into the film’s world. The rest of the movie is filmed in the same way, making you notice things you wouldn’t notice: a detail in the set perhaps, or the way characters are facing each other.

Welles proves himself to be not only a pristine filmmaker but an excellent actor as well. His portrayal of Kane is wonderfully, almost scarily believable. As we come to know Kane—an ambitious, talented man lost in the chaos of the business world—we see a character played above and beyond the mere surface of facial expressions and well-delivered lines. Welles captures the heart of Charles Kane. His eyes exude the very soul of this intelligent character, a power-ridden man desperate for peace and resolution in his life. Other actors did a fine job with their parts but it is Welles who stands out above the rest. Perhaps it is because he created the film partially based off his own life experiences, and spent so much time creating the character that he was able to pull it off.

Though not particularly noticeable at first, the music and lighting project a “Twilight Zone” creepiness in the film, creating an unsettling feeling as the audience watches a life gone horribly wrong (death, divorce, scandal) played out on the screen. Set design too was excellently done. Designed after Hearst’s castle, Xanadu—Kane’s abode—accurately represents the struggles of Kane’s life: a continuous building of ornate and exquisite design yet with very little human warmth to fill the space. Welles manages to make even these small details add to the loneliness of Kane’s life.

As the movie comes to a close the reporter is no closer to finding the meaning of “Rosebud” than he was at the beginning. Instead he has bits and pieces of Kane’s life to grapple with: a broken marriage, a newspaper company run amuck, an empty palace… a misunderstood man. I am not one to spoil movies, but it suffices to say that the final scene in the movie reveals more about Kane’s world than the rest of the film ever did. It leaves a haunting image of a childhood lost, a life gone astray, a tragic end to what could have been a better life.

I wouldn’t particularly call this film one of the greatest films of all time, but it certainly has all the elements of a masterpiece film. Believable actors, unique cinematography, a creative plot line, music, lighting and sets that create an atmosphere fitting for the character and most importantly, a means of facilitating discussion after the film. “Citizen Kane” leaves the audience asking questions—about the movie and perhaps about the state of their own lives. It’s not exactly an enjoyable movie, but there is no denying it is a thought-provoking one. If one were to watch the movie several times over, there is still a little more insight to gain every time. In the art of filmmaking, that is a good thing.

Photograph taken from Rotten Tomatoes.

Sample Review: Muse Returns to the U.S. in Style

The Anaheim Honda Center arena was packed with flashing iPhones and fans screaming and shouting, ready for a riotous, talent-packed performance. As the lights dimmed and the first chords of “Resistance” began to play, the noise level exploded as Southern California fans welcomed in the U.K. band Muse. It’s hard to believe the world-famous trio first started playing in small venues like the Viper Room and The Roxy. They have come a long way since then. Standing in front of thousands of fans, it seems that lead singer Matt Bellamy and his band mates have been music royalty for a lifetime.

There is nothing quite like an expectant audience, one who has listened to a band’s albums countless times and is eager to now hear it all live. You could practically taste the anticipation in the air. You could certainly hear it.

Performing on an elaborately built stage of three tall, platforms thoroughly covered in plasma-screen visuals and an equally bright and colorful lighting program to boot, it was hard to focus on the music at first. Muse has the money to make a show a spectacle and that’s what they did.

They played a well-planned set list, mixing singles from their most recent albums “Resistance” and “Black Holes and Revelations” with their older albums, especially “Absolution.” Bellamy altered between playing his electric guitar and releasing beautiful improvisations on a grand piano, singing in his distinct, high-tenor tone. The band’s cover of “Feeling Good” and “United States of Eurasia” highlighted his talents to their peak, especially on the piano.

Guitarist Christopher Wolstenhome, not to be outdone, busted out solos that would satisfy any rocker’s soul. “Hysteria” is a song known for its’ power chords and electric guitar riffs. Wolstenhome capitalized on this as he slid across the stage on his knees and the audience screamed with wild applause and euphoric delight.

Each band member did a good job of interacting with the crowd, letting them take the reigns in hit songs like “Starlight” and “Time Is Running Out,” with Bellamy holding the mic out toward the crowd as they shouted the band’s lyrics back at them.
It’s easy to immerse yourself into a concert with so many die-hard and adoring fans. Even were the talent lacking, the mood is infectious. With every chord progression, with every extended solo whether it be from the guitar, the drums or the piano, Muse gave a show to truly remember.

Although the strobe lights and flashing platforms enhanced the concert, it was obvious that it was the band’s pure talent, unique songs and high performance stamina is what made the show a success. After two hours of pure rock, the audience was still clamoring for more.

Photograph by Heather Tanji

Whittier Community Theatre Presents "A Nice Family Gathering"

The cast of WTC's "A Nice Family Gathering"

Decent acting and bad writing are the main components of the play “A Nice Family Gathering.”

Nov. 4 marked the opening date of Whittier Community Theater’s version of the play. I am still puzzled as to why they chose this particular work but my best guess is someone was attempting to make the theme applicable with Thanksgiving.

Middle son Carl (played by Justin P. Murphy) is being haunted by his dead father (Jerry Marble). Dad only wants to tell his wife he loves her, and Carl just wants Dad to leave him alone. Things get tangled when Mom (Andrea Townsend) brings home a “friend” for dinner. It seems the perfect recipe for a fun, snarky holiday mishap. What unfolds is unresolved and surprisingly dark family conflict—competition between brothers, lesbian daughter is pregnant, daughter-in-law can’t get pregnant, the oldest son is deeply in debt and Mom has Alzheimer’s. Most of the first act is spent discussing the issues of each family member while the second act drags out painfully slow resolutions.

The set design was impressive. There was plenty of detail on the stage, from the family portraits to stockings over the fireplace, making the painted wood and décor appear to be the living room of Carl’s family. Unfortunately, this is the most impressive aspect of the entire show.

Meghan Duran, who played Stacy, stood out for her believability as the sulky little sister of the family. Townsend too, deserves accolades for her believability as Mom. Unfortunately, not all of the actors met this standard. Laura MacDowell (Jill) had trouble making both dialogue and blocking seem natural. Playing a woman supposedly running on an overdose of hormones, she did very little in making her character the comical mess she was supposed to be.

No matter how talented the cast might be, even the best of actors would have a difficult time with the script. There is no getting around the cheesy, poorly written lines. The actors did their best to make the script interesting and tried to bring it to life but most of the show focused on each self-absorbed character wallowing in their own problems. Although the directing, blocking and acting weren’t horrible, there isn’t any way to get around the dull storyline or the badly written dialogue.

Whittier Community Theater has the ability to produce high-quality shows. Great set design, relatively talented actors and a great venue. There is no need to settle for mediocre, poorly written plays. It is a play with no point, a story with no plot. As the house lights go up and the curtain closes, the only question to ask is, “why?”

“A Nice Family Gathering” continues through Nov 19 at The Center Theater, 7630 Washington Ave. Whittier. More information available at (562) 696-0600 or www.whittiercommunitytheatre.org

Photograph taken from Frances Baum Nicholson, Stage Struck Review

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