The Goat Rodeo Sessions

I know what you’re going to say: “Yoyo Ma playing bluegrass? Really?” Really.

If you haven’t heard of The Goat Rodeo Sessions yet, consider this your wake up call. Just imagine – the musical virtuoso and cellist prodigy Yoyo Ma plus the award-winning bluegrass-er Stuart Duncan PLUS the jazzy contrabassist Edgar Meyer PLUS the dreamy folk-inspired mandolin-playing Chris Thile. These four musicians, all stellar in their own rights, have come together to craft the album The Goat Rodeo Sessions, an eleven-song bluegrass journey with soul, power, and intoxicating sound.

If the folk revival is where your music’s gone recently, The Goat Rodeo Sessions is where it needs to be now.

Check it out here: http://www.youtube.com/watch?v=bvw0vbewH_Q

Your Voice

By Lauren Mahncke

Over the past few weeks, despite the lack of mainstream media attention, Occupy Wall Street has garnered up a lot of discussion about the current state of affairs in the United States. Despite differences in opinion on the movement, one thing that can be said about the movement is that this group of protesters is making their voices heard. And in a society that often prides fitting-in and conformity, a great lesson can be learned from the Occupy movement— silence does not set you free.

I believe that the one thing everyone has in this world is a voice, and this voice gives you power. When you start to figure out your voice, you start to figure out who you are.  When you begin to speak out, it’s a lot harder to be ignored. Realistically, one voice cannot change the world. But being a rebel in thought doesn’t get you very far until you begin to speak and act on your voice. And when a lot of voices join together, they become harder to ignore. Even if you don’t think you’re being heard, speechlessness does not protect you, it simply hides you. Only your voice can make your presence known.

For our generation, it is easier than ever to make our voices heard. Blogging in particular is an easy way to get your voice out, especially among your peers. So I invite you, the Stonehill community, to submit your posts to this blog. State your claim, tell the world what you think, and hear what others have to say. You never know who is listening.

Leaving Boston

Within the recent Boston genre of film, an interesting theme has surfaced; that being the need to leave the city that had loved. In Good Will Hunting, Will had only known the topic city. As he grows as a person, past his academic prowess, he realizes the need to branch out and explore new lands, heading west like the frontiersmen of old. In The Town, Doug MacRay has worked himself a niche life style that was quickly shrinking around him. Again, just like Will, Doug escapes his entrapment and chooses a life unfamiliar to him. The films suggest that leaving one’s comfort zone is a worthy goal in itself, but also, just the start of a larger journey of self. So, I too take such leave, entering the unknown, as a new chapter in the film of my life begins.

Daniel Perry

"As Long as He Doesn't Hit on Me: Unpacking Heteronormative Culture at Stonehill"

Click the title to be brought to the video page.


Video by: LucyRose Moller, Molly McKitrick, Kaitlin Foley, and Mandy Malachowski

Urinetown isn't Number Two

I should begin this review by explaining my own set biases. I am a movie critic. I’ve never reviewed a play before. I’m not quite sure what I’m supposed to be looking for and thus may be missing some important stuff. So, I shall just do my best to give a fair and just review that may be lacking in theatrical knowledge.

With that being said, Urinetown was fantastic. It was completely enjoyable, engaging and challenging. I’ll start with the set. Immediately after entering Hemingway theatre, the stage jumps out at you and left me thoroughly awestruck. Hemingway, being a relatively small college’s main stage, is a miniscule set up that could be limiting to such an ambitious show. To circumnavigate the stage’s stifling nature, the set was extended nearly into the first row of seats and used every inch of the area made available to them. This helped to make the show an immersive experience and helped to lose one’s self in the world of the story.

Of course, no show would be able to get off the ground without the players and Urinetown’s lineup was one of quality and talent. Based on the limited number of plays I’ve seen, I would say that the acting was far better than any average college performance. Any minor flubs were minimal, relatively not bothersome and, occasionally, added to the enjoyment of the show as the audience saw the actors realize their mistakes and move past the moment. I must take time, though, to recognize the play’s male lead, Chris Getchell, who played Bobby Strong. Getchell took center stage with charisma, poise, and sharp wit and made a real emotional connection with the crowd. When Bobby Strong finally meets his fate in the middle of the second act, devastation encompassed the crowd as the narrator’s earlier grim promise was fulfilled; this indeed was not a “happy play.”

The narration also must be discussed. The meta narration by Officer Lockstock (portrayed by Sean Racine) and Little Sally (portrayed by Tara Hurley) was a great way to frame the story. Though any given play’s narrator often refers to the audience directly, the narrator, not just breaking, but shattering the fourth wall and discussing plot developments, the structure of the show, and the overall formality of storytelling really helped to distinguish this musical from the rest of the field and explore an unconventional story.

Finally, what I truly appreciate this play for is the story’s subversive message. The idea that corporate greed may be a necessity in our daily practices is a point rarely touched upon by storytellers. Urinetown really challenges the audience to question the lines between good and evil, natural and artificial, and question the relationship between people’s intrinsic rights and what is best for the masses.

-Daniel Perry