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Shakespeare Monologue Competition @ Palm Valley: “The Best of the Bard”

February 14, 2019 by szachik@pvs.org 2 Comments

Student reviews compiled by Luke Langlois

On Friday, January 25th, our FANTASTIC Drama Department, in collaboration with the English Department, put on a Shakespeare monologue competition titled “The Best of the Bard” to determine who would move on to the next level of the national English Speaking Union Monologue Competition. For those who have not heard the results of the Palm Valley competition, Leo Milmet took first place, Marianne Capetz took second place, Caroline Scheil took third place–as well as audience’s favorite, and Charles Schnell received the honorable mention. While, inherently, this was a competition, this was also a chance for our dramatic stars to shine individually, and shine they did. In fact, the sharp performances of the drama students inspired the hearts of many students to write a review. Today, the blog presents to you a compilation of a few of these reviews. If you attended the competition, perhaps these reviews can provide you with some details that you missed. Or, if you were unable to attend the competition, these reviews will make sure you’re fully aware of the excellence of our monologue reciters.–Luke

Abridged Review From Claire Jenkins

Shakespeare was a complicated man, whose words are hard to translate into modern-day ideas, but the group of Palm Valley upper school students who took on this task completely mastered it. Overall, out of the around 23 competitors in the competition, not a single one was disappointing. . . . The competitor that stuck out the most to me was Castiel Yu, delivering a monologue using an older and complicated form of his second language. Regardless, he was still able to translate the expressions and passions beautifully. . . .The next competitor that stood out to me was Brennan Nick. Brennan cracks me up, and while I know his monologue was not comedic, his facial expressions got me. He is loud and proud, and I will always admire that about him. . . . Leo Milmet took first place, which he most definitely deserved. I’m sure he will go on to continue dazzling the judges and stealing hearts across the competition.

Abridged Review From Josh Tyer

I went into the Drama Class’s recent monologue presentation, “A Night with the Bard,” with an idea of what it would be like, but what I got blew my own expectations out of the water! That night, Amanda jumped out to me as someone who had come very far as an actress. I, personally, have acted alongside Amanda for a long time, and after seeing her performance that night I can definitely say that she has blossomed. Her monologue was a perfect fit. . . . What truly surprised me that night were those quiet performers who usually play smaller roles in productions. Aurora Berner, James Zheng, Isabella Goetschel, Elizabeth Chen, and Castiel Yu blew me away. Normally, these people are resigned within themselves in Drama, never truly letting their talent shine through. But when you give someone like James Zheng the stage, he will burst out with a performance of Julius Caesar that will give you chills. All of them took their performances and conquered them. Sometimes the quietest of people have a beautiful talent for acting just waiting to leap out and take hold of the stage.

Abridged Review From Sydney Armor

I am not sure if it was the fact that the competition was not during school hours, or that I had voluntarily chosen to go see it, but I must say that this was without a doubt the best monologue competition I have ever seen at Palm Valley School. Usually, I can choose two or three monologues that really stand out and will undoubtedly win. Here, however, there were about seven or eight that I found amazing. My favorite, however, was Caroline’s monologue. Her delivery was simply perfect, and I actually laughed out loud when she was performing. This is really rare, as I usually don’t find the monologues to be funny (even if they are meant to be). Her overdone facial expressions and little pauses when she was deciding whether she loved or hated a man simply made the entire monologue hilarious, and spectacularly well performed. . . . I also really liked Jake Sonderman’s monologue. He took on a similar persona to the character he played in The Drowsy Chaperone, Aldolpho. He was Aldolpho 2.0 during his monologue. His take on this womanizing, romance-obsessed man is almost perfect. . . . I don’t regret going to see the monologue competition. It was even worth going back to school on a Friday night.

Abridged Review From Shelby Armor

“Best of the Bard” was truly something to behold. Something about this monologue competition was just fun. When you have an atmosphere of people who truly want to be there, listening to Shakespeare in their free time, you get a different kind of environment; an inspiring environment. . . . I was a personal fan of Caroline’s monologue. I actually loved that monologue so much that I considered choosing it for my monologue way back when. I didn’t think I could pull it off, though, and seeing Caroline do it just made me realize how perfect that monologue was for Caroline. It was cutesy, comedic, and also provided for further thought on the part of the listener. There were also some people that I would have never expected to see performing, who were pouring their hearts out on stage — like Alex Bentley. I loved seeing him perform Macbeth; it was just so different from all of the familiar faces I’ve seen. All in all, I’m really glad I went. I got to see some truly amazing interpretations of classic Shakespeare monologues, and got to enjoy it in a truly inspiring environment.

Interested in more Shakespeare monologues? Come watch Leo perform–and represent Palm Valley–in the Desert Branch competition next Friday, February 22, at 11 a.m. at Palm Springs High School’s theater. He’ll perform his Shylock again and add a sonnet. If he wins, he moves on to perform in New York City at the Lincoln Center.

Editors: Luke Langlois and A.J. Patencio

Top 25 Buffy The Vampire Slayer Episodes: #10-1

December 19, 2018 by szachik@pvs.org Leave a Comment

By Leo Milmet, Extreme Buffy Enthusiast

Warning: There are spoilers for all 7 seasons of Buffy The Vampire Slayer in this post. Also, this post is designed for people who are very familiar with the series — there will be references to certain scenes, lines, etc. that simply may not make sense if you aren’t at least a casual fan of Buffy. I have tried to minimize this while also speaking to die-hard fans of the series such as myself.

I previously revealed my choices for #25-11 on my list of the top 25 Buffy The Vampire Slayer episodes. Now we’re down to the top 10! I love this show so much. I could go on about it all day, but as I fear that this post may get a little long, I’ll shut up and get on with my choices!

10. “Fool For Love” (Season 5, Episode 7) — It’s very rare that a single episode has such a long-lasting major impact, but “Fool For Love” is relevant from the moment it begins all the way until the series’s final moments. This episode is, as vampire Spike might say, “bloody brilliant.” Its exploration of what it means to be a Slayer is one of the more important themes throughout the series, executed nowhere better than here. While watching the show up to this point, one may have always had the thought remaining in the back of their head, “What if Buffy were to be severely injured or killed just by having an off day with a totally normal, regular vampire? Everybody makes mistakes, right?” Well, yes. Buffy is bested in a fight by a totally normal vampire in the opening scene of “Fool For Love,” prompting her on a journey of self-exploration that leads her to Spike, who knows about Slayers. Funnily enough, no one knows more about Slayers than vampires, especially those who have killed multiple Slayers, such as Spike. He was always a layered character, but I feel his “William the Bloody” moments showed the complexities of how one changes when becoming a vampire. I believe Spike ultimately is able to act benevolently because of who he was as a human — an awkward but oh so well-meaning romantic. In “Fool For Love,” we are treated to a deconstruction of Spike the man, Spike the monster, and most interestingly and importantly, Spike the tragic hero. Spike is one of the most layered, fully developed characters in the series, and this episode is one of two reasons why.

9. “Lies My Parents Told Me” (Season 7, Episode 17) — This episode is the other reason why I love Spike so much. He’s a human in the world of vampires; he’s a vampire in the world of humans. Now, it seems harder and harder for him to prove that he really isn’t beyond redemption. However, this episode is also about Buffy’s transformation into becoming a leader. Sometimes a leader must lead by defying her advisors, including Giles (who is trying to see things the most rationally but ultimately cannot be persuaded by his own bias against Spike and his firm opinion that demons are irredeemable). Buffy must confront the idea that sometimes leaders do need to know how to break the moral boundaries when the time is right. However, the discussion of this episode is “Is this the right time?” And that idea is the basis for one of the most revealing episodes in the entire series. Giles’s sometimes-harsh “leadership” tactics are finally shown to be somewhat misguided, and it is in this episode where his mentor-mentee relationship with Buffy is finally destroyed; they are now equals.

8. “Hush” (Season 4, Episode 10) — If I had to single out a single, incredibly valuable strength of this show, I’d have to say “dialogue, dialogue, dialogue.” Then, Buffy creator Joss Whedon comes along with a largely dialogue-free episode that is one of the most horrifying (and also one of the silliest) of the entire series. The Gentlemen are truly terrifying in its use of silence. The lyrical melody hummed by a small child in a dream sequence, reminiscent of A Nightmare on Elm Street’s famous “One, two, Freddy’s coming for you,” sets off the tone about how the loss of verbal communication can actually help Buffy and Riley cement their feelings for each other. The Gentlemen are also the perfect villains for a show like Buffy. They come from an old fairy tale and represent the demonic nature of the sins of the past: patriarchy, slavery, and more. They even steal the hearts of their victims, a reference to the destruction one person can create by metaphorically breaking someone’s heart. It’s surprising even for Buffy villains how layered these guys can be (more so considering they exist in one episode, without a single line of dialogue between them all). And the fact that Buffy is the “princess” who stops The Gentlemen by screaming is perfect. This episode, with almost no dialogue, was the only Buffy episode ever to be nominated for a writing Emmy.

7. “Innocence” (Season 2, Episode 13) — This is where Buffy stops being a silly ‘90s vampire show that happens to be laden with amazing characters and great metaphors about teenage life and becomes a truly legendary show. The pain that Angelus will cause Buffy is so clear here, and he’s only just begun. The Judge is a very good villain as well. Though he has little flair or personality (and almost no character development over the two episodes in which he appears), he has lots of thematic and symbolic meaning. His place here is mainly twofold: giving Buffy a corporeal villain to fight that poses a larger threat and is more powerful than a vampire, and reminding the audience of Angel’s soullessness. We have entered the golden age of Buffy! The title reflects the literal innocence of everyone at this time in their life (just before and after they lose their virginity), especially Buffy’s vulnerability in her deep yet very innocent love for Angel and her incapability of killing him at the end of the episode. “Dream on, schoolgirl. Your boyfriend is dead.” With that line, we enter the golden age of Buffy.

6. “Graduation Day, Part 2” (Season 3, Episode 22) — This episode is the perfect climax of the greatest season of Buffy. Buffy learns, from Faith, about the nature of being the Slayer. This episode marks several ascensions: the students are ascending in graduating high school; the mayor is ascending into a demon; et cetera, but more important are the sacrifices that must be made to achieve ascension. The end battle is epic, with major stakes that lead to the tragic deaths of many important characters (the secretly gay football player Larry Blaisdell being one of the most heart-wrenching for me; he had one season of being allowed to be his gay self and STILL be the star footballer, and then he died. I’m crying a few tears as I write this.)

5. “Earshot” (Season 3, Episode 18) — This is maybe the most relatable episode in the entire series, one of the most strikingly real and deafeningly alarming episodes ever on television. In the post-Columbine era, this thing reminded us that maybe direct mass murder isn’t even the scariest thing in our crazy world; maybe that distinct honor goes to how humans as a group can bring specific people to their breaking point. This episode draws us in with a murder-mystery premise and some of the best dialogue in the entire season. I love it for how relevant it has stayed for almost twenty years since it was created. I love it for how well-written it is.

4. “Once More, With Feeling” (Season 6, Episode 7) — “The hardest thing in this world is to live in it.” — Dawn Summers (as written by Joss Whedon). Everything about this episode is perfect. I mean, the idea of people singing out their most deep-seated painful thoughts and secrets is perfection. Sweet is the greatest one-off villain on the entire show, and he’s even more impressive given his rather small amount of screen time. Every single scene in this episode is rich with character. Buffy feels like she is “Going Through the Motions”; for the first time in her life, she doesn’t give a damn about anything going on in the world. She is singing a Disney-like song about being very depressed and giving up hope in general. Sweet leads her on the path of admitting all of her secrets, ending with the revelation to her friends about how they took her out of a literal heaven when they brought her back from death. Tara and Giles, who never really had much in common before, are in similar roles here, trying to save a person they love from going down a very dark path. For Tara, it’s Willow with her magic, and for Giles, it’s Buffy with her post-resurrection depression and dependence on his help. Spike is also conflicted. He feels deep lust for Buffy (which later proves uncontrollable in “Seeing Red”), who won’t give him the time of day but often tortures him with her presence. These are deep, nuanced characters. The songs are all great; the depressing and non-Disney-like meaning of “Going Through The Motions” contrasts with its natural Disneyish charm; “Standing” is an emotional, introspective soft-rock ballad about Giles’s role in Buffy’s life now that she is an adult; “Under Your Spell” is a love song that glimmers with ironic truths; “What You Feel” is a jazzy, gleeful crowd-pleaser ironic in its intent; “Rest In Peace” is a hard-rock song about the anger that can come with love; “Walk Through The Fire” is a harmonic masterpiece about characters overcoming their fears.

3. “The Body” (Season 5, Episode 16) — In the middle of a very good season of television, we suddenly have this literally musicless interruption that discusses the profound impact death can have on loved ones. This episode tackles profound emotions in every character. It is absolutely perfect in its handling of every single character’s reaction to this loss. Anya’s reaction to Joyce’s death is heartbreaking; she’s never felt anything like this before in her life. The impact of a sudden, very tough loss like Joyce’s on the lives of other people is immense, and that’s what the show captures here. It treats the brutal realities of death in all their horrible simplicity. It has no conventional Buffy-like plot; it is just the characters we have grown to love dealing with all the issues, big and small, that are brought on by death. It is realistic in a way that even few non-fantasy films and TV shows can even aspire to. I love this episode; it’s painful, real, and (sometimes) darkly comedic — just like the loss of a real loved one. And the ending, with its brutal reminder that the real, normal world is still there, waiting for Buffy’s return is heartbreaking. Buffy has to return to the real world because so many lives depend on her existence. Now it’s time to go back to the real world, holding your bleeding heart in your hands and placing it back in your chest so that you can keep going on. Wow.

2. “The Gift” (Season 5, Episode 22) — “The Gift” made me bawl. A lot. “The Gift” begins with a tragic reminder of Buffy’s past, a simple little vampire fight with almost no emotional stakes attached to it. And then she goes back inside and argues with Giles over whether he’s allowed to kill her sister. Dawn is all Buffy has left; her mother is dead; her finances are in serious trouble; her life revolves around killing soulless demons that will murder people unless she stops them. She is a necessary human sacrifice to keep the forces of evil at bay; the First Slayer said that “death is your gift” because the only thing Buffy can do to stop the endless trauma that pokes at her is die. That sucks. The moral discussion between Giles and Buffy is my favorite scene in the episode; two people, both trained to think rationally– even during the apocalypse — disagree on how far they can go to save the world. It’s about the personal versus the rational; the emotional versus the logical. It is logical to kill one person to save the rest of the world, but most of us probably couldn’t pull the trigger ourselves; we couldn’t have such a thing on our conscience, especially when that person is closely related to us. How could we kill everything we still love about ourselves in human form and stay alive in the metaphorical sense of the world?

1. “Passion” (Season 2, Episode 17) — I first saw this episode at the age of eleven, I was lying in bed while watching it. I didn’t sleep that night. This episode is witty, tragic, intense, thoughtful, philosophical, gutsy, morose, operatic, brutal, and most of all, shocking. Angel is an intense, thematically rich villain. Angel, Buffy’s former lover who has lost a soul, talks about passion. Passion is the beating heart in all of us. One could even say that passion is what makes up one’s soul — or, in Angel’s case, one’s lack of a soul. This episode is about the passions of all of the characters. Angel’s horrifying obsession with Buffy is downright painful to watch, especially because the episode is narrated by — and told from the perspective of — Angel. Buffy’s passion is her love and caring for a man she finds sympathetic — a man who lives in the dark while still having a conscience — until he loses his soul, and all hell breaks loose. She feels the need to neutralize Angel without killing him; she still believes that the man she loves is inside somehow. Giles’s passion is one of the most interesting; it ebbs and flows through the episode from passionate love for Jenny to an intense hatred for Angel. One last little side note: I’ve heard (but can’t quite confirm) that before Buffy, David Boreanaz wasn’t pursuing acting; he was apparently discovered by a friend of one of the casting directors who lived nearby and watched Boreanaz walk his dog and saw in Boreanaz everything they were looking for in Angel. If that’s true, then I must truly tip my hat to David Boreanaz. While this would explain some wooden acting early in season one, for Boreanaz to be able to do anything resembling the kind of work he does here with so little acting experience is…well, it’s breathtaking. His performance here is captivating; he embodies this cold, soulless, darkly comedic, slightly melodramatic (yet also intensely passionate) character of Angelus (Angel, when he has no soul, is sometimes referred to as Angelus) to a degree that many seasoned actors would be jealous of.

So that’s my top 10! Hope you all enjoyed this little Buffy geek-out session. And if you haven’t seen the show, just go watch it. It’s the greatest thing ever. Like, now. Like, WHAT ARE YOU STILL DOING HERE GO WATCH IT!!!!!!!

Editor: Makena Behnke

Top 25 Buffy the Vampire Slayer Episodes: Countdown #11-25

December 6, 2018 by szachik@pvs.org 1 Comment

By Leo Milmet, Buffy the Vampire Fanatic

Warning: There are spoilers for all 7 seasons of Buffy The Vampire Slayer in this post. Also, this post is designed for people who are very familiar with the series–there will be references to certain scenes, lines, etc. that simply may not make sense if you aren’t at least a casual fan of Buffy. That said, on with the post.

Buffy the Vampire Slayer is the most amazing television show ever to grace the small screen (and therefore, us) with its presence. In honor of its glory, and honestly just because I love it so so incredibly much, I wanted to list my top 25 favorite episodes. However, I have so much material here that I have decided to separate it into two posts. Here is #25-#11. Log in next week for the top ten Buffy episodes ever.

#25. “After Life” (Season 6, Episode 3) — This episode is both terrifying and emotional, fun and profound, bitter and sweet. And I always tear up a bit during Buffy’s conversation with Spike. That moment is perfection.

“Selfless” (Season 7, Episode 5) — Anya is a great character, and her unique disconnection with humanity and traditional morality is showcased in “Selfless” more than in any other episode.

“The Wish” (Season 3, Episode 10) — Cordelia (stereotypical popular girl) has always been a hilarious character, but I think this might be one of her greatest moments. Her superficiality in wishing that Buffy had never come to Sunnydale is believable, and I love Vampire Willow and Vampire Xander. Points off for using the clichéd “be careful what you wish for” story technique, but it more than makes up for it with its unique dystopia and hilarity. Anya’s demon face still haunts my dreams.

“Tabula Rasa” (Season 6, Episode 8) — GILES, GILES! The characters’ amnesia creates so many hilarious jokes; i.e. there’s a “loan shark” shark paid off with kittens. It’s wonderful seeing the characters act like I would (e.g. being terrified of and running away from the vampires) as opposed to their usual immense bravery and courage.

“Dead Things” (Season 6, Episode 13) illustrates the horrible power of false guilt.

“Band Candy” (Season 3, Episode 6) — This episode’s character-based zaniness is hilarious. I love how turning the adult characters into their teenage selves ties into the main plot of The Mayor’s attempt to take over Sunnydale. The incredible chemistry between Joyce and Giles is honestly the sexiest thing I’ve ever seen in a ‘90s network TV show–except maybe the Buffy and Angel relationship in season two, or Xander and Faith in “The Zeppo.” But y’all get my point.

“Villains” (Season 6, Episode 20) — This great episode, while by no means perfect, makes you think and ask yourself, “How far is too far?” “What actions are truly irredeemable?” and, “Is murderous revenge justifiable?” The episode does all of this while being one of the most action-packed episodes of the series, with a villain made only more terrifying as she morphs from soft-spoken nerd to vengeful grieving murderess.

“The Replacement” (Season 5, Episode 3) — Xander is one of the most nuanced characters in the series. He is warm, funny, and humorous but with an awesome subtle-but-serious dark side, and this episode knows exactly how to deconstruct such a character. He is literally shown his potential as he gradually grows into a self-confident man in every sense of the word. That’s Xander’s arc throughout the series, growing up, and this episode shows that more than any other.

“The Zeppo” (Season 3, Episode 13) — Another end of the world is gonna happen from some demon group or another. Excuse me while I channel Vampire Willow and say, “Bored now.” Oh, wait, even the writers know that, so they decided to make the “B” plot the “A” plot by focusing on Xander’s encounter with a group of undead psychos. And, I know it sounds lame, but anyone who’s seen it knows how awesome it is. And that ending? One of the best in the series.

“Prophecy Girl” (Season 1, Episode 12) — I can’t imagine what people in 1997 thought of this episode. Just imagine this: you’re tuning into your favorite Monday-night schlock horror show, the ridiculously-titled (and, at the time, rather ridiculous) Buffy the Vampire Slayer, which has potential to become a really good series, but it never (yet) really gets there, and you kinda like its cheesy grade-B horror vibes. Then you see THIS EPISODE, and Buffy completely changes. Sarah Michelle Gellar is one of the greatest actresses of the ‘90s. I see you all laughing at this statement as I write it, but, my God, it’s true. The rawness of her emotion when talking to Giles about her imminent death is priceless, and the use of the Buffy theme music just makes you wanna get up and scream: “HELL YEAH!”

“Storyteller” (Season 7, Episode 16) — The biggest issue with Season 7 is its unfocused-ness. The introduction of too many “Potentials” always rubbed me the wrong way. But, this episode shows that Buffy will always be able to do right by its most important and interesting characters. I mean, come on, this episode is just one long running joke about the ridiculousness of Andrew Wells’ character, and it works so well. It’s funny, charming, and in the end, deeply, deeply moving. It’s about redemption and faith and the influence of The Blair Witch Project on modern horror and love and sacrifice and the awesomeness (and not-so-awesomeness) of nerd-dom.

“Grave” (Season 6, Episode 22) — I got two words for ya. Yellow. Crayon. This episode had me bawling the first couple times I watched it, and I rarely cry in movies or TV. Xander’s monologue is one of the greatest scenes ever to be shown on television. The way the writers have, from the first episode, built up to that one moment in both of these characters’ lives is truly epic. While the rest of the episode is great but not truly on the level of the others you’re about to see, the “yellow crayon” monologue is, for me, maybe the greatest moment in all of Buffy.

“Normal Again” (Season 6, Episode 17) — This episode is freaky. Buffy is tempted with the chance to live in a fantasy that, compared to her real world, is a paradise. She is presented with the chance to NOT be the “chosen one.” This has been her biggest internal long-term goal since the first season. Though she obviously accepts her calling, she doesn’t truly want to give up her life for a cause that is bigger than her (she merely deems it a necessary sacrifice). And here, she may have a chance at being “Normal Again,” and it’s tempting. It really is. But this episode is about waking up, and facing the true trials, tribulations, and horrors of what the real world presents, refusing to live in a fantasy.

“I Only Have Eyes For You” (Season 2, Episode 19) — First of all, a round of applause for the beginning of the career of the great John Hawkes. Second of all, James is one of the greatest one-off villains ever. There’s a James in all of us, even in those who hate him most. He wants to be loved and can’t find a way to properly and appropriately express his love, so that love turns to hate. What could be more tragically relatable? Also incredibly well-done is Giles’s totally illogical (and yet so fitting of a man in true love) desperation to believe that the spirit possessing the school is that of Jenny Calendar, his now-dead love interest. And that ending is so bittersweet and moving, simultaneously reminding us even more of the noble, tragically heroic Angel of the past and the stomach-churning new reign of Angelus, brought forth by none other than our heroine, Buffy Summers.

“Chosen” (Season 7, Episode 22) — These characters have come so far and done so much over these crazy seven years. Only when one considers the Buffy, Xander, Willow, and Giles from “Welcome to the Hellmouth” and then considers the moment this same gang facing the literal Big Bad of all Big Bads (the First Evil) does one understand the epically rich characters of this series. This episode has some incredibly character-rich moments like the First Evil’s midnight taunting sessions, Xander’s great line “That’s my girl. Always making the stupid decision,’ and of course that little smile on Buffy’s face at the very end that indicates that Buffy finally is NOT the “chosen one,” the “one girl in all the world.” In “Chosen,” Buffy has gone from her “chosen one” status into one empowered woman, who can bring one glimmer of hope for the survival of humanity and its vanquish over evil. Her character arc is now complete, and in the end, just like in one of the fairy tales she’d probably (and rightfully so) call lame and sexist, this TV scream-princess finally gets what she wants (to regain a “normal life”). This, while imperfect, is an incredibly satisfying conclusion.

Stay tuned for the top ten Buffy episodes, which will be revealed soon in a future post!

Editor: Holden Hartle

Go See It.

December 5, 2018 by szachik@pvs.org Leave a Comment

By Makena Behnke

In Palm Valley’s production of The Drowsy Chaperone, we see quick changes, strong voices, and monkeys. The main character, Janet, played by both Marianne Capetz and Kaiya Treash, is portrayed as a bodacious movie star who retires into marriage. Charles Schnell plays Janet’s fiance, Robert. Robert is totally lovestruck by his gorgeous girl. Every musical number (and there are a lot) causes very powerful and strong emotions, especially the “Aldolpho” number. Jake Sonderman plays “lady killer” Aldolpho who accidentally seduces Jackson Dean, the Chaperone. The storyline goes many different ways and adds to the comedy (look out for the irony coming from Leo Milmet). Taking place in the 1920s, I’m confident in saying the hair and makeup of the play are definitely important aspects of the show. Back then, thin and dark brows, pouty heart lips, and perfectly pinned and slicked back hair was the most popular look. Every character is perfectly put together; outfits are colorful; and attitudes are sickly sweet. Our dear Janet, while in conflict with herself, sings a lovely song about her love for a monkey. Everyone in the cast executes the music perfectly. There is a range of different characters–from the ditsy Kitty, played by Caroline Scheil, to dramatic Marianne and Kaiya’s Janet. I highly recommend The Drowsy Chaperone to anyone who enjoys a good laugh and/or chills when grand musical numbers occur.

Editor: Holden Hartle

How can I make videos like Jeremy?

November 29, 2018 by szachik@pvs.org Leave a Comment

Want to make videos like Jeremy’s? Watch, and read.

By Blogger-Videographer Jeremy Chang

First, you need to take two videos.

The first video involves standing in front of the mirror and acting like you are looking for an item; then, you stand up, look into the mirror, and pretend that you are frightened and pass out.

The second video starts when you come up from the floor. It shows yourself inside the mirror and staring at yourself. You do whatever you want that is different from the first video! (Make sure the video is long enough.)

Second, download the app (Videoleap) from the App store on your phone.

Open Videoleap and press the “+” button and add the first video. Then press the “mix” button on the left corner which will lead you to add the second video.

Lower the second video’s “Opacity,” and adjust the second video to the first video such as lining up the mirror.

Next, you need to press “Mask” on the fourth button and choose “Linear” to hide the second video’s person who stands outside the mirror.

Do this, and you’ll have a video as eye-catching as Jeremy’s–although . . . he’s left a few secrets out to preserve his artistic signature.

Editor: Makena Behnke

Is Dance a Sport?

October 31, 2018 by szachik@pvs.org 1 Comment

By Holden Hartle, Blog Arguer and Definition Enthusiast

Is dance a sport? Is sport an art? This is something that my girlfriend and I argue about frequently. She, being a dancer, argues that dance is a sport, due to the physical exertion required in dance. I argue that sports require a competitive aspect, meaning that dance is not a sport. With all of this in mind, I do, however, believe that a dance competition is a sport.

I did the very cheesy thing to do in an argument like this, and I brought in the ol’ Merriam Webster (dictionary). He defines a sport as, “a contest or game in which people do certain physical activities according to a specific set of rules and compete against each other.” Now, take a sport like baseball and apply these guidelines to it. Baseball is a contest or game in which people do certain physical activities, like running through the bases, according to a set of rules. Something like a ballet show has plenty of physical activities, but it isn’t a contest, and thus people aren’t directly competing against each other.

But, let’s look at the other aforementioned question: is sport an art? Kyrie Irving, a basketball player for the Boston Celtics, once said, “Basketball isn’t a game. It’s an art form.” He explains that things like putting responsibility in your teammates and turning that into plays on the court is its own “masterpiece.” So, how do we define art? Well, if we refer back to good ol’ Merriam Webster, he says that art is, “an occupation requiring knowledge or skill,” such as the art of making cabinets. I think everyone can agree on the fact that sports require both knowledge and skill.

So, sports are an art, but classical dance isn’t a sport. I want to make something very clear: I am not here to say that dancers aren’t talented. Being a dancer takes much of the same, if not more, athleticism than most sports, and, in my opinion, a dancer has much more skill than a darts player or a pool player, both of which are technically sports.

Beyond dance and sports, the idea of fudging around with definitions to make them mean different things is a fun thing to do. For example, a pizza is defined as, “a flat, open-faced baked pie of Italian origin, consisting of a thin layer of bread dough topped with spiced tomato sauce and cheese.” Now, wait a minute, does that mean that if your sauce isn’t tomato based, like a white pizza, then it is no longer a pizza? And, what if your bread layer isn’t thin, is it still a pizza? Most people would agree that a pizza with a white sauce is still a pizza, but Merriam Webster has something to say about that.

Editor: Luke Langlois

The Unquestionable Ranking of Every Pixar Movie

October 31, 2018 by szachik@pvs.org 3 Comments

By Luke Langlois

Pixar has released twenty movies. If you are looking for a proper and critical ranking of all twenty of those movies, this is not the place. However, if you are looking for my highly opinionated ranking of all twenty Pixar films (because who isn’t?), then this is just the post for you. Warning: Some Pixar Spoilers Below

The Good Dinosaur: This is a good movie. While the big lizards known as dinosaurs frequently emerge from extinction to grace the cinematic universe, they are usually characterized as big meanies. This time though, they were friendly big lizards. I rank it as the worst Pixar film because I forgot this was a movie, until now.

Coco: This movie was good and, of course, critically acclaimed. However, I thought it was kind of “bleh.”

Finding Dory: Pixar has lived off of the fame of Finding Nemo for fourteen years now. When a studio releases a sequel to an excellent movie, the pressure is on to somehow raise the bar. This sequel was great, but it did not live up to my set expectations. Therefore, #18.

A Bug’s Life: A Bug’s Life is essentially the cult film of Pixar’s empire. This is an awesome movie, and it inspired one of the greatest attractions at Disneyland, the “It’s Tough to be a Bug” production. I put it at #17 because nobody should ever sympathize with ants.

Cars 2: Critics really hate this movie. But, it’s a spy thriller with cars! This movie has been the recipient of a lot of flack, but I really do not think it is warranted. The critics are wrong. Go Tow, Mater!

WALL-E: This is a great movie minus one thing. It’s too realistic. How am I supposed to enjoy a movie that depicts something so awful?! Therefore, I’m not a huge fan of it. Although, who can truly resist the story of two robots falling in love in a post-apocalyptic world?

Monsters University: James P. Sullivan and Mike Wazowski in college! This is probably the most average movie Pixar has made. I do not believe anyone actually wanted or asked for a prequel to Monsters, Inc., but it was done, and it was done well.

Toy Story: This was the first movie ever to be released by Pixar, which gives it a special spot in the heart of all. Released in 1995, this movie set new precedents on just about every law of cinematic animation. Pixar said, “This is what we can do. What can you do, other movie studios?” The characters have definitely proven to be timeless. The animation is showing some age, but this does not take away from the enjoyment of the movie.

Cars 3: When I was watching this movie in theaters, I really enjoyed it…until the end. They ruined a possible classic with the ending of this movie. I expected an epic comeback from the greatest Pixar character in existence, Lightning McQueen. What ended up happening was his trainer finishing the race for him. It was a lame ending to an otherwise thrilling movie.

Brave: Brave, to me, is the most underrated Pixar film. The red-headed archer, Merida, is probably the most down-to-Earth protagonist in the Pixar universe. Plus, the Scottish medieval setting is my FAVORITE setting in any Pixar film. “If you had the chance to change your fate, would you?”

Finding Nemo: Similarly to Toy Story, Pixar has been riding off of the coattails of Finding Nemo for years. The plot is oh-so heartwarming (if you forget the annihilation of 500 fish eggs along with the mother of said eggs), and it is the only Pixar movie to take the audience to the upside-down country known as Australia. Overall, this movie is a classic for a reason.

Toy Story 2: I like this movie far more than I like the first one. Pixar managed to make a sequel that not only was on par with the first one, which is quite the achievement. Unlike most sequels, it simply feels like a better movie all around, with regards to animation and storytelling. My one gripe with this movie is the inclusion of a ridiculous sequence in which a toy horse is able to keep up with a real-life, full-size airplane going full speed on a runway.

Ratatouille: Only director Brad Bird could make an excellent movie about a chef in Paris, who happens to be a rat. Besides the uniquely comedic and well executed storyline, this movie is another one that stands out due to its setting. I’ve never been to Paris, but my limited (yet extremely accurate and unquestionable) knowledge of Paris comes largely from Ratatouille. Somehow, watching a movie about a rat in Paris makes anyone feel elegant.

Inside Out: After a series of Pixar “misses” (such as Cars 2, Brave, and Monsters University), Pixar took a two-year gap before putting out another movie. The movie they put out was Inside Out; it did not disappoint. I think this film is going to continue to be the best original universe of the “modern” Pixar era. It is also the only Pixar movie to include hockey, and I am a big hockey fan.

Toy Story 3: In a critical ranking, I would give all the Toy Story movies the exact same ranking. I put Toy Story 3 above the other two on my list because Pixar again manages to improve the franchise, even with the third movie. Again, I bring up the fact that sequels usually do not top the original. However, the Toy Story franchise once again proves to be an exception to the rule. After all, the strawberry bear villain is without a doubt the most menacing villain the toys have ever faced. On June 21st, 2019, Pixar is releasing a fourth Toy Story film. We will have to see where that is destined to end up in my rankings.

Up: Up is such a critically acclaimed movie due to how well it seems to touch the “human” part of being a human. The first few minutes of this movie are beloved by most and bring many to tears. While that’s great and all, I simply like the main character, Carl, and the dog, Dug. Plus, I could listen to the main theme all day. ♫♫♫♫

Cars: For some reason, many people dislike this movie. They are wrong. The movie is just short of perfect. Lightning McQueen has brought forth joy to millions, perhaps even billions. He could not have done this without this fantastic addition to Pixar’s collection. Owen Wilson, the voice actor who played Lightning McQueen, would say one thing about this movie, “Wow!”

Monsters, Inc: Monsters, Inc. brought the green, one-eyed Mike Wazowski and the big blue dude James P. Sullivan to the spotlight. The fresh monster universe portrayed in this film almost feels like science fiction. The whole concept of an entire monster factory having doors that lead to different locations is, as an understatement, clever. The scene near the end that has the protagonists running from the law through a massive factory of doors will always be one of the most iconic scenes in the Pixar universe. Also, monsters use the screams of children to power their cities. Who knew?

Incredibles 2: I am not often excited about movies being released. I was incredibly excited for Incredibles 2. I have been waiting for this movie for as long as I can remember, and it fully lived up to my expectations. That should say something by itself. The animation is gorgeous. The soundtrack is art. The plotline was dark enough to keep both kids and adults entertained. The true achievement of Incredibles 2 is its ability to maintain all of the characters of the film. Not a single beat was skipped between the original and the sequel, regardless of the 14-year gap.

The Incredibles: This movie not only tops Pixar movies, it tops all movies. The Incredibles is an enthralling film that brings in family turmoil, high-flyin’ super-powered action, and a rich backstory that is jam packed into a movie less than two hours long. I could probably write an entire post about this movie, so I’ll send it off with one word: incredible.

Editor: Leo Milmet

The Story, Production, and Genius of “Arrested Development”

June 6, 2018 by szachik@pvs.org 1 Comment

By Charles Schnell

Arrested Development is my favorite sitcom. With the release of the first half of season five on Netflix on May 29, I thought I would write a post explaining why.

To put it in the show’s own words, Arrested Development is “the story of a wealthy family who lost everything, and the one son who had no choice but to keep them all together.” Enter the Bluths: a wealthy family who owns a real estate development firm named the Bluth Company. Not only are they a very wealthy family but they’re also an extremely dysfunctional family. After the CEO of the company, George Bluth Sr., runs into legal trouble, the family starts falling apart, and it’s all up to one of his four children, Michael Bluth–the “one son”–, to keep them from plunging completely off the deep end, all the while trying to keep the company afloat. So, why does keeping his family together pose a challenge for Michael? Well, once you see his family, you can understand why. His family includes a lying, lazy, selfish, indecisive twin sister whose favorite hobby is to crack open the company checkbook; an arrogant, foolish, self-centered older brother trapped within his hopeless dream of being a magician; a gullible, post-hemispherectomy younger brother who’s overly attached to his mother; and an oblivious, neurotic, ex-therapist of a brother-in-law who’s chasing his dreams of acting. These four are just a fraction of his family. And what happens when you place this dysfunctional family right in the heart of a highly satirized Newport Beach? Chaos, crime, romance, loss-of-limbs, death, and hilarity!

Arrested Development was created by Mitchell Hurwitz. The show originally began in 2003, airing on Fox. Upon the completion of its first season, the show was met with critical praise, winning six Primetime Emmys and a Golden Globe. However, due to poor marketing, the show received poor ratings. Thus, in 2005, its second season was cut from a planned twenty-two episode run to eighteen episodes, with which it was still able to garner eleven Emmy nominations and one win. A similar but more unfortunate event occurred in 2006 with its third season: twenty-two episodes became thirteen, and the show was ultimately cancelled by Fox.

Fortunately, in 2013, Netflix, who had nabbed the rights to the show, released a fourth season. Many aspects were different about this fourth season. For instance, while all the main actors were able to come back, many crew members, writers, and producers did not return. Another thing is that almost all the actors had reached new heights of fame since the original series. Jason Bateman, Will Arnett, Michael Cera, and David Cross are all Arrested Development actors that have been in multiple movies and TV shows and have become more popular since the end of the third season. Because of this, Hurwitz and the rest of the creative team had trouble working around the actors’ schedules, especially without a film budget. Thus, the fourth season had to undergo a different writing and presentation style than the original three seasons. The original series was full of scenes of the characters being together, and what made the original so great was how cleverly the writers had the characters interact with each other. The fourth season had to go a different route, since the actors’ schedules were very limiting. Thus, while there are some scenes of the Bluths together, the majority of the fourth season was written with each episode being dedicated to one of the main characters’ individual adventures. The writers decided to turn this handicap into an advantage, as they used this to structure the plot of season four in a very complex way. Season four was not ordered chronologically upon release. Because of this, the writers ended up turning season four into an intertwining, complex, out-of-order story. This fourth season eventually unfolds into a mystery storyline. And this led to the controversy of season four. Some argue that much of the charm and wit of the original series was lost, as one of the reasons the original show was so great was because of how the characters played off of each other. Others praised season four, claiming that the complex plot of season four that gradually turns into a mystery made the show much more engaging and much more than “just a comedy.” While I would agree that the show is way more than “just a comedy” even if the fourth season never happened, I really like season four. The writing is extremely clever and well thought out. I think that about the original three seasons too, but the difference is that the first three seasons are clever in a comedic sense, while the fourth season is clever more so in its plot and storytelling, while still being funny.

After five years of little news regarding a fifth season, we recently received great news. About a month ago, Mitchell Hurwitz announced that not only was season five going to be released very soon, but that he had made the Season Four Remix: a recut of season four that not only put the fourth season back into chronological order, but cut and reordered all the scenes as well, putting the season into episodes that each contained multiple characters’ stories per episode. This recut, that turned the original fifteen thirty-minute episodes of season four into a new twenty-two-episode season with each episode being twenty-two minutes, has been positively received and generally recognized as better than the original fourth season. Some have even claimed it is just as good if not better than the original series. All the complaints of a convoluted plot and character-overdose per episode are taken care of in the recut. While I agree the recut is way funnier than the original season four, I still appreciate the original for taking its production circumstances and trying to do something bold with them. Plus, the writing in the original season four is still really organized and well-thought out. (Thankfully, both season four’s are available on Netflix. The original has been tucked away in the “Trailers and More” section).

Okay, enough with season four. I want to get to why I love this show. On May 29, the first half of season five launched on Netflix. Season five continues the mystery cliffhanger left by season four. But remember, it’s still a comedy first and foremost.

The writing is extremely clever, silly, intertwining, connected, organized, and hilarious. From funny one-liners to ridiculous physical mishaps, the script of almost every episode is non-stop laughter. Every line is delivered with the exact delivery it calls for. The actors all have great chemistry with one another and, also thanks to the brilliant scripts, can play off each other well. The pacing is very rapid and works beautifully; the only problem is sometimes your laugh from one punchline will extend over another punchline. Not only are the actors’ deliveries spotless, but their facial expressions and body language are always on point, sometimes even garnering more of a laugh than the line does. The soundtrack, while not the highlight of the show, is fitting and is subtly funny in its own way. Some of the tracks become their own on-running gags. Speaking of which, I hope you like on-running gags and inside jokes because this show is chock full of them and will never hesitate to use them time and time again, even when you least expect it. Another thing I will say about the writing is while Arrested Development is first and foremost a comedy, the storyline is not horrible. Unlike numerous sitcoms, a continuous storyline actually exists and has its own little surprises, twists, and turns. And, because of the continuous storyline, this is not a sitcom where you can jump around. In order to fully understand what’s going on in an episode and all the jokes an episode might have, you must have seen all the episodes prior to that episode respectively. The storytelling becomes much more of a focus with the Netflix seasons than the original series, which provides the story as a backdrop for all the crazy comedic scenarios that occur, as well as a relief from the otherwise non-stop one-liners and on-running gags. Finally, Ron Howard is the narrator. In the first season, he more or less acts as a normal omniscient narrator. However, as the show continues, Howard starts saying more and more witty one-liners and clever, comedic quips, and he gradually becomes one of the comedic highlights of the show.

Arrested Development is a hilarious, ridiculous, absolutely crazy comedy that also knows how to tell a compelling story. This show never fails to make me laugh, and with the release of the fifth season and the upcoming summer break, I hope you will give this show a chance. For those of you who already like this show, aren’t we glad that Netflix is keeping this show alive? And for those who do not like this show… we’ll agree to disagree.

Editors: Renée Vazquez and Leo Milmet

A Review of The Palm Valley Middle School Drama Department’s Alice in Wonderland, Jr.

May 16, 2018 by szachik@pvs.org 1 Comment

By Leo Milmet, Theatre Critic*

Grade: B

I don’t know what to think about the Palm Valley Middle School Drama Department’s production of Alice in Wonderland, Jr. If the play’s brilliant directors, Mr. Craig Gahnz, Ms. Kim Phillips, and the legendary Mr. Ken Sarkis, had shown me the script (without any of the great lines added by Mr. Sarkis), I would have politely asked if the person who wrote the script had seen a play before. Alice in Wonderland, Jr., as a script, is a mess.

I had seen half of the play already and wasn’t much of a fan of the writing, so I went in the theatre with the review half-written in my head. But, after seeing the whole show, I no longer thought of writing scathing comments about the show (aside from the writing). Mr. Sarkis, Mr. Gahnz, and Ms. Phillips are amazing. They have taken a simplistic script and mostly mediocre musical score and somehow, someway, turned these elements into a decent production. How? To start with, the choreography is excellent. Ms. Phillips has a true artist’s eye for dance, and here she has created some of her most spectacularly choreographed numbers. Her big, showy numbers work as pure energy and spectacle, further enhanced by the students’ real love of theatre. The staging even manages to ground the nonsensical plot.

The play was also technically brilliant. The sets, lighting, costumes, hair, and makeup are aesthetically pleasing. When I walked into the theatre, I saw the majestic black-and-white of the whole stage, and when all of the colorful costumes, hair, and makeup (all incredibly designed, by the way) appear, the juxtaposition feels like…well, it feels like Wonderland. The lighting is also visually pleasing which includes some brilliant glow-in-the-dark moments. However, maybe more could’ve been done to vary and accentuate the lighting to truly make the audience feel like they were in a crazy Wonderland.

The play’s middle-school cast does the job well, and many of its members do it exceptionally well. Kaiya Treash, Mia Alexander, and Kanan Levy make for amazing Alice’s. They’re the only actors in the cast tasked with playing a character that is even a little more than just a silly caricature, and they do it well. I got a genuine sense of Alice’s childlike giddiness and naiveté. Also notable are Carter Keenan as the hilarious and adorable King of Hearts, and Henry Swenning, whose Mad Hatter kept me entertained whenever he was on stage. However, some small aspects of the production were just a tiny bit unpolished–some stumbles could have been smoothed out, but no matter — the actors are quite talented, and their energy is through the roof. In fact, the pure theatrical energy of the cast is what saves this show from mediocrity, almost as much as the directing of the actors.

The play is very “Sarkissian.” The second act of Alice in Wonderland, Jr. returned to the beautiful wonkiness of Mr. Sarkis’s self-written plays such as Home Sweet Homer and Shakespeare at Starlucks. The spectacular show-stopper in the beginning of the second act that I’m not likely to forget anytime soon, “Zip-a-dee-doo-dah,” was a nostalgic blend of new-age spectacle and a true Sarkis production.

My one major complaint is that I wish the cast had gotten more of a chance to play legitimately challenging roles. With the play’s length being around an hour and a half (including intermission), only a few people even get to have the experience of becoming a character. Every character (maybe even Alice) is a caricature, and not much can be done about it. The issue stems from the choice of material which, I’m afraid, is the major weak point. These “Jr.” shows that the directors get from Music Theater International such as Into The Woods, Jr. and Alice In Wonderland, Jr. are, in my experience, short, terribly written, spectacle-based musicals. But this one also lacks good roles for the actors which is why I cannot understand why this play was chosen. This play does not befit these great middle-school actors, and it certainly does not befit the play’s three brilliant directors.

So, what is my overall recommendation? I give this musical a definite thumbs-up, with the writing and lack of good roles being my only reservations. The play is entertaining; it’s short, and I think most people liked it even more than myself. Regardless of the flaws, I cannot overstate the great combination of the amazing energy of the cast and the definite skill of the directors. So, I hope you saw it, especially if you have small kids. You probably had a wonderful time.

Editor: Brennan Nick

*The views of critic Milmet are his own and don’t represent the views of thebirdonfire.org as an institution.

Fuller-TON of Fun

April 19, 2018 by szachik@pvs.org Leave a Comment

By Brennan Nick, actor and blogger

The Palm Valley School cast of “Murder, Murder”

Just last month, the Palm Valley School Drama Department went to Fullerton College to compete with over 60 other schools in monologues, scenes, and a musical number–that you saw showcased at morning assembly. This is the Fullerton College Drama Festival. The key word here is “Festival” as it is emphasized that the most important aspect of Fullerton is the festivity of it per se. In other words, it’s all about having fun, and there’s ample opportunity for it. For example, there are songs played in the courtyard to “energy circles” formed by students from dozens of schools.

However, the real reason we’re all at the Festival is for the competition, and Palm Valley School was no slouch. Although we did not place, we had five finalists. To put this into perspective, two years ago we had only one finalist. This year was the first time we ever made it to the finals for a musical number. We did it with Murder, Murder from the play Jekyll and Hyde. Our other finalists included:

–A scene from Almost Maine performed by Lawrence, Shelby, and Josh;

–A scene from Twelfth Night performed by Joe, Aurora, Jordan K., Nathan, and Aidan;

–A monologue from Measure for Measure performed by me, Brennan;

–A monologue from I am not Batman performed by Graham.

None of this would have been possible without the help from Mr. Sarkis and Mr. Gahnz. They are the reason a school as small as ours can compete with schools of thousands of students. These two teachers worked alongside all of us for the month and a half leading up to Fullerton. Here’s to winning trophies next year!

Editor: Makena Behnke