== Loyalties == Imagine if you will; three weeks of long practices and memorizing lines boiling down to a single blackout. As the lights dimmed signifying the beginning of “Loyalties,” a clear sense of anticipation grew within the cramped Theater Classroom. And yet, when everything was said and done and the cast took its bow, it was clear that the most recent Drama Lab showing was a huge success. First-time Drama Lab director Gloria Odusote ’08 was very pleased with the outcome of her efforts: “I couldn’t have asked for a better cast…When they came [backstage], I just screamed ‘I love you! I love you!’ They really pulled it off.” The talented cast consisted of Julian Danziger ’11 as Rudy, Erica Morales-Jobse ’11 as Katrin, Hannah Weiss ’08 as Monika and Pat Woolsey ’09 as Jacob. Danziger (although having a faint resemblance of Schultz’ Linus from “The Peanuts”) clearly held his own next to the experienced Weiss and Woolsey. Thomas Armstrong ’11 says “I was impressed by how the lines were perfect. The whole play was coherent for such a short amount of time. I was also surprised by Julian’s performance, he was very good.” Danziger and Weiss had great stage chemistry from the first scene of light-hearted banter to an intense argument later on. Danziger and Woolsey also portrayed a very believable testosterone-charged fight between two very strong-minded men. However, Woolsey’s later argument with Morales-Jobse was a little weaker, as Jobse appeared to have a little trouble holding authority over her co-star who is two years her senior. Her overall demeanor seemed to be more fitting for the role of a daughter. Both actors in that argument seemed to be tense with nerves because they were acting like they were listening to each other as opposed to actually reacting. The plot of “Loyalties” threw the audience for quite a ride. The audience tended to side with Rudy and his patriotism against Jacob’s annoying cynicism, until the reveal of Rudy walking on stage with a swastika on his arm caused the audience to do a complete double-take. This controversial twist is what drew Odusote to this script. She had a slight doubt for the first time before the cast did their first run through and Julian asked, “Am I actually going to have to wear a swastika?” But that doubt was immediately squashed when she saw how well it worked with the script. All in all, the Drama Lab proved to be a great success. Prominent member of the Drama lab-scene, Producer Evan Delgaudio ’08 said, “Most Drama Labs contain a lot of dick jokes and sex…this one was different—it was great!” Thor Shannon ’09 added that “It was very well done and it was a nice change of pace of drama over comedy.” == Right to Remain == In case your girlfriend ever doubts your commitment, don’t repeat all seven numbers of her phone number from memory. It may give you away. Directed by Michaeljit Sandhu ’09, “The Right to Remain” is a short play about a man cheating on his wife and how it affects their family. Adam Levine ’11 played the deceitful husband, Peter. Hannah Turk ’09 played the victimized wife named Amy and Matt Cranney ’08 played their son, Josh. Sandhu said, “I wanted a script that was bare bone so I would have a lot to mold and work with, and dramatic so I could break the mold of the usual drama lab.” The play begins with Amy and Josh, both seeming disgruntled, eating dinner. When Peter arrives to dinner late, he claims he had a big, busy day, working on a snowmobile account. After he has made a slew of excuses, he asks Amy what she was so dressed up for. She replied that she had had a meeting with a man that day, and Peter assumes that Amy had been trying to impress him. Soon, the tables turn when Amy and Josh admit that they know about Peter’s secret affair. The rest of the play shows contrast and chemistry between the parents in a heated argument. The fight built up tension, and, towards the end, Amy and Josh tried to make Peter admit that he was cheating and interested in another woman. Amy and Josh both announced the first six numbers in the love interest’s telephone number, asking for the last one. By giving them the last number, Peter would be admitting that he had put enough thought to memorize the woman’s number. Peter would also be, though he may not have realized it, pleading for mercy and more capable of being forgiven. The last line was high strung; Peter told his wife and son that the last number was seven. Some of the acting was a bit awkward, especially in the arguments. The timing and length of each person’s input seemed a bit unrealistic. Hand motions seemed forced and the positioning on stage of the characters appeared to be very staged. However, Ben Podell ’11 thought The Right to Remain was excellent, though he suggested that Adam Levine show bigger reactions in the future, like when he tried to sip liquor on stage. The roles of the characters were very clear and coherent, though two dimensional. Despite the few drawbacks, the show received good feedback from the audience. Lucy Danziger, ’78, mother of Julian Danziger ’11, called the “Right to Remain” “bone-chilling” and enjoyed the “very subtle undercurrent of tension.” In the end, “Right to Remain” was successful and received warmly by the audience.
