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‘So You Think You Can Dance’ Season 12 tour promises to amaze

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‘So You Think You Can Dance’ Season 12 tour promises to amaze


The “So You Think You Can Dance” tour will return to the Wharton Center stage in East Lansing, Mich., on Sunday, Nov. 22. Season 12 of “So You Think You Can Dance” was the first season where contestants were not based on their gender, but by what each competitor considered themselves; either a “Stage” dancer or a “Street” dancer. The tour features the top 10 finalists, with five from each category. The performance will include the best dances from the competition.

On left, Jaja Vankova and Gaby Diaz, on right, perform. Photo courtesy via

On left, Jaja Vankova and Gaby Diaz, on right, performing on season 12 of SYTYCD. Photo via “So You Think You Can Dance.”

For this year’s winner Gaby Diaz, who actually got into the competition based on her audition in Detroit, the tour has been “pretty incredible.” Like many who have been on the show, she has been a fan since the first season. She has had many friends on the show throughout the seasons and after hearing their stories, Diaz could not have been more ecstatic to win.

Fans can set expectations high for the show. The finale will be a fun number and Team Stage’s Edson Juarez’s favorite dance of the tour is the “last dance of the first act, it’s so full out,” he said.

Diaz also said that competing on the show is very different than being on tour, since the show features back-to-back dances with a very short intermission. From competition to tour, they work extremely hard each night to bring an incredible performance.

It has been an incredible journey for the Top 10 dancers, but not without challenges. Juarez suffered from strep throat during the first week and dehydration. Diaz passed out during the dress rehearsal for the finale.

“I just passed out and woke up and saw people hovering over me,” she said, “That was scary.”

Juarez’s next steps after the tour are to go back home to see his kids and move to Los Angeles in order to continue his dancing career. Juarez also said that he was excited to see his aunt who lives in Detroit. For fans of Diaz, you’ll be excited to see her on stage knowing that she will be joining Jennifer Lopez at her residency in Las Vegas after the tour.

“We hope to see you guys out there,” Diaz said, “and we look forward to meeting you!”

 

 

 

 

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Review: Dirty Dancing at the Wharton Center

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Review: Dirty Dancing at the Wharton Center


A great balance between music and dance, this Broadway adaptation of “Dirty Dancing” captivates and keeps you on your toes with humorous anecdotes. Not straying very far from the original story line, there is an even bigger emotional connection to the characters of Baby and Johnny as their time on stage allows their chemistry to grow. Gillian Abbott (“Baby”) encompasses the true spirit of her character and flawlessly convinces that she had nothing in her repertoire at the start of the show. Full of quality, show-stopping dance numbers, this show does not disappoint both the dance and musical lover with two smaller cast members stealing the show. Doug Carpenter (“Billy Kostecki”) and Jennlee Shallow (“Ensemble”) with their duet and individual solos are what really sent audiences cheering through the roof.

The key factor that makes this musical so unique is the balance between the music and dance talent.

“I think it’s special like that,” Christopher Tierney said. “As leads of the show we have our parts, but it’s great that you get these other two singers who who get to be their own leads.”

Photo via Wharton Center for Performing Arts at Michigan State University

Photo via Wharton Center for Performing Arts at Michigan State University

The show basically gives you two tiers of people enjoying the show, and the characters for different reasons. The live music on set certainly helps, of course.

The diversity of this production’s cast shows on and off stage. Lead actor Christopher Tierney, who plays Johnny Castle, has the most experience with the show as this is his second tour of “Dirty Dancing” with the same director.

His dance experience started at the young age of 12. “I got that bug and I just kept making the next right choice,” he said. “I joined dance companies, met great choreographers who brought me to great movie directors, who also brought me to Broadway.”

A fun fact from Tierney: he never watched the original film to study his character. This may come as a surprising fact because the consensus reigns that Tierney actually looks very much, and even sounds like Patrick Swayze!

On the other end of the spectrum, this is Jenny Winton’s first Broadway production. Winton plays Penny in the show and although her character flows on the dance floor with ballroom dance, she is classically trained in ballet.

On her connection with her character, she said, “I’ve just drawn on certain things in my life and we both share the passion for dance.”

Winton commented that since her character has multiple layers, it really gives her the opportunity to express parts of her personality that not everyone sees. Dancing on “Dirty Dancing” has opened many new doors for Winton and she wants to continue to explore her options in theatre and dance.

“I think it’s a story, that no matter what generation you’re in, you can relate to,” Winton said. “The passion for dancing and music is so relatable because these songs are so iconic.”

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Photos: Easton Corbin and Jana Kramer rock the auditorium

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Photos: Easton Corbin and Jana Kramer rock the auditorium


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Wharton Center goes Blue

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Wharton Center goes Blue


Photo credit: Alex Tekip

“When meeting people from a foreign culture, offer a few gifts that reflect your interests as a gesture of friendship. Better yet, give things you’ve created yourself. Also, explore their interests and their culture. Ultimately, the best way to forge a lasting relationship is to create something together. Whether it is a meal, an art project, or a spontaneous dance party, when you create something with others, you build a connection that lasts a lifetime.”

These words, some borrowed from the International Diplomacy Guidebook, were graced upon a projector before Blue Man Group took the stage at Wharton Center’s Cobb Great Hall on Sunday, Feb. 22. These simple, powerful paragraph was only the starting point of a performance filled with culture, creativity, and chaos. It was almost as if these words sufficed as a  screenplay of sorts, embodying the entire philosophy of Blue Man Group and the ways in which they perform in a show that exceeded my expectations.

“When meeting people of a foreign culture, offer a few gifts that reflect your interests as a gesture of friendship. Better yet give them things you’ve created yourself.”

The Blue Man Group forms a culture of their own: one where they communicate without speech, motion with acknowledgement, and explore with constant curiosity. These characters understand each other, but do not understand the marvels of our modern society; therefore, they give gifts to reach out to the audience in an attempt to do so.

The Blue Man Group created art projects on stage, such as a pinwheel painting or a mini snowman, and gave them to random audience members. Gifts like these were openly accepted, whereas gifts such as “twinkie mush” in a takeout box (more details to be explained later) were taken very reluctantly.

However, it was not the gift that was important: it was the message behind the gift. It was almost as if the Blue Men were saying “this is what we like, this is a representation of our culture and ourselves, and we would like to share it with you” as a way to fully engage the audience in their creative endeavors. And it worked.

“Also, explore their interests and their culture.”

The Blue Man Group seemed to amazed yet questioning of the technological society that currently defines our culture: baffled and excited about all the things technology can do, yet dismayed at its effects on interaction and personal growth.

An act of the show with 2-d characters afraid to step out of their comfor zone and interact with one another in 3-D instead,effectively conveyed this message.

The performers also encouraged the audience to be aware of the effects technology can have on mental capacity and social interaction (another act where classic literature was dumbed down into tweet language in a fake iPhone app called “Twit that Lit!” was indicative of this).

The Blue Man Group found a less digitized way to interact with the audience based on the culture that we in the crowd were familiar with, col collaboratively playing  popular songs such as Ozzy Osbourne’s “Crazy Train” and Lady Gaga’s “Bad Romance” on a  xylophone.”  During group’s rendition of  “Bad Romance,” each Blue Man disappeared under the xylophone for a few seconds and came back up wearing some sort of headgear. The first two reappeared wearing over-the-top headdresses reminiscent of Gaga’s style, but the third one reappeared wearing a Spartan helmet. This provoked a roar of applause from the audience, one that lasted significantly longer than any cheering during the entire show. Through the simple gesture of putting on the helmet, the Blue Man was showing us that he knew what Michigan State valued, what was important to us, and that he understood our culture…so we welcomed the Blue Men.

“Ultimately, the best way to forge a lasting relationship is to create something together.”

The Blue Men didn’t just perform for the audience; they made the audience a part of their performance.

After giving a gift to an audience member, a Blue Man would raise the audience member’s hand and have the crowd cheer for him or her.

Blue Man Group also took audience members on stage in acts involving a dinner table setting and human painting.

During an act centered around setting a dinner table and eating a meal.  an audience member, presumably in her late teens or early twenties, taught the Blue Men her ways of eating while they taught her theirs-all without speaking. The Blue Men and the girl created a communication system to exchange cultural customs through working together, and a relationship was built.

Later in the show, an adult male audience member was taken backstage and covered in paint. He was then hung from the ceiling by his ankles and swung against a canvas by the Blue Men. The outline of his body was left on the canvas, which was then splattered with even more color. All of this was shown on a camera on the main stage as it was happening, and the man was able to keep the painting of himself that the Blue Men helped create- a memory to remember the moment of collaboration he had with them.

 “Whether it is a meal, an art project, or a spontaneous dance party…”

All of the act previously mentioned  lead up to the big finale of the show: a dance party to the Blue Man Group’s song “Shake Your Euphemism”.

Complete with a techno beat, bright digital images, and a giant dancing stick man operated by the Blue Men, the finale encouraged the audience to stand on their feet and shake their “rump,” “hindquarters,” “hippobottomus” as the Blue Men threw out streamers and giant lighted globes into the crowd.

This act was filled with  hilarity- I was thoroughly amazed at how many words could be used to describe one’s rear end. However, it also exemplified everything wonderful about the Blue Man Group’s performance: well-executed props, spectacular colorful lighting, creative music, unity, and fun. I found myself smiling throughout the entire song (even though I had to sit down after a while), and left the show in awe of the artistic capabilities of Blue Man Group.

“…when you create something with others, you build a connection that lasts a lifetime.”

Blue Man Group’s time at Wharton may have ended on the 24th, however the groups philosophy of unity through creativity remains. Working together to make something, no matter what that something is, is a lesson that can be taken beyond the world of the Blue Man. A Blue Man Group show is a truly unique, one of a kind experience that has the power to change one’s thinking in unexpected ways…and I can only hope that Wharton Center decides to go blue again in the near future.

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Q&A With WWE Super Star, Ted DiBiase Jr.

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Q&A With WWE Super Star, Ted DiBiase Jr.


By Maddie Fetchiet

On March 10, 2012, the WWE Road to Wrestlemania Tour will invade the Breslin Center. Super stars like Ted DiBiase Jr., Wade Barrett, Randy Orton and many more will perform a variety of entertaining fights for the audiences of all ages.

Ted DiBiase, right. Photo, courtesy of Al Stavola, WWE Inc.

Tickets range from $15-$60, and are still available for purchase through the Wharton Center.

Doors open at 6 p.m., and the show kicks off at 7:30 p.m., so don’t miss out on a great show to end Spring Break with a bang.

I spoke with WWE sports entertainer, Ted DiBiase Jr. about his upcoming performance.

Q: How long have you been involved with WWE?

A: Going on five years, six years total in wrestling. Working with WWE is like fulfilling a childhood dream for me. My father was a wrestler very well known as the Million Dollar Man. I’m actually a third-generation wrestler; my grandpa and grandma both were wrestlers, so after I got my education I finally said ‘Dad I want to be like you.’

Q: How did you get started as a wrestler?

A: I strongly said I wanted to be a wrestler. I trained under Harley Race who was hall-of-famer, who wrestled my father and grandfather. I also spent time in Japan to get experience. Eventually WWE hired me and sent me to Tampa for their developmental program. I debuted on T.V. on May. 26, 2008, and I haven’t looked back since.

Ted DiBiase. Photo, courtesy of Al Stravola, WWE Inc.

Q: The Road to Wrestlemania Tour visits East Lansing in March…why do you think this is a good place for an event like this?

A: The great thing about WWE is it’s world wide. Michigan always has great crowds; the fans are wonderful. The WWE universe is so responsive, especially the kids who are always so excited to see us. It’s a great family outing for an affordable price.

Q: What does the East Lansing tour stop have in store for us?

A: The big show is the 7-foot Giant versus the World Heavy Weight Champion, Daniel Bryan. Street fighting is also in the mix and involves more tables and chairs and everything. The street fight will be between Randy Orton and Wade Barrett. The world’s strongest man will also be there and he’s like a grizzly bear of a man, the guy is massive, so it should be a fun time.

Q: You will be facing WWE super star, Hunico in the ring…is there anything significant about this fight?

A: We have a history because he recently broke my arm, so I’m out for revenge. It’s personal.

Q: What kind of crowd demographic do you hope to draw in for the show?

A: The great thing about WWE is it’s appealing to everyone. There’s a lot of action so it draws a lot of different people. I’m sure on a college campus it’ll be fun because they’re rowdy and fun. We feed off of the crowds so it helps us get into it.

Q: What about these upcoming performances are you excited about in particular?

A: With the big matches, they’re always exciting. Every event is special. Once you walk through curtain into the crowd, it’s a memory. It’s kind of like a drug, an adrenaline rush. I’m always eager to get in ring and compete.

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Q&A: Michael Lomenda of <i>Jersey Boys</i>

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Q&A: Michael Lomenda of Jersey Boys


By Alyssa Firth

Jersey Boys, a musical based on the life of Frankie Valli and the Four Seasons, has just finished up with its run at the Wharton Center. I had an opportunity to speak with Michael Lomenda while he toured in Omaha, Nebraska last month. Born and raised in Alberta, Canada, Lomenda tells TBG about how he got his start in musicals and what everyday life is like for a star in Jersey Boys.

Michael Lomenda, photo courtesy of David Leyes

Alyssa Firth: I haven’t seen the play, but I know your character is Nick. Can you describe him a little bit?

Michael Lomenda: Nick is the bassist of the group. He sings bass and he also plays bass, the instrument and he’s sort of the quiet, silent type, you know? He doesn’t say a whole lot in the group, but he’s credited by Bob Gaudio and Frankie Valli as sort of the arranger of the group. He created a lot of the great vocal arrangements and also Frankie sometimes talks about him as the guy who helped him early on with his voice and coaching his voice early on, so Frankie’s got a pretty distinctive style so that’s kind of an awesome credit to his name.

AF: When and where did you start performing?

ML: When did I start performing? That’s a good question.

You know, it was sort of a young thing. I guess I kind of got into it early on. My dad was a pro hockey player in the states in the 70s and I kind of didn’t take to that, so I think my parents wanted to get their kids involved in something, so I kind of took to the arts and started early on playing classical piano and all that kind of stuff. And then performing wise, I sort of kind of fell into it.

My small town was like population 5,000, so there wasn’t a whole lot of opportunity you’d think, but actually there was a surprising amount of opportunity. A young sort of drama teacher, an art teacher, came in and took me under their wing and it got me into the arts and gave me a lot of really great opportunities to perform and work with some great folks. And then I sort of moved out to Toronto for three years for Sheridan College which was a music theatre program and I had previously taken a year of acting in Alberta at Red Deer College and a bunch of my buddies were, you know, wanting to go on a trip to Toronto. It’s a four hour flight away from where I was taking school.

I said, “Sure, let’s go. Let’s go for a fun time. I’ll audition for this school.” And meanwhile, just really wanted to go out and have a good time and then I went to school, actually got into a school for three years and then it’s been around 10 years that I’ve been performing.

AF: I know you just rejoined the cast. Is this your first time being back with them or when did you come back?

ML: Well the Toronto Company was done in August of 2010 and there was about a six month hiatus where I did other shows and things like that and then they gave me a call and said they wanted me to come down and join this tour, the first national in Miami, because the guy who was playing Nick was going on a bit of a vacation. So I flew down to Baltimore and then I rehearsed with them in Baltimore for a week and then flew with them to Miami for three weeks, which was great, and then another five or six months passed and then they gave me a call and said they wanted me to come down as sort of a permanent person on tour. So I flew in not yesterday, but the day before, so I flew in Wednesday and I did some press in the morning. On Thursday I had to put in some rehearsal which is basically just, you know, you’re on stage with the cast and then last night I did my first show.

AF: How did that go?

ML: I think it went okay, this is certainly a very, I would say, a typical rehearsal process. Usually you get a couple more days to rehearse Usually you get your bearings, so this is a pretty fast process for me. It was kind of a roller coaster, but I think it went across okay.

AF: What’s an average day of rehearsal and performance for you?

MK: Well, we do eight shows a week and sometimes it changes. The schedules will change; different cities warrant different schedules. Usually you have evening performances around 8 or 7:30 and so you get up and I mean most theatre folks are not early risers because we sort of work at night, but I get up and go to the gym and grab a breakfast. I mean, I’m really excited about touring around the states and seeing the cities so I’ll be out, you know, being a geeky tourist, you know, taking in all the sights and going to the art galleries and all that stuff. Then basically, go for a half hour call for your evening show and some people arrive earlier, some people arrive later, but you have to be there at half hour, so I prefer to be there about 45 minutes early. And then you know you do your show and if there’s a rehearsal, they’ll call you during the day for probably about four hours and, you know, it’s pretty casual. Everybody sort of knows the rhythm of things around here, so they’ll go in for a rehearsal and work on whatever they need to and then we’ll go for dinner and then we do a show.

Yeah pretty simple. I think a lot of people think that we rehearse a lot and that’s not to say that we don’t. Sometimes there’s a lot of people coming and going from a company for whatever reason, whether they’re new swings or vacations or all that kind of stuff, that are coming in and things like that. There is a lot of rehearsal and lately there’s been a lot of rehearsal, but for the most part, you know, we have our weeks pretty much free which is great.

AF: What do you do personally to prepare for your role besides with the cast?

ML: Well, individually there’s of course I mean it’s sort of funny. The hair is kind of one of the big things about the period. It’s sort of 50s, 60s, 70s and if you go and look at some of those pictures online of that era and those guys during that era, they had some pretty awesome hair. So the hair takes a little bit of time cause you’re using- I certainly use a lot more hair gel and spray than I would use in my hair on a daily basis that’s for sure.

A lot of people do a vocal warm up, which is kind of key. especially Frankies. I know Frankies have very personalized, very specific warm up that helps them sing that hefty role. I mean, they sing 27 songs in the show and I think there’s like only 30 or something like that so they’re pretty much on stage for the whole show. They have a really extensive warm up. And like I said, it’s very specific. Some people don’t eat certain things during the day, like milk products and stuff like that because it’s harder to sing, but for me personally, I like to go to the gym ahead of time to get my body warmed up.

I get to the theatre about an hour to 45 minutes ahead of time and I like to go around and sort of chat with everybody and see how their day’s going and you know, just sort of connect with them cause we’re going to connect on stage in about an hour and it’s important to sort of touch base with everybody and then I start you know getting ready. I shave everyday, you put your hair on, you get your mic, you know, and you have to get all wired up and then you just sort of take your time to focus and do a little bit of a vocal warm up and what not and then you’re ready to go

AF: Did you always see yourself performing in broadway musicals? Was it what you had planned in the beginning?

ML: My life has a funny way of never really — if I don’t plan things, they just go in an awesome direction. That’s one thing I’ve learned. I just sort of go with the flow and let it take me where I’m going.

I mean certainly when you go to music theatre college and you study to go in the realm of music theatre, I think it’s a goal for everybody to do big, awesome broadway shows, especially like this one.

This is something that is, you know, it’s sort of funny it just kind of happened this way where I’ve come across this role at this point in my life and my career and I think it’s for me it’s been such a wonderful milestone for me to be doing this particular show at this point in my life, in my career. It’s just been the pinocle really for me and so yeah, I guess indirectly it’s been a goal to have something this gratifying to do at this point in my life and career, but I can’t say I’ve totally planned for it. It’s just kind of you know you sort of do your hard work and put your head down and hope that this kind of stuff happens.

AF: Have you performed at the Wharton Center before?

ML: No I haven’t. I have not actually been to Michigan before so I’m super excited. I’m doing my research online so that I can go around, pick up on all the history and all the arts and culture and night life and all that stuff, so I’m excited.

AF: Out of all the places you’ve performed, what’s your favorite city that you’ve been to?

ML: Well, I can say I was on a cruise ship at one point so I saw a lot of cities internationally that I loved and I went back to Barcelona and those things, but you know, it’s funny. It’s hard because I think every city is so different and there are  things like I’m noticing Omaha is really receptive to this show and they’re really excited and they’re listening and they’re great folks down here. And other times I’ve performed in audiences that are just bouncing off the walls and raucous and dancing in the aisles and you know.

So every audience is different, but they all seem to kind of, for this particular show, they all seem to kind of get up on their feet at the end of it. It’s kind of unreal. It’s like this crazy, phenomenon that this show has created and every night people are just up and dancing in the aisles and singing and you know, it’s kind of the unreal job to do, to be able to bring this story to everybody every night and have them walk out every night humming the tunes and being so excited about it

AF: We are a university, so what piece of advice would you give to an aspiring theatre student?

ML: Well, I think nowadays with the advent of you know American Idol and that kind of stuff, I think you now theatrically speaking, a lot more people seem to be interested in getting into music theatre which is awesome. And Glee and all that kind of stuff.

It’s really sort of changing the face of music theatre and I would say there’s just a lot of hard work that’s involved in doing what we do, which is sort of implicit in any career, but I think the key to it all is that you have to love it enough to get through the rough times because I think that’s where people tend to fall off in this career. You have to just know within your heart of hearts that you love performing and that you love the arts and all that kind of stuff enough to dedicate your life to it. Even when you’re working another job and running out and doing auditions and it can be really hectic and hard on you sometimes, you just have to make sure that that love is deeply routed within you. And I think also you have to really get to know yourself cause I think the best thing for artists and for people who perform is life experience and I think if you are limited with your life experience sometimes that can limit you as an artist, too, and I think that getting the most out of life and experiencing life to it’s fullest really informs you as an artist and really sort of puts your eyes and ears and your senses and I think that’s kind of a key to being a really detailed, exciting artist.

AF: Anything else you want to tell us about the show?

ML: Personally, I think this is a show that connects to a lot of people, not only because of the music because I think the music is sort of spanned so many decades and I think that’s why there’s so many different age groups that come to this show cause these guys just made incredible music for so many decades so I think it’s connected to so many people, but I think what people kind of want out of Jersey Boys is kind of a surprise about the story behind all of this music. I think it’ s kind of cool. It’s a backstage sort of pass to the goings on of this group of four blue collar guys who rose to fame and just kind of fell apart. And I think it surprises people cause it gets you with the story just as much as the music and that’s, I think, why people keep coming back and people are feeling so connected to this and that’s a really really special, incredible thing.

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Where To Be

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Where To Be


A Chorus Line

April 6-11, Cobb Great Hall.

Enjoy the occasional kickline? Want to see some tapping and twirling from a Tony-Award-winning musical? Get tickets for A Chorus Line at the Wharton Center to see 17 performers battle it out for the chance to do what they’ve always wanted – dance.

Tunnel of Oppression

April 7, 6 p.m. at the MSU Union Ballroom.

Though it might not be the happiest show you’ve ever seen, the tunnel will expose you to real-life experiences of poverty and oppression. Take the time to find out what injustices are going on in the world. In collaboration with Amnesty and Peace over Prejudice campaign.

Public Observation at the Observatory

April 16, 9 p.m.

Looking for a cheap date? Grab a blanket and head to the observatory at dusk to do some stargazing. A 24-inch telescope and several smaller ones will be set up in the parking lot to check out some planets, moons and the Milky Way. Plus, MSU astronomers will be on hand to help you tell the difference between a satellite and a shooting star.

Horticulture Club’s Spring Show

April 17-18, Plant and Soil Sciences Conservatory.

Daisies and roses and tulips, oh my! Come check out the Horticulture Club’s Spring Show with this year’s theme, “Alice in Flower Land.” It features an installed landscape design, plant sale and guest speakers. Proceeds go to fund student competitions and scholarships.

Sparty’s Spring Party

April 24, 2 to 6 p.m., Demonstration Field.

Featuring free food, an obstacle course, rock climbing walls and a 3-on-3 basketball tournament, Sparty’s Spring Party is the perfect way to spend some time outside while putting off studying for finals a little bit longer. And be sure to head to the Auditorium April 25 at 7 p.m. for a concert featuring Cobra Starship. It’s sure to make the “good girls go bad.”

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Scene and Heard

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Scene and Heard


SCENE

“The Bremen Town Musicians”

November 27-29 & December 4-6, 2009, Riverwalk Theatre Mainstage

A family friendly show about animals looking to live the good life and be musicians.

HEARD

Re:Action Battle of the Bands

December 4, Erickson Hall Kiva, 7 pm, Free

Ten of MSU’s organizations are collaborating to bring 4 local bands to campus and raise awareness for their work to make better world.  It’s a “social event for social justice.”  Bands include: Fields of Industry, Januzzi Watchmen, Empire! Empire! (I was a lonely estate), and Res Publica.

How the Fifth’s Stole Christmas

December 4, Kellogg Center, $5 tickets at the door

Every Sparty
Down in Sparty-ville
Liked Christmas a lot…

But the students,
Who had to take midterms,
Did NOT!

They hated semesters end! The whole midterm season!
They wrote papers, made projects and wrote blue books for no reason.
High stress during this time of year did not seem right.
Someone must do something, please put up a fight!

To distract all the Sparty’s who long for some cheer.
But, wait. What are those wonderful noises you hear?
The sound wasn’t sad!
Why, this sound sounded merry!
It couldn’t be so!
Midterm season was scary!

The students opened their doors and opened their ears.
And 16 lovely voices ended their exam fears.
They then heard a sound rising over the snow.
It started off low, then it started to grow…

They were “Rockin’ the Suburbs” and asking “Whatcha Say”?
“Falling Slowly” and saying “Hey girl, hey!”
Their heroes had come and at the perfect time
A week before exam week, a time that is fine.
State of Fifths was their name, they had both girls and boys.
They knew that the stage would be filled with lights and toys.

“Let’s walk towards the sound and see this glorious show!”
So they walked and they walked and they trudged through the snow.
Their feet led them to a beautiful scene
The Kellogg Center was before them and their bright lights gleamed.
Inside they walked and for only five bucks
They could watch the show, because studying sucks.

December 4th was the day of this festive event
Even some of Oakland University’s Golden Grizzlies went.
They came to hear the sound of the Vibrations
When the Fifths and GV joined forces they honestly change nations.

So come to hear the sounds that sparked this tale.
And I promise if you leave your books you will not fail.
Come hear the songs that I got to hear
Then after the show have some egg nog and/or beer.

Maybe Christmas, this year, will come after all!
So come hear State of Fifths, you will have a ball.

–      Dr. Steven Seuss Book

MSU’s Home for the Holidays

December 5, Wharton Center, 8pm

Celebrate the holidays with MSU’s Symphony Orchestra, Men’s and Women’s Glee Clubs and the MSU Children’s Choir.

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