Arts & Entertainment

Arts & Entertainment

The Empty Space Theater presents “Falsettoland”

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Photos by Tatiana Trauslen

12186667_10103376555323009_6774822362283800338_oOver Halloween weekend, The Empty Space Theater (TEST) produced Falsettoland, an off-Broadway hit musical about homosexual romance in 1980’s New York. The musical focuses on Marvin, a gay man who has left his wife and son for his ex-lover, Whizzer. Whizzer becomes afflicted with a mysterious illness—which we know today as AIDS, but which was not yet named in 1981—and all seven characters are forced to reevaluate their relationships with each other as they come to understand what “family” really means.

The cast consisted of one Wellesley College student, two Babson College students, a 14-year-old from Sharon Middle School, and three local actors. Together with a renowned director from Chicago, they produced a four-day show.

Starring:

Anastasia Perreault as Dr. Charlotte

Chandler Cummings as Trina

Jack Price as Jason

Jacob Rosenbaum as Whizzer

Jordan Cohen as Marvin

Nash Hightower as Mendel

Olivia Belitsky as Cordelia

Director: Tom Mullen

Musical director: Sandra Graham

Assistant director: Kai Haskins

Stage Manager: Brandon Kam

Assistant Stage Manager: Sheen Hui

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Jessamyn Lovell, “crazy artist,” displayed in Hollister

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The first picture of Erin Hart that Jessamyn received from a private investigator.
J. Lovell is a photographer, visual artist and a lecturer in the art and art History Department of New Mexico University.
J. Lovell is a photographer, visual artist, and lecturer in the Art History Department of New Mexico University.

“Crazy artist seeks revenge,” an online comment reads. The comment is a response to Jessamyn Lovell’s art installation “Dear Erin Hart,” on display in Hollister Gallery, which illustrates the story of a woman from San Francisco who stole her identity.

Why do people steal? Well, one does not need to be a psychologist to answer: people steal because others possess something that they want and that they do not have. In this case, these thefts, either of money, or a car, or a pair of sunglasses, become in some sense reasonable. But what if someone steals somebody’s identity? It is not like they don’t have their own. So what is the reason behind this crime?

In order to understand, one would need to visit San Francisco in 2009, where, in a shopping mall, someone stole Jessamyn Lovell’s wallet. Obviously, this experience was not very pleasant to Lovell, but it also did not seem like the end of the world to her. The cost of that crime was just a wallet and a bill for the telephone call she needed to make in order to freeze her credit cards. However, for Lovell, that “regular” crime was destined to result into something bigger than a spoiled day and a phone bill. That single petty crime turned out to be a disaster, an inspiration, and a life-changing expe- rience all at the same time.

In 2009, her wallet was stolen, and she froze all her credit cards and continued with her life. In 2011, she got a call from a police depart- ment with a question about whether or not she let anyone use her I.D.

The first picture of Erin Hart that Jes- samyn received by a private investigator.
The first picture of Erin Hart that Jessamyn received by a private investigator.

And, by the time she had responded “no,” understanding hit her: with her wallet, the San Francisco thief had stolen her identity. “A woman named Erin Coleen Hart was arrested a few days earlier attempting to check into a hotel in San Francisco using my I.D.,” Lovell said in her 2015 book Dear Erin Hart,.

After that, Lovell found out that Hart had also committed a couple of minor crimes. And, because she was using Lovell’s I.D., Lovell needed to fly to Oakland to defend herself in the court for the crimes she had never committed. After the hearing, as she walked “freely from the courtroom,” she “got incredibly angry” at her thief and decided to find her at any cost.

Lovell started her research online independently, but did not achieve any significant results. So she hired a private investigator, who in found Hart’s location within a week. Then, because Lovell could not let the situation go anymore, she decided to go to San Francisco and “see Erin Hart with my own eyes, photograph her and possibly learn something about who she was,” as she describes in Dear Erin Hart,.

A lot of people judged Lovell for this private investigation, with some calling her a “crazy artist” and claiming her photos were illegal because Hart did not consent to their use.

The first moment Jessamyn Lovell saw Erin Hart in real life after she was released from jail.
The first moment Jessamyn Lovell saw Erin Hart in real life after she was released from jail.

Yet Lovell claims the process was cathartic. “I started to gain an- other unexpected feeling—empathy. She seemed like a very lonely person,” Lovell said in a presentation at Babson. “I actually have seen myself in her. Like her life is an alternate future I could have had if I did not go to college.”

“I could not stop thinking about her for such a long time. So I tried to call or meet her. But I did not know what to say. So I decided to write her a letter.”

What was the reason for Hart’s crime? One guess would be dissatisfaction—not with yourself, but with who you are to others, and with how people treat and see you. This raises another question about the project: Should Lovell blame Erin Hart? Should we?

Stansbury finds solace in spending time with clay

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Photo courtesy of Bradley Darling

Louis Armstrong’s “Hello Dolly” vibrates throughout the room. I am in a state of complete tranquility. My hands are wet with clay. I can feel the soft, grainy texture between my fingertips, almost as if I have regressed back to my childhood, playing in the mud pit, throwing myself about in the clay without a care in the world.

This is the best part of my day: coming into the art room in the evening, spending hours completely engrossed in my own little world.

My apron is chalked with clay dust, my pink Vans have remnants of the clay that splatters around as I put my hands to work. What will I make today? I will let the clay decide.

Most often, I don’t begin throwing with much of a plan in mind. My best work has always come from just letting my hands and the clay move freely in a symbiotic relationship. All I need are my two most important instruments, my left and right hands.

I have created vessels of all types and many awkward shapes that cannot be identified. I love to bask in the relaxation that comes with being in the art room. I love the quiet environment, the freedom that I have to express myself in any way that I want.

The finished product is always the best part of the process. Knowing that I put everything I had into a piece of work really makes my creations important.

I get excited to see it come out of the kiln: fingers crossed that the glaze on the final product looks good! I always peer into the kiln, still hot from the firing, grinning from ear to ear, ready to see what I have created.

For some people, art is intimidating. Some people ask, “We’re at business school, why should I waste my time in the art room?” Consider this: When else do you have an excuse purposefully cover yourself in clay? When else do you have an opportunity to enter a world where there are only two actors: just you and the wheel?

Nothing else matters when you are throwing. For me, wheel throwing and ceramics is an escape. It is a place I can go to get away from all of the stress of college schoolwork, homesickness, and frustration.

Today, I will make a bowl. Today, I will find my escape.