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Show www.dailyutahchronicle.corn 5 ARTS Friday November 2, 2012 Horrors of Sweeney Todd come to the U Savannah Turk STAFF WRITER In 19th-century London, those who could spare a penny would head to Bedlam Asylum and watch the costumed mentally ill patients dance around the courtyard. Today, the U's Department of Theatre revives this creepy and dark era in its production of "Sweeney Todd." The musical, which plays throughout November, features the characters of Fleet Street, each in their own world of psychopathy and narcissism. The Demon Barber, Sweeney Todd, and Mrs. Lovett feed human meat pies to the streets of London, all while Sweeney mourns the loss of his lovely wife, Lucy. The musical's director, David Schmidt, spoke with me about what it took to bring the horrors of "Sweeney Todd" to the Studio "5 Theatre. You've said there are two kinds of audiences: those who have seen the movie and those who have seen the stage production. What were the challenges in performing to those two audiences? Well, it's a challenge of telling the story in our way and letting the audience still be entertained. It's all the same music — we kill the same amount of people. The story is the same, but it's letting everyone leave with their fantasy of "Sweeney Todd" fulfilled ... and being scared. How did you come up with ways to make this performance unique, since it's such a wellknown musical? I saw it on Broadway in 2005, and that was a revival where they played instruments on stage and there were only io people in the cast. I was blown away by that production. I couldn't even stand up at the end. So, my fantasy of "Sweeney Todd" was fulfilled in a way that I completely did not expect, and that production was originally built on a low budget before it got to Broadway. We obviously don't have a million-dollar budget to put on a musical, so I had the same idea to do it in the same stark, dark way. This is a pretty violent story. How have you decided to present that on stage? If we are always telling happy stories, no one is going to come see our COURTESY DEPARTMENT OF THEATRE Joseph Bosteder plays the role of Sweeney Todd and Tia Galanis as the Beggar Woman in the Department of Theatre's "Sweeney Todd: The Demon Barber of Fleet Street." The production will be performed at Studio 115 through Nov. 18. shows. There has to be some piece that makes the story interesting, and in "Sweeney Todd" it happens to be that he kills people and they make meat pies out of them and people eat them. So we kept all of the violence, but the blood issue we have dealt with in a different way and you're going to have to come watch it and see how we did it. Abstract exhibit exudes emotion Francis Moody STAFF WRITER There is no planning when it comes to contemporary art, especially if its of the abstract variety. Abstract art is a chaotic process with expressive movements ejecting human emotion. While a lack of planning might ring true in some cases, it does not resonate the chords of honesty when considering the artwork of Megan Geckler. Geckler began her education with the goal of becoming a neurosurgeon. However, she quickly discovered her heart lies in the field of art. It is obvious she enjoys using the right side of her brain for her three-dimensional installation creations such as "No chance to move backwards and see," on display now at the Utah Museum of Contemporary Art. While math and modern art don't typically go hand in hand, Geckler's creations take geometry to a new level. Following in the footsteps of Andy Warhol, Geckler aims to take an ordinary object and prove it is art worthy. Using construction flag tape and mathematical theories such as the golden ratio, Geckler transforms the space of a room into a woven tapestry of bright lines and intricate patterns. Her exhibit at UMOCA holds true to the definition of her artwork. With lined wall murals of pure colors, the idea of field painting transforms from two-dimensional art to three-dimensional. Considering as humans we see in three dimensions, Geckler is making a statement that sculptural art can be just as vibrant as a painting and as lifelike as a piece of furniture. "An entryway offers multiple pathways and destinations — each with their own ready-made focal point, a soffit becomes the departure point of the piece and the work speaks of the architectural facet and quirks of the space," Geckler wrote on her website. With goals of making the artwork come to life, Geckler spends hours photographing and measuring the area where her creation will be installed. Knowing her artwork is site specific, Geckler works toward themes that embody the site where her art will be showcased. Perhaps that is why people are using the cliché "a once in a lifetime opportunity" to describe Geckler's muchanticipated "No chance to move backwards and see." "The three-dimensional sculptures bring the artworks to life — the vibrant colors are engaging with architectural elements," said Danica Farley, director of communication for UMOCA. "The exhibition is site specific and this is the only time viewers will be able to see these exclusive works." Geckler's showcase is anything but ordinary, especially for Utah audiences. To those who want to travel down the rabbit hole of contemporary art movements, Geckler's piece might prove to be just what the doctor ordered. Just 11 keep in mind the title — there is "no chance to move backwards and see" in life, a metaphor that speaks for itself. For how can we plan ahead if we are focused o moving backward? frnoody@chronicle.utah.edul n How have the students embraced their roles in "Sweeney Todd?" The music does a ton for us. That's why [Stephen] Sondheim was such a genius. Everybody has a theme in the music. So, the students have done a lot of research on how to physicalize their character within their theme. What is a fun moment you remember from rehearsals? There are lots of funny moments in rehearsal because we always forget something or say the wrong words, but really what I've enjoyed about this cast is that we've all worked together to make this show what it is. It was a real collaboration between the director and the actors, which is always amazing because I don't want to just tell people what to do. I want to create a piece of art. What about the show should motivate students to get tickets? We kill like io people! But really, just the story of "Sweeney Todd" — it's been around for a very long time. And the moral, revenge is not good. Don't take revenge on people — it's not going to end up in the best way. s.turk@chronicle.utah.edu New UMFA exhibit uses land art Limited views of landscape can broaden horizons COURTESY NANCY HOLT Photographer Nancy Holt is exhibiting a collection of her images captured in Utah at the Utah Museum of Fine Arts. Holt's exhibit will be on display until Jan. 20. Ian Anderson STAFF WRITER Utah is known for its pictorial ideal of the wild, wild West. Surrounded by mountains, infinite desert landscapes and canyons that seem to rest outside our door, nature's glory is a Utah staple we're all lucky to enjoy. Would our idealized nature-made fame be tainted if condensed into a cylinder frame? With our perception transformed, would the grandeur of our landscape be, well, less grand? These are the questions that have inspired Nancy Holt throughout her career. Working with multiple media such as installation, photography, film and sculpture, Holt has tried to tackle Utah culture's stubborn perceptions. This goal and her inspiration is undoubtedly bold, if not arguably admirable — though is it achievable? You can decide for yourself with the Utah Museum of Fine Arts' newest exhibit, "Nancy Holt: Sidelines." Open through Jan. 20., Holt's exhibit, curated by Whitney Tassie, the newly appointed curator of modem and contemporary art, features works that reside right here in Utah. In fact, one of the first works you see when walking into the exhibit is Holt's 1976 work "Sun Tunnels." The work, made up of four large cement circular tunnels, calls Utah's Great Basin Desert home — something to be proud of, seeing as the piece is arguably Holt's most famous. Those wishing to travel and explore the locations in the actual work can physically crawl into the tunnels, although the photographs in the exhibit help communicate the artist's intent — a series of photographs capture the frame made from the circular tunnel holding the expanding desert as its subject. As the day continues, the frame holds a new image of the landscape, a new sight to be seen. A manipulation of land seems to be at the heart of Holt's work and the exhibit provides an idea of the works' function and sensibility. In 1972's "Views Through a Sand Dune," the images deliver viewpoints on both ends of the small tunnel, providing an understanding of the duality of Holt's work. "Hydria's Head," made in 1974, supplies photographs of less vigor and understanding, which could frustrate some. To get a better handle on the actual process of creating these land works, visitors can watch short films depicting the work's creation. The films, directed by Holt, aren't narrated or accompanied by music, but rather are a form of straight, documentary filmmaking, capturing only the process of creation. The films are projected onto the walls of closed- off spaces of the exhibit, allowing visitors to come and go as they please. "Nancy Holt: Sidelines" is a pleasure to view. The photographs are beautiful and aid in understanding the work's function in helping position Utah as an important art landmark. A special relationship with Holt's work can be established to Utah citizens, seeing as it is the U's surrounding environment that is being transformed into new perceptions. i.anderson@chronicle.utah.edu |