The air was filled with a sense of unholy curiosity at Player’s Theatre on Friday night. The playbill of Around the World with les Dames en Disdress unabashedly labels the show burlesque, a term that for most conjures up risqué mental images of scantily clad females and provocative striptease acts.
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Aside from its claims of Canadian superiority, McGill loves to boast about its international flavour. It is a magnet for many foreign students who wish to study in the West, or more specifically, in Canada. However, the international character has typically been confined to the lecture halls and seldom seen on the soccer pitch.
The Students’ Society has developed a new service to provide resources for drug and alcohol education as well as activism on drug policy. SSMU’s Harm Reduction Centre aims primarily at ensuring the safe use of drugs and alcohol among McGill students, said Floh Hera-Vega, vice president clubs and services.
Part anthology of summaries and essays, part intro to Can-Lit survey, and part ode to reading, T.F. Rigelhof’s Hooked on Canadian Books is a tribute to English-language Canadian fiction writing since 1984. At first, the introduction and much of the tone of the book seems self-indulgent and self-important.
McGill alumni Jodie Martinson and Emmanuel Cappellin, both Arts 2006 graduates, worked over the summer to prepare a 30-minute documentary on the state of recycling at McGill that will premiere in the Lev Bukhman room this Thursday. The film also seeks to determine who is responsible for what they describe as McGill’s failures with respect to recycling and to propose long term solutions for individuals and for the administration.
BjÃ¶rk and Sigur Rós may have put Iceland on the musical map. But Seabear – the seven-person collective that just released their sophomore album and made their North American debut at South by Southwest – have proved themselves to be the most promising new Icelandic indie export.
The McGill Fight Band doesn’t march. They don’t do halftime shows, they don’t wear Napoleonic uniforms, and they don’t have a dance team. If you’re looking for high-stepping, capes, or colour guards, you’re out of luck. But if you’re looking for spirit, look no further – the growing Fight Band does what fight bands are supposed to do and does it well.
Director Julien Naggar’s production of The Bald Soprano transports the audience into an absurd world that nonetheless seems strangely familiar. Playing this week at the TNC Theatre in Morrice Hall, The Bald Soprano brings TNC’s 2009-2010 season to a climactic finish with its parlour-room madness, reshaping expectations and challenging presumptions.
I should know better than to order anything off a German menu when the only German phrase I know is “beer, please.” Clearly this wasn’t the case after I found myself at the Haufbrauhaus in Munich, staring down at a plate of something that looked more or less like pig ankle (although I imagine it could have been an elbow or knee).
Jack White is a busy guy. Playing in three successful bands (The White Stripes, The Raconteurs, and The Dead Weather), taking on small roles in feature films, and running a production company in Tennessee doesn’t seem to be enough. White claims he likes to make things difficult for himself, so within a single year he signed on for two documentary films; It Might Get Loud was released at the Toronto International Film Festival in 2008, and Emmett Malloy’s The White Stripes Under Great White Northern Lights – filmed during the band’s tour across Canada in 2007 – premiered there last year.