Each artist has approached their fifth-year apprenticeship differently, which is shown through their final displayed pieces. Anders Nienstaedt ’12 explored the intersection between art and journalism and the pursuit of truth in a personal story. His work includes a 68-page printed book that is available for sale, two basswood sculptures of discarded trash, an audio loop of a recorded interview with two men and several wall pieces that illustrate the text from those same interviews.

Nienstaedt also collaborated with Anda Tanaka ’12 in an interactive piece in which audience members are invited to write and mail pre-stamped postcards. Tanaka’s other pieces on exhibit include mixed-media paintings on life-sized swatches of Tyvek and a sculpture of printed mice in a gold-leafed basket.

Sheila Novak ’12 focused on issues of compassion which come to life in her figurative and organic bronze sculptures and small intaglio prints.

“I am exploring how we are taught compassion for others as a moral,” Novak said. “The extent to which that moral is actually taken is much less than the lessons and ethics encourage and ask of us. I utilized the creative process as a way to nurture a more compassionate sensibility within myself.”

James Wilson ’12 focused on design and planning in his work.  Wilson’s pieces on display at the Guild include a large twenty-sided geometric sculpture that is supported at eye-level with a collection of metal planes radiating out and a low table made of walnut with crossed wooden struts underneath.

“I have been able to step away from my pieces and really lay out the composition and develop craft,” Wilson said. “I spend so much time outside of the studio really planning and thinking so that when I get in there, I can really go!”

Justina Ny ’12 exhibited dozens of ceramic vessels and plates, which sit on densely-packed rows of shelving. The work by Mat Butger ’12 revolves around photography, including images of a destroyed hotel in Northern Minnesota and a grid of smaller photos of trees and shadows. The Carleton intern, Arielle Rebek, also focuses on photography. Her work includes a series of self-portraits made using a pinhole camera and topographic map-style drawings.

The show serves as a reminder to the apprentices of how far they have come in the past year.

“As an artist, the apprenticeship has given me – and everyone, I think – freedom to explore our diverse interests while still being informed by St. Olaf’s vibrant, creative community,” Nienstaedt said. “I’m lucky to have peers this talented, kind and fun-loving. They are great friends.”

“A Minnesotan Goodbye” will be on display in the Main Gallery at the Northfield Arts Guild until May 18. The gallery is open Monday through Friday, 10 a.m. to 5 p.m.

Music

1. The 6th Annual Soundset Festival (May 26):

This annual hip-hop festival features many of today’s biggest rappers, both local and national. The 2013 lineup includes local favorites Atmosphere, P.O.S. and Brother Ali; national mainstays Snoop Dogg and Busta Rhymes; and up-and-comer Mac Miller. Last year’s Soundset also included many other attractions such as DJ sets, local artwork, skateboarding demonstrations and a car show. The daylong festival will take place on two main stages at Canterbury Park in Shakopee, Minn. Tickets are available either online at www.ticketweb.com or in person at Fifth Element in Minneapolis for $49.

2. The Avett Brothers with special guests Brandi Carlile, Dr. Dog and the Wheeler Brothers (June 29):

This alternative bluegrass band, best known for its hit single “I and Love and You,” is headlining at the Somerset Amphitheater in Somerset, Wis. They will be joined by alt-country singer Brandi Carlile, indie rock group Dr. Dog and folk-rock siblings the Wheeler Brothers for a daylong mini festival. Located about 40 minutes east of the Twin Cities, the Somerset Amphitheater houses sprawling campgrounds and a water park in addition to its permanent stage.

3. Summerfest 2013 (June 26-30, July 2-7):

This giant music festival in Milwaukee, Wis. spans over 11 days and features more than 800 acts on 11 different stages. This year’s lineup includes Fun., The Avett Brothers and Violent Femmes, Tom Petty & the Heartbreakers, Tim McGraw, MGMT, Yeah Yeah Yeahs, Trampled by Turtles and Cake, among others. Its sprawling grounds include several locations around Lake Michigan, promising a picturesque setting. The festival’s website also advertises 40 different food and beverage vendors, shopping and interactive exhibits. General admission for one day is $17, a “Weekday Value Pass” is $20 and a “Power Pass” (which gives you access to the entire festival) is $60. For more information, visit www.summerfest.com. If you plan to stay for multiple days, note that you will have to book a hotel – this festival does not have campgrounds.

4. Basilica Block Party (July 12-13):

Sponsored by local radio station Cities 97, this small music festival is a worthy alternative to The Current’s sold-out Rock the Garden. Taking place on three separate stages near the Basilica of St. Mary in downtown Minneapolis, this year’s lineup includes Sharon Jones & the Dap Kings, the Goo Goo Dolls, Mayer Hawthorne, Matt Nathanson, Grace Potter & the Nocturnals, Cloud Cult and others. The day after the festival, the Move & Groove Family Fest comes to the Basilica. This event includes free daytime activities followed by a family concert at a lower price. If you order before May 31, tickets for the Block Party are $50 for one night and $90 for both; after June 1, the price goes up to $55 and $100, respectively. For more information about vending, parking, tickets and other merchandise, visit www.basilicablockpary.org.

Art

1. Minneapolis Sculpture Garden Tours (every Saturday and Sunday May 4 – Sept. 29):

Summer is definitely the best time to visit the Walker Art Center’s famous sculpture garden, which features Claes Oldenburg and Coosje van Bruggen’s iconic “Spoonbridge and Cherry” and Frank Gehry’s “Standing Glass Fish.” One of the largest urban sculpture gardens in the country, this garden features 40 permanent installations in a beautiful section of downtown Minneapolis. While you’re there, be sure to check out the Walker’s ongoing exhibits which include conceptual artist Abraham Cruzvillegas’ “The Autoconstrucción Suites” and U.K. artists Karen Mirza and Brad Butler’s “The Museum of Non-Participation: The New Deal.” Mirza and Butler’s work challenges “current conditions of political involvement and resistance” through the use of film, text and performance. Sculpture garden tours are free, and student admission to the museum is $8.

2. “Photo Nation: Photography in the United States” at the Weisman Art Museum (through June 30):

While the Walker and the Minneapolis Institute of Art are better established, the University of Minnesota’s Weisman Art Museum (named for philanthropist and art patron Frederick R. Weisman) showcases distinctive collections ranging from American Modernist paintings to ancient Greek ceramics. “Photography in the United States” encapsulates the development of American photography from the 19th century to the present “as both a form of fine art and as a social tool.” This collection explores the journey this art form has taken in order to become legitimized by critics and viewers alike. Admission to the Weisman Art Museum is free.

Theater

1. “Pride and Prejudice” at the Guthrie Theater:

The Guthrie is Minnesota’s premier center for theater performance, consistently staging lavish and well-acted productions. Its great reputation allows the theater to attract some of the finest local and national talent, both on stage and behind the scenes. This July, Jane Austen’s classic novel “Pride and Prejudice” receives an adaptation on the Wurtele Thrust Stage from the Guthrie’s artistic director, Joe Dowling. Considering the Guthrie’s attention to production detail and Minnesota’s bustling theater scene, this production promises to be a worthy addition to the many stage and screen adaptations this beloved novel has garnered in the past. For more information, visit www.guthrietheater.org.

This is a particularly noteworthy year for the Limestones, who are set to release a new album at their spring concert. The campus eagerly awaits the album because the Limestones have not released a recording for three years.

“We’ve re-worked some songs from the fall concert and added some new ones,” said Evan Quinnell ’14, a Limestones member. “We wanted to keep a diverse set for the new album.”

The new album, Down to Earth, includes classics from the 1970s, some Christian pieces, country songs, pop songs and even some songs from previous albums that members particularly liked. There are also old favorites that the Limestones perform at concerts, such as  “Malt-O-Meal song” and a piece called “In the Light.” “Malt-O-Meal” represents a classic Limestone’s song that is related to Northfield and St. Olaf. “In the Light,” is an example of arrangements of popular tunes that play to the group’s strengths.

The work for this album began long before spring break 2013, during which the Limestones spent 70-80 hours recording the album, often spending over 10 hours each day in the studio. Last fall, the group met the week before classes began for “Camp Limestones.” There, group members proposed pieces for the year, and everyone worked to narrow down the list of songs for the year’s performances.

“Working with the group was fun. It honestly brought all of us a lot closer together,” said member Kaya Petersen ’15. “There were inevitable disagreements between people, but overall I think we were better friends by the end.”

The group used a method called single tracking to perfect the vocals on the album. While some past recordings had all the Limestones singing around a few microphones, single tracking involves one person recording their part alone in the booth. The lone singer usually has a mini-file to listen to – a skeleton of the melody – so they know where they are in the song. Once done, all the parts are mixed together to create the full song.

“The best part of the experience was listening to our product at the end of the day,” Petersen said. “The track wasn’t completely mastered or anything, but hearing it come together for the first time was really cool.”

The Limestones used a Kickstarter campaign to fund the majority of the production costs for the album. Kickstarter is an online fundraising site that provides artists an opportunity to  aquire capital for potential creative projects.  Through the campaign, the group raised enough funds so that the new album would not place next year’s ensemble in debt. The Limestones have also offered pre-orders of their album as additonal advertisment.

All the hard work that went into the album’s production will culminate at the Limestones’ upcoming spring concert. Along with the release of the album, the group plans to incorporate the new members for next year into the concert. Though the Limestones are losing four members, the addition of Greg Martin ’15, Charlie Baird ’16 and returner Isaac Sorenson ’14 (abroad in Ireland during the current academic year) will bring the total up to seven members.

For more information about the Limestones, check out their website at www.thelimestones.com or follow them on Twitter, Facebook and Instagram. Their spring concert is scheduled for Thursday, May 9 at 7:30 p.m. in the Pause.

Fergus and Lewiston are co-directors of the 2013 spring lyric theater show “Candide,” which will come to life in the Christiansen Hall of Music courtyard this Thursday, May 9, at 7:30 p.m. The show will also be performed Friday, May 10, at 7:30 p.m. and Saturday, May 11, at 2:30 p.m. – if the weather behaves. If not, the performances will still be free and open to the public, but they will take place in Urness Recital Hall.

“With the weather being this unpredictable, we’ve had to practice in both spaces [the courtyard and Urness], and that complicates things,” said Kayleen Seidl ’13, who plays the role of the mischievous maid Paquette. “It affects entrances, exits and other aspects of the staging. We’ve been preparing for whatever happens – it keeps you on your toes.”

The unique outdoor setting forces not only the cast but also the crew and musicians to adapt. “There will probably be some challenges because your sound isn’t contained, so you can’t hear other people as well,” said Hannah Stallkamp ’13, who plays viola in the show’s live orchestra.

Regardless of whether audiences get to see “Candide” unfold in the courtyard or in Urness, there will be no shortage of surprises.

“The play is based on the book ‘Candide’ by Voltaire, so it’s super satirical,” Seidl said. “There are so many lines in it that, if you didn’t know they were satirical, would be super offensive. It deals with the philosophy that everything happens for the best and we live in the best of all possible worlds, but terrible things keep happening. We did an event chart one day as part of one of our rehearsals, and there were about 100 disasters – earthquakes, volcanoes erupting, people getting slaughtered.”

However, “Candide” is not just a gore-fest. It has multiple layers, ranging from the comedic to the philosophical to the musical.

“We chose ‘Candide’ because it’s just a really great show,” Lewiston said. “It’s witty, irreverent and fast-paced, and the music is really well-known and beloved. We knew that we needed the right cast, because it’s a tricky thing to sing well, but if we had that, we would have a great show.”

Luckily, Lewiston and Fergus feel they were successful in recruiting a talented cast of upperclassmen, underclassmen and even a faculty member.

“The students are fantastically talented, and George [Fergus] and I made the decision to cast a faculty member, Janis Hardy, in a major role,” Lewiston said. “It’s been a treat to have her in the cast, and I think she gives everyone else the drive that we need to pull this off.”

Multiple levels of seniority among the cast provided ample opportunities for learning from each other and just getting to know a variety of people.

“What I like best about the show would be the people,” Laura Newton ’15 said. “It’s a great cast and the musicians and directors have also been really fun to work with.”

Seidl agreed that getting to know the rest of the cast was a highlight. “There are a lot of underclassmen in it, so it gives me and the other upperclassmen a great opportunity to get to know the freshmen and sophomores,” she said. “It’s great to see how much talent is coming up.”

For the decisive word on whether each performance will occur inside or outside, consult the Facebook event “Candide: An Outdoor Operetta” (http://www.facebook.com/events/118438785022047/).

Photo Credit: Madison Vang/Manitou Messenger

Anyway, this list is not meant to include the best, or even the most popular, tunes of our time, but rather the watershed moments in our generation’s musical culture. For obvious reasons, I will focus on music from the late 1990s onward.

1. “Bye, Bye, Bye” by N’Sync

The boy band boom of the late 1990s represented the first time we really became aware of current music. Until then, most of the music we listened to was that of our parents, but the interchangeable, soulless sex symbols of N’Sync and their ilk popped our pop music cherries and led us into an auto-tuned coma. Why this specific song? It was one of their biggest hits, and more people care about Justin Timberlake than every other member of N’Sync or the Backstreet Boys combined.

2. “Break Stuff” by Limp Bizkit

This song is arguably the defining track of the Nü Metal movement and represents the precise moment it became impossible for the mainstream to ever take metal seriously. Whenever I mention that I am a fan of metal, people immediately think of mooks like LB, Korn, Slipknot and Mushroomhead. Metal has sadly been reduced in the public’s eye to wearing a stupid mask, screaming about being a psycho and beating on crap with a 2×4. It also does not help that the stereotype of a metal fan is a fat, neckbearded Internet troll with masculinity issues. The violence perpetrated during Limp Bizkit’s set at Woodstock ’99 (the festival sustained property damage, one accidental death and three reported rapes) represented the death knell of Nü Metal and the end of the optimism which defined the last decade of the 20th century.

3. “The Real Slim Shady” by Eminem

Our generation’s introduction to rap. Yeah, some of us went back and learned about Tupac, Biggie and Public Enemy, but for most of us, the earth was shattered when we first heard this horror-core-influenced weirdo from Detroit. Thankfully, Eminem had a bit more to him than some profane jokes involving aliens and lesbians and is still one of the best rappers out there.

4. “7 Nation Army” by The White Stripes

In middle school, the cool kids whose parents would let them read Rolling Stone introduced us to two bands: The Strokes and The White Stripes. It should go without saying that The White Stripes, despite functionally breaking up in 2007, have had a far greater impact on the aesthetic of rock in the coming decade. I would argue that they were directly responsible for paving the way for The Black Keys to become superstars and normalizing the heavy rock duo concept prominently exhibited by Japandroids and Death From Above 1979. Furthermore, their simple color scheme of red, black and white remains striking and unique.

5. “Mr. Brightside” by The Killers

The early 2000s indie scene was defined by two templates: the garage rock re-re-revival led by The Hives, The Strokes and The White Stripes and the Cure-aping 80s schmaltz of The Bravery, Interpol and The Killers. This song, however, transcends its moment and stands as one of the most beautiful pop songs ever written and my personal favorite of the last decade.

6. “I’m not okay (I promise)” by My Chemical Romance

This was the start of the new emo movement that really had nothing to do with the actual genre as it was developed in the 1990s by Weezer, The Promise Ring, Jimmy Eat World and Sunny Day Real Estate. Perhaps a suitable replacement label would be “Hot-Topic Core.” My Chemical Romance can largely take the credit for introducing guyliner and vampires to our generation. Sadly, the last two brilliant albums of their career were overpowered by the stench of temporary spray-on hair dye, and the culture at large dismissed both emo music and My Chemical Romance as a giant joke. Their loss.

7. “American Idiot” by Green Day

I really should not have to spell this one out. “American Idiot” is arguably the song, and album, of our generation. It is my choice for best record of the century so far, and as far as mainstream albums go, only Kanye West’s My Beautiful Dark Twisted Fantasy even comes close as a work of cohesive art.

8. “Bad Romance” by Lady Gaga

The predominant formula among female pop stars today is bigger, louder, weirder and dumber with a nice dollop of warmed-over squelchy Europop. The mistress of the monsters is quite talented as a musician, but I really cannot stand her shtick. She sets herself up as this voice for the outcasts, but does not seem to catch onto the irony that she is part of the accepted status quo. Self-congratulatory subversion and “activism” doesn’t get you much respect in my book. I call that a cheap gimmick.

9. “Single Ladies” by Beyonce

Yes, Kanye, the video was kind of cool the first time I saw it. After that . . . meh. Having a bunch of dudes writing a female empowerment anthem is, well . . . just re-read the above. Same logic applies.

10. “Skinny Love” by Bon Iver

Justin Vernon, commonly known as Bon Iver, is brilliant. It is hard to believe that it has been six years since this record came out. In that time, the smart, but tastefully rugged, sensitive soul has been the controlling paradigm in alternative music. Unfortunately, flannel shirts only come in so many colors, and all the “quirky” twee bands he inspired start to blend into one chilled-out blur. Also, St. Olaf, congrats on bottling this guy off the stage when he played the spring concert many years ago. Pitchfork had not given you permission to think he was cool yet.

11. “Yeah” by Usher feat. Lil Jon

I cannot even hate here. Put this on the stereo now, and the party still starts jumpin’ like a seventh grader at his first school dance.

Well, I am out of snark and out of songs, so I think we are done here. Onto the next decade …

Abby: As the earth reawakens, so do I. I get motivated to do things I would never do in January – go to the gym for longer than 10 minutes, meditate, take vitamins, etc. It doesn’t really last, but I like to pretend it will.

Bri: It is once again time to go bask under the windmill without being frigidly cold. It will never get old. No rhyme intended.

What is your favorite song of the moment?

Abby: “Riders on the Storm” by the Doors, because when I’m above-average stressed-out, I have to listen to music about how nothing means anything.

Bri: I would have to go with “Trojans” by Atlas Genius . . . but ask me in 10 minutes and that answer would likely change.

What is your most magical suggestion on how to avoid studying?

Abby: Maximize your slacking by doing multiple unproductive things at once. For example, order a pizza while catching up on “Modern Family.” Do some online shopping while belting the “I Don’t Care” song (you know you love it). If you’re going to shirk responsibility, you might as well go all-out.

Bri: Make a fort with all of the extra blankets, sheets and pillows lying around. It makes for great procrastination and results in a cooler place to study. I’m still working on getting my housemates to agree to this suggestion . . .

What is the best thing to do while it is raining?

Abby: Put on your favorite elastic-waistband pants or, even better, your bathrobe. Hermit in your room. Stare out the window and sigh repeatedly. Feel all your feels.

Bri: Put on a non-white shirt, wrap your iPod as best you can in a plastic bag and start running. Don’t stop ’til you get enough (shout out to Michael Jackson).

What is the best thing to do in the summer?

Abby: Anything you would normally do, except on the beach. Swampy, Midwestern lake-beaches count!

Bri: Go to the local farmers’ market and buy all fresh ingredients. For all of the Madison-lovers out there, I’m talking about fresh cheese curds and Stella’s Hot & Spicy Cheese Bread, which is way overpriced at $10 a loaf but more than worth it.

Companydance is composed of students who are taking dance classes. Some are dance majors; some are not. Although Companydance practices many genres of dance, the performance routines are mainly based on modern dance. Rather than having a central theme, this spring concert will incorporate dances illustrating a wide range of content. Each work has its own unique idea, identity and inspiration.

There will be three major faculty-composed works, each with a unique style, theme and content.

Professor of Dance Janice Roberts has choreographed a piece called “The Road Not Chosen.” The performance explores what could have happened in life if different decisions had been made. In preparation for this dance, Janice Roberts asked her students to partake in a creative writing assignment in which they were asked to imagine what might have happened if they had made alternative decisions in their lives. The students shared these stories with each other and used them to inspire motion.

“Turn the Tide” is directed and choreographed by Professor of Dance Anthony Roberts and is inspired by stories of violence against women. The students researched such acts of violence and shared articles they found with each other. The Sexual Assault Resource Center (SARN) has worked closely with the dancers on the project. The students used their findings to develop a relevant and moving text to accompany the performance. This heart-rending work will contain some mature subject matter and is not recommended for young audiences.

Professor of Dance Heather Klopchin choreographed a piece titled “Petites Histoires.” The dancers focused on developing personality and characterization, which will be conveyed through the quirky characters each dancer portrays. This performance will be unique in that while modern dance is usually performed barefoot, this piece will be done in heels.

While there are many major works composed by faculty, the students have also been involved in the developmental process. There will be a dance choreographed and performed by the senior dance majors, as well as a few solo compositions by individual dance majors.

The production will incorporate spoken text with physical movement. St. Olaf dance professors and students have worked closely with Stuart Pimsler, a guest artist from the Twin Cities Dance Theater. Aiming to examine the beauty of everyday life through dance and spoken word, he choreographed an original piece for the students to perform called “a speck you see.” Live cameras will film some of the performance and project focused images to the audience.

“It is going to be a really interesting show filled with something for everyone,” Janice Roberts said.

Not only will the dances be fresh and original, the presentation will be as well.  There will be a variety of costumes in a range of colors and styles. Costume designer Aimee Jillson has clothed the dancers in everything from dresses to pants. The dancers in “Turn the Tide” will be dressed completely in white, including make-up.

Because the program for the concert is so varied, Janice Roberts said that the most challenging part of the production has been “thinking about how to relate the dances to each other.” The dance professors have worked hard to organize the program in a way that will create a cohesive evening. The pieces are perhaps better connected by their creativity than by a common theme.

Some of the students have worked all year on these pieces.

“Aside from coming to support your friends, you should come to see the gamut of motions and emotions,” Janice Roberts said. “This will be a wide-ranging program, and we hope you will value the various experiences.”

Performances are scheduled for Thursday May 2, through Saturday May 4, in Kelsey Theater. The doors open at 7 p.m. each night and the show begins at 7:30 p.m. Tickets are free for St. Olaf students, faculty and staff and are available through the box office or online at http://fusion.stolaf.edu/tickets/.

mihelich@stolaf.edu

After an hour delay due to flight complications, Strange Names, a pop-rock Minneapolis-based group, started the show off right by getting the crowd into a dancing mood.  Strange Names brought a more complete sound to fill in some of the gaps left by Matt and Kim’s bare-bones instrumentation. For example, Strange Names gave the crowd their recommended daily dose of bass, lest they starve during the main act.

Coming on stage, Matt introduced Kim as his, “partner in crime and partner in the bedroom.” Besides sex appeal, Matt and Kim shows have certain characteristics that veterans will remember and newcomers will crave. They started off their set with their tried-and-true classic, “Block after Block.” Using a combination of old and new songs, Matt and Kim proceeded to rock the sweaty wool socks off every Ole in the audience. They kept their set accessible to newcomers with “Yeah Yeah Yeah” (there was no way you couldn’t sing the chorus) from their first album, while still hitting their newer songs, such as “Now” and “Let’s Go.”

Throughout the show, I got the impression of how genuinely happy they are to be playing. Despite the fact that their instruments practically require them to be seated, they do not sit still. Each time Kim hopped on top of her bass drum, the crowd went wild. Chaining Matt to his keyboard wouldn’t keep him from jumping out to high five crowd members between songs. It is obvious they try to make their shows a feel-good time.

Apart from being masters at putting on a show, they include iconic events that every veteran has come to love. Their most famous move is Kim walking out onto the crowd to dance. Kim, who was in boots, waded out on top of the crowds hands, perhaps a metaphor for fan support, to teach the crowd how to dance.

No party would be complete without balloons and confetti, which were both released. Who knew that balloons could entertain college students for so long? While Matt sang about lessons learned, the crowd learned the hard way that confetti is a choking hazard and, in a sweaty dance party, sticks like glue. Between songs, Matt transitioned with a tight mix of rap music reminiscent of Girltalk. These transitions included heartbreak classic, “Just a Friend”, and their newest addition to their shows, the “Harlem Shake.”

While onstage, Matt and Kim exude a certain chemistry, not only in their back-and-forths, but also in their interactions with the crowd. After a whirlwind tour featuring “Good ‘Ol Fashion Nightmare,” “Lessons Learned” and “Now” (my favorite), they finally reached the end to their zesty, sexy show. They closed out their set with a song that most of the crowd knew, “Daylight.”

Their music and their shows are something you can turn to for a pick-me-up in any mood. The energy and affection they give the audience makes you feel like they wholly appreciate the crowd and love being there.

elingss@stolaf.edu

“The Tempest” tells the tale of the rightful Duke of Milan, Prospero, who has spent years exiled upon a deserted island, plotting to restore his young daughter, Miranda, to her rightful throne. With skillful powers of illusion and a gift for manipulation, Prospero conjures up the eponymous storm that sets into motion a chain of events culminating in wrongs righted and, of course, a blissful wedding. This brief summary, however, does little to capture the rich and strange complexities that Director Dona Freeman brought to life upon Kelsey Theater’s stage.

“The Tempest” is bursting at the seams with energy and life, much of which is conveyed through Shakespeare’s masterful use of the English language. This presents a bit of a challenge for some productions, but the cast took this dialogue-heavy play brilliantly to task by keeping the energy on stage electrically alive and impossible to ignore. Supported by an eerie and dreamy soundscape, the ensemble cast created a production that breathed new life into traditional interpretations of one of Shakespeare’s most beloved plays.

One immediately gains a sense of Freeman’s simple, yet evocative vision within the stunning opening scene; the audience sees the storm not through the eyes of the sailors who face it, but from the perspective of Prospero’s faithful servant, the spirit Ariel. She is responsible for casting the ship to the bottom of the sea and bringing Prospero’s usurping brother, Antonio, and his royal retinue to the island. Here, and throughout the play, the magic unique to “The Tempest” is suggested rather than straightforwardly exhibited. The show shies from any showy special effects in favor of carefully crafted theatrical illusions that prove all the more visually delightful. Clever use of lights and sound contribute to a world where larger-than-life flowers drift from the sky with the wave of a hand and five airy spirits can become a single fearsome harpy with the aid of driftwood. “The Tempest” enchants by hearkening to a magic the audience can readily appreciate: the magic of the theater.

Working with an incredibly gifted crew was an unbelievable acting corps whose vitality and chemistry on stage sparkled. Joshua Woolfolk ’13 tackles the weighty responsibility of embodying Prospero, arguably the main character of the play, with laudable finesse. Often portrayed as an embittered and fierce man seeking vengeance, Woolfolk lends the character a measure of quiet power and grace rarely pulled off effectively. His use of magic is understated, while the titular storm he creates seems more a fateful act of reconciliation rather than a wrathful and merciless act of retribution. His tender relationship with Miranda and his heartfelt address to the audience at the play’s end garnered sincere admiration and applause.

Also notably refreshing was Tasha Viets-VanLear’s ’15 portrayal of Prospero’s naive and inquisitive daughter. Viets-VanLear plays Miranda, the only female islander, with a touching innocence unexpectedly imbued with a dash of pluck and self-determination. She fearlessly calls out the moral ambiguity of her father’s actions and enters into her (admittedly speedy) relationship with Ferdinand – performed with charming wide-eyed wonder by Isaac Rysdahl ’14 – as an equal, direct and unfussy, despite her unfamiliarity with the world at large.

One of the production’s most memorable interpretations of “The Tempest” was through its portrayal of Ariel. Made up of five individuals instead of a single being, Becca Hart ’14 gave a showstopping performance as the lead spirit. Her delicate and fierce physicality lent itself brilliantly to the role. Along with her four reflections, portrayed by Emily Anderson ’16, Siri Hammond ’13, Katie Hindman ’15 and Haley Olson ’16, Ariel moved about the stage in seductive synchronization. Along with Maxwell Collyard’s ’13 brutally poignant Caliban, whose unpredictable ferocity and hilarity rendered the character beautifully sympathetic, Ariel emphasizes the complex dynamic between power and enslavement that is touchingly resolved by Prospero at the play’s end.

As one of Shakespeare’s final works, Prospero’s renunciation of his magic is often read as the playwright’s farewell to the theatrical world. St. Olaf’s production of “The Tempest” highlighted this through its sincere celebration of the beautiful artifice of theatre. The show was a gift to experience and truly “such stuff as dreams are made on.”

botzs@stolaf.edu

Zach Schwartz ’14, a chemistry major, believes that while there is not a specific career associated with his major, many of the concepts he is learning will relate to health care later.

“I chose chemistry as my major so I could understand the human body at the most basic level and to hopefully one day advance health care from the knowledge I learned in my major,” Schwartz said.

Majors matter since they expose students to the fundamental concepts of a subject, preparing them for future careers based on these fundamentals. However, majors at a liberal arts college are not chosen just for the potential they offer in securing a job. They allow students to discover who they are and what they enjoy.

“I knew coming here that if I got a liberal arts education, I would become well-rounded. Even though it doesn’t lead to a career, I figured I would do something I enjoyed, and the skills I learn in my major would help me in the future, specifically at law school down the road,” said Grace Kane ’15, a political science and religion double major.

Once students have found something that interests them, they may be tempted with the possibility of double majoring. With the flexibility of the liberal arts, students have the option of creating some unique combinations, ranging from math and theater to chemistry and music to economics and philosophy. That is the beauty of the liberal arts – the possibilities are endless.

Soren Docken ’15 chose to double major in music and math because he loves both subjects and did not want to choose between them, a difficult choice he would likely have been forced to make at a large public university. At the end of the day, what he is learning about himself through these majors, rather than the particular subjects themselves, means the most to him. “These majors have taught me that persistence is more important than skill, and, as with anything in life, it is never a bad thing to ask others for help, as long as you grow in understanding,” Docken said.

It is important to note that the number of majors a student has is not as important as choosing a major that fits his or her interests.

“There is no benefit to having a specific number of majors. You should let classes that interest you decide your major, not let the major decide your classes,” Schwartz said. “The skills you learn in classes are what is important, so the more interesting the class is to you, the more you will learn.”

The liberal arts are not focused on ushering students into lucrative careers through particular major choices, but the critical thinking skills and the flexibility that students learn through exploring classes in many different fields. The major a student chooses will hopefully lead him or her on a path of personal discovery that will prepare him or her for any job. Here, more than the subject is taught; students learn life lessons through a variety of classes, most of which will not be in their major.

dipietro@stolaf.edu