“American Idol” Episode Recap: The Top 6 Perform

American Idol’s top six contestants performed this week, and it should now be clear to everyone (EVERYONE!) that Candice Glover is the best singer and the best person and will win this season, and will be crowned the real winner of the past four seasons as well, because she is a goddess who can also time travel through the power of song.

Despite Candice’s divinely ordained presence, AI‘s ratings haven’t been doing too hot this season. So, what theme did the producers choose to liven up this sinking ship? Why, a night of songs written by Bacharach/Hall of course. What’s that? You’re not 40 years old and therefore have no knowledge of said mid-20th century songwriting duo? Congratulations, neither did anyone else watching! Idol didn’t even try to make this theme relevant by forcing the top six to monologue about how influential Bacharach/Hall was. That was actually a moment I was kind of looking forward to, considering Lazaro knows exactly NO songs in Idol’s catalogue.

Want to read more? Head to Crushable.com, where this article was originally published!

X-Factor

Originally published in the Brandeis University Justice

May 22, 2012

Britney Spears and Demi Lovato have been named "X Factor's" newest judges.

Britney Spears and Demi Lovato have been named “X Factor’s” newest judges.

Reality show singing competitions may have originated back in the late ’90s (anyone else remember Say What? Karaoke and Making the Band?), but they have never been bigger than right now. American Idol crowned Kelly Clarkson its first winner 10 years ago, and the show’s Wednesday and Thursday episodes are still the second- and fourth-highest-rated hours on TV today, respectively. Idol’s biggest rival, The Voice comes in only slightly behind.

Seeing how popular these programs are, it only makes sense that other entertainment figures are trying to cash in. Jennifer Lopez revitalized her entire career when she became an Idol judge last season. Maroon 5’s Adam Levine saw similarly increased album sales when he became a judge on The Voice, and even Christina Aguilera, who hasn’t released any music of her own since starting on that show, scored a top-10 single as a featured vocalist on Maroon 5’s “Moves Like Jagger.” It was her first hit in four years.

Becoming a reality TV judge used to be a career move for older stars like Paula Abdul or Lopez, who were looking to reach a younger audience. More recently, however, it has become a viable path for pop singers who are at the peaks of their careers.

On May 14, X Factor creator and judge Simon Cowell announced that Britney Spears and Demi Lovato would replace season one judges Nicole Scherzinger (of The Pussycat Dolls) and Abdul. Cowell and the other continuing judge, music mogul L.A. Reid, brought Spears and Lovato onto the show on May 14 to introduce them as the new judges.

We know these women can sell albums, but how will Spears and Lovato do as judges? Spears is now known more for her wild behavior than for her music, which has become more and more auto-tuned and overproduced with each album she releases. She has appeared on reality TV once before, in 2005’s Britney and Kevin: Chaotic. The show documented Spears and then-husband Kevin Federline’s bizarro and short-lived marriage. It was critically panned and lasted for less than a full month on UPN, so no great vote of confidence there.

Much less is known about Lovato, the 19-year-old former Disney Channel star. She has released three albums in the last four years, all of which reached the top four or higher on the Billboard charts. Though she hasn’t come close to Spears in terms of an image crisis, she has had a few public problems of her own. In 2010, she entered a rehab program for an eating disorder and self-harm. These issues, however, are obviously serious, and should not be fodder for public judgement the way Spears’ antics have been.

Auditions for X Factor’s second season have already begun. The season will air in September. Until then, well, let’s just hope that Lovato and Spears can stay out of trouble long enough to prove they can be as successful as the stars who have judged before them.

Slam Poetry Competition

Originally published in the Brandeis University Justice

March 13, 2012

The power of words.

The power of words.

Hoots, stomps and applause fill the air, causing the poet to smirk slightly before continuing with his piece. He fills the room with his words, emotion-drenched and powerful. His volume dips from barely above a whisper to a booming echo.

This is Brandeis Open Mic’s most recent slam, Brandeis vs. Berklee vs. Harvard. The event took place on Tuesday night in the Shapiro Student Center Multipurpose Room. Teams of four poets from each university showed off their slam writing and performance skills, competing in four rounds. It was the Brandeis team, VOCAL, that claimed the top spot, beating out Berklee by just six-tenths of a point. Though the competition was fierce, the poets were immensely appreciative of each other, cheering loudly when a verse hit home regardless of which team the speaker was on.

Before the slam began, Brandeis team member Rawda Aljawhary ’13 led a brief workshop for performers and audience members. She asked participants to imagine a moment that they wished to write about and to examine it “from every possible angle,” so that they could find a more creative way to incorporate the memory into a poem. Aljawhary said that she uses this technique herself when writing. After several minutes, many poets shared the short pieces or snippets of verse they had come up with.

As the workshop ended, more and more audience members filed into the space, until the Multipurpose Room held close to 50 people. Audience members and competitors were invited to perform at the open mic that drew in the audience before the official competition. This is when the atmosphere of the slam poetry competition really began to wash over the room.

The poems performed at the open mic, as well as those performed in the actual competition, covered a whole range of topics, from the irreverent—afternoon sexual escapades, poetry itself—to the disturbing—domestic violence and racism. No matter the subject, however, the audience always had something to say. Although I’ve watched plenty of slam poetry online or as part of a larger performance, I wasn’t prepared for the audience response.

Grunts of approval, foot stomping, cries of “aww, yeah” and “go, poet” provided a backdrop to the poem itself, connecting the audience to the performer in a way I had never experienced before. I even heard a girl shout, “That was so motherfucking good” after one poem left the crowd almost speechless. Cheers of approval quickly followed.

After the open mic, three judges were chosen from the audience. Attempts were made to find unbiased viewers, though it was difficult considering nearly all of the audience members were from Brandeis. The host of the slam and former VOCAL captain, Brandeis alumnus Jason Henry Simon-Bierenbaum ’11 explained the slam rules, which are standard for all competitions, both on the collegiate and professional levels. Judges give a score from zero to 10 based on how well the poet did, both in writing and performing their work. There are four rounds, during which one poet from each school performs, for a total of 12 performances. Each poet is given no more than three minutes for each poem. No props, costumes or music can be used, though dance, body movement and beat boxing are allowed.

As an introduction to the official competition, Brandeis poet Kat Flaherty ’15, the “sacrificial poet” of the night, performed her poem, “Breasts” about when she had thought she might have breast cancer, to give the judges an example on which to base their scores. Then the poets got down to business.

Poets Jessica Hood ’15, Malika Imhotep ’15, Emily Duggan ’15, and Usman Hameedi ’12 were the four Brandeis poets. In the first round, Hood gave a personal account of her relationship with food, considering what she termed her “inheritance”: the diabetes that plagues many members of her family. Hood’s descriptions of Southern home cooking were mouth-watering, but quickly turned sour when the audience realized that these foods were poison to a diabetic.

Imhotep had a different style than Hood, speaking faster and pronouncing her words less clearly for effect, more akin to a rap than a poem. She spoke about how black men had to change the way they acted to fit into broader society, acting tough and disrespectfully to impress their peers and to make an impression. Imhotep is a small person, standing only a few inches over five feet. Her voice, however, was loud and sure, expressing the anger she clearly felt. Imhotep performed wearing a tight beanie over her head, as though to contain the thoughts that instead exploded from her mouth.

Duggan, who opened the third round of poetry, also had a style uniquely her own. She did not employ the traditional slam techniques of spacing her words to give emphasis to certain phrases. She did not alter her tempo or volume to highlight different verses. Instead, she performed her poem about death and separation much more like a traditional poetry reading, showcasing the many stylistic variations poets use when performing their work.

These changing techniques are what makes slam poetry a great art form, according to slam poet and author of Words In Your Face: A Guided Tour Through Twenty Years of the New York City Poetry Slam, Cristin O’Keefe Aptowicz. In an interview with the Best American Poet blog, Aptowicz commented, “Poets … always worry that something—a style, a project, a poet—will become so dominant that it will kill the scene, but it never does. Ranting hipsters, freestyle rappers, bohemian drifters, proto-comedians, mystical shamans and gothy punks have all had their time at the top of the slam food chain, but in the end, something different always comes along and challenges the poets to try something new.”

Aptowicz’ words were proven true at the Brandeis vs. Berklee vs. Harvard event. Hameedi, the VOCAL captain and the last Brandeis performer, is known on campus for his mastery of fast-paced word-play and his politically charged pieces, and Tuesday night’s poem was no exception. Hameedi performed “To Every TSA Agent That Gets A Little Antsy When Someone Obviously Muslim Tries to Board an Airplane,” a poem in which he lambasted Transportation Security Administration agents, the American government and regular citizens for discriminating against Muslims and people presumed to be of Middle Eastern descent. Hameedi referred to himself as a “proud Pakistani-American.” The poem itself went through all 26 letters of the alphabet, making 26 alliterative verses before Hameedi wrapped it all up with righteous indignation.

As Brandeis claimed victory at the end of the evening, the audience buzzed with energy as they left the room. The cadences of slam poems echoed in my mind for the rest of the night.

Asian Pacific Heritage Month celebration

Originally published in the Brandeis University Justice

March 6, 2012

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A young woman stands perfectly still, arms tilted inwards, the pink fan clutched in her hand fluttering faintly.

Suddenly she jumps forward on beat with the traditional guitar plucking in the background. The fan flies open, revealing a long, rose-colored trail of fabric flowing from its curved folds. As the woman dances about the stage, striking traditional Chinese poses, the crowd responds with cheers, calling her name. This is Asian Pacific Asian Heritage Month at Brandeis.

APAHM is always a fun time on campus, full of colorful cultural events and engaging speakers. This year’s APAHM is particularly significant, as it marks the 40th anniversary of the Brandeis Asian American Student Association, which sponsors APAHM, as well as the 20th anniversary of the Intercultural Center. BAASA co-presidents Stephanie Lee ’13 and Vicky Lee ’13, event coordinator Karen Hu ’12 and treasurer Adam Chow ’12 began the opening performance by praising all 23 members of the executive board for their hard work in creating this year’s events.

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All three of Rooftop Pursuit’s members share the surname Lee.

The ceremony took place on Saturday night in Levin Ballroom. The theme, “Making Our Mark,” underscores BAASA’s emphasis this year on modern Asian accomplishments. Two musical groups that have gained popularity on YouTube, Ben Clement and Rooftop Pursuit, performed. Clement, who opened the show, is currently studying music at Biola University in California. He created a calm peaceful atmosphere with his romantic songs and acoustic guitar, accompanied by a band member playing rhythms on a wooden box. Clement, who considers himself a “hopeless romantic” told the crowd that many of his songs were written about previous relationships, eliciting awws from the audience. Though many of his original songs had a singer-songwriter, John Mayer-type sound, it was his last number, Michael Jackson’s “Man in the Mirror” that was most popular with the audience. Though Clement didn’t quite have the vocal ability to make the song as strong as it could have been, the song’s message of social change was clearly appreciated.

After Clement’s performance, Ayan Sanyal ’14 came on stage to sing Deep Blue Something’s “Breakfast at Tiffany’s,” a nod to “kids who grew up in the ’90s.” Then the newest student group under the BAASA umbrella, the Taiwanese Student Association, begins its performance with a loud, striking drum solo by Aaron Yang ’14. As the drum was rolled off stage eight female dancers took their places, standing like posed statues in traditional Taiwanese dress. One by one they moved to the front of the stage, demonstrating cultural fan, ribbon, handkerchief, sword, martial arts, umbrella and peacock dances. While each performer moved with clarity and purpose, it would have been more entertaining to see the dancers interact with one another. Instead, each demonstration ended before the next began, leaving seven dancers still as one moved.

After the formal grace of TSA’s performance, the ceremony’s mood changed abruptly as the Southeast Asian Club began their skit, “The Crystal Heart,” based on a traditional Vietnamese story. The skit, which imparts the story of a fisherman’s unrequited love for a snooty princess, was intentionally silly, and put the audience in a celebratory mood leading into a song by the Korean Student Association’s band. Seven KSA members took the stage to play a Korean pop song complete with impressive trumpet solos and heartfelt singing.

Rooftop Pursuit, the other professional group to perform, opened the ceremony’s second act with several original songs and covers, including Christina Perri’s “1000 Years.” Lead singer and keyboardist Phil Lee made a few humorous remarks about the three-man outfit of Korean-Americans, saying, “Our last names are all ‘Lee.’ … We didn’t do it on purpose.” Like Clement, many of Rooftop Pursuit’s songs were about romantic love, though guitarist Paul Lee’s wailing guitar riffs added some heat to the ballads.

Dan Ding takes a break from his MC duties to perform an original piece.

Dan Ding takes a break from his MC duties to perform an original piece.

Dan Ding ’12, the ceremony’s deep-voiced announcer took a moment away from the mic to perform an original classical song called “Piano Impromptu,” inspired by a swift change in weather Ding experienced while practicing with his high school sailing team. The audience was riveted by Ding’s obvious skill, and the reverent silence was broken only by applause as he concluded his piece.

The Brandeis Chinese Cultural Connection was next to perform, as seven members showed off their dance skills, combining hip-hop moves with traditional Chinese dances as they swayed, kicked and spun to Chinese artist Show Lo’s “Show of Love.” The dancers, outfitted in red and black and decked out in sunglasses, certainly looked the part of a professional hip hop group.

Siddhi Krishna ’12, representing the South Asian Student Association brought another serious moment to the ceremony as she played a piece of Carnatic music, the classical music of South India. Krishna plucked notes and melodies on her violin, playing an ode to Lord Ganesha, Hinduism’s remover of obstacles. Krishna struck an interesting silhouette, kneeling on the stage rather than standing of sitting in a chair, as most Western musicians would have.

The APAHM opening ceremony concluded with a group number combining several popular Asian songs into one high-energy dance number called Project BAASA: PANDAmonium. The entire BAASA e-board plus other dancers were clearly having fun with the performance, which, according to the program, “shows how Asians got more than smarts. They also got SWAG.” After watching this year’s opening performance, I’d have to say I agree.

APAHM continues throughout March, including the SKINS Fashion Show on March 16 and theTemptasian 40th Anniversary Party on March 23.

AraabMuzik and Basic Physics concert

Originally published in the Brandeis University Justice

Feb. 14, 2012

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Fast-paced, thumping electronica and mashups were the designated genres of the night.

The signs on the doors to the Levin Ballroom read, “Strobe lights will be used during this performance.” Let the party begin.

As I walked into the ballroom on Thursday night, a small group of students had already gathered, eagerly anticipating the opening performer of Student Events’ February concert, Basic Physics. When the disc jockey stepped onto the stage, the audience surged tighter together, clamoring for a taste of the hip-hop flavored jams for which the young mix-master is known.

Basic Physics is a one-man operation. The mash-up artist first hit it big in 2010 when his mix “Stuntin’ with a Milli,” which combines songs by Lil Wayne, Phoenix and Pretty Lights, became a hit on YouTube and SoundCloud, a popular music streaming site. At the time of publication, the song has been viewed over 42,000 times on each site.

Since 2010, Basic Physics has released two mixtapes: Nightlife in the Northwoods and Liftoff.

Back in Levin, Basic Physics did not disappoint. The entertainer—that’s truly what he was—played infectious beats featuring many top-40 artists like Katy Perry, Ludacris, Lady Gaga and Maroon 5. He knew just when to let the beat slow down, creating tension in the crowd until the speakers suddenly exploded with the chorus of a well-known song. Basic Physics was clearly enjoying himself as well, singing along to his mash-ups as well as waving his hands back and forth, nodding his head and occasionally encouraging the audience with yells of excitement.

AraabMUZIK poses with his MPC, a synthesizer he uses to recreate the sound of a full drum kit.

AraabMUZIK poses with his MPC, a synthesizer he uses to recreate the sound of a full drum kit.

After Basic Physics’ 45-minute set, AraabMUZIK took the stage. An up-and-coming performer, AraabMUZIK was different from any other DJ I had seen before. He didn’t simply take samples of popular songs and mix them together. Instead, using an Akai Music Production Center drum machine, he created rhythms of his own, throwing together beat after beat in increasingly rapid succession. The MPC is similar to a synthesizer; it looks like a large pad containing 16 square buttons configured in four rows of four. Each of these buttons makes a different drum sound. When AraabMUZIK played the MPC, it sounded like he had an entire drum kit in front of him.

This style of performance may seem futuristic, but it’s a natural progression for this performer. According to AraabMUZIK’s official website, “When I first started making beats, I went from the keyboard to a software program and to an MPC. My motivation at that time was just for the fact that I wanted to hear and make my own music. All my old beats on the keyboard were like a good three to four minutes long and as I got better, so did the beats.”

AraabMUZIK doesn’t just use the MPC as a way to get around real musical talent—he knows how to play the drums for real and breaks out a full kit at some performances. But by combining the MPC with other electronic equipment, he has the ability to create heart-pounding beats and add in samples of other songs as well. At the concert, a large screen was connected to a camera that filmed directly over the machine. That way, the audience could see AraabMUZIK’s fingers flash over the keys as they danced to the rhythm.

Throughout the show, AraabMUZIK was immersed in his music. His whole body rocked back and forth as he slammed his fingers down on the buttons, seemingly lost in the musical world of his own creation. Clothed in a dark hoodie and flat-brimmed baseball cap, he looked like a stereotypical rapper or MC.

But his songs had no words and he rarely spoke to the audience. He was too engaged in making rapid-fire beats that washed over the dancers on the floor. For its part, the crowd seemed to love it, grooving to the vibrations and expressing their disappointment when the beat-maker finally left the stage.

Student Coordinator: Dillon Morris interview

Originally published in the Brandeis University Justice

Feb. 7, 2012

Araabmuzik will bring his electronics-enhanced music to campus.

Araabmuzik will bring his electronics-enhanced music to campus.

JustArts spoke with Student Events’ Concert Coordinator Dillon Morris ’14 about Thursday’s AraabMUZIK concert. Morris explained how Student Events picked its headliner, what students can expect at the show and why you should get all your friends to pack Levin Ballroom

The concert takes place this Thursday at 8:30 p.m. Tickets are $5 at the Brandeis Box Office and $8 at the door.

JustArts: What do you normally look for when planning a big concert like this?

Dillon Morris: Generally when planning a concert, I’d say there are a lot of different elements that go into it concerning the kind of talent that we’re going for [and] the level of exposure that the talent has received. Essentially, it’s finding that good balance, … especially for the February concert, which is kind of an opportunity for us I suppose to bring people who are more under the radar but who have the propensity to break out in the near future. It’s finding that balance between somebody who’s got a catalog large enough that they can provide a good show, but also somebody that not everybody knows but that, given the opportunity to listen to them, they’ll definitely find something that they like. Obviously, the desire to appeal to as large an audience as we can also goes into it. But we also want to be able to give to the people that we find up-and-coming a chance to expose themselves, and the February concert plays a very integral role in allowing us to do that, as opposed to, say, looking at the fall concert or SpringFest, when we get to extend ourselves farther.

JA: How did you specifically choose AraabMUZIK and Basic Physics?

DM: Initially, going into looking for our headlining group (which ended up being AraabMUZIK), the planning process basically goes, “If you had all the money, who would you want to bring?” And so it definitely gives us a way where we introduce unrealistic choices, but it kind of helps all of us gage what kind of genre or musical ideas that we want to go for in this concert. And so for AraabMUZIK, it was one of those things where traditionally you’ve seen at the February concert DJs and mash-up groups. We didn’t want to bring in a new mash-up group, but we did want to cater [the] dance scene that’s very popular right now, and give something that was I guess a bit more alternative. So if you look at somebody like AraabMUZIK, who uses a drum pad to simulate all his music, it’s actually something that’s very, very impressive. And so we were impressed with his talent, we all liked his music. We thought it was a performer that, if you’ve heard of him, you’re excited that he’s coming, and if you haven’t heard of him but somebody shows him to you, you get excited about it.

Once we selected AraabMUZIK, we then move on to the opener, who is Basic Physics. For that, we essentially look at what complements the lead artist the best; something that’s complementary but also differentiates itself enough from that artist that it provides a well-rounded show but still grounds things specifically in that genre that we’ve chosen to pursue. I think that Basic Physics fits that very well.

DJ Basic Physics will open the concert.

DJ Basic Physics will open the concert.

JA: What would you say are the unique aspects of these groups that are going to be fun for Brandeis students? Have you seen shows of theirs, either live or online?

DM: In the selection process a lot of it is watching online or live stuff to gauge how it is. I’ve never actually had the opportunity to see them live, so I’m very excited to now. I think it brings something very unique because it fills that void that, say, Pachanga’s leaving out. It gives you a really, really fun dance party that you’re able to go to, you’re able to enjoy. Even if the artist isn’t the reason you’re going, you’re going because you want to have fun. And I think AraabMUZIK’s musical style and the way that he performs is very lively, it’s very upbeat, and it’s just good music to enjoy yourself to. I think it fills that void that Brandeis has. We don’t really have a ton of fun on-campus activities that people can go to and consume and really enjoy.

Really, if you haven’t heard it, get a ticket and go. Because the thing about this artist is that the musical experience he provides is so heavily contingent on an amazing crowd experience. And so the thing is, if we can pack Levin Ballroom, this is going to be a fantastic show. But it’s all contingent on getting there, getting to the show. Student Events knows that they’re going to enjoy it.

JA: What happens to the profits from the February concert?

DM: All of the profits from the AraabMUZIKshow will go towards SpringFest. So, I guess one way I could put it is, if you’re not interested in seeing AraabMuzik, consider it paying $5 a couple months ahead for someone really, really good at SpringFest.

Jackie Theoharis

Originally published in the Brandeis University Justice

Jan. 24, 2012

Theoharis (bottom, center) in the Woodland Theater Company’s “Cabaret.”

College is a time to explore interests, pick a major and prepare for a career. For most of us, the subject we thought we would choose to study at the beginning of our college career is not the one we end up picking in the end. For Jackie Theoharis ’14, however, theater was a passion that she never thought twice about.

“I love sharing things with the audience. It’s a beautiful thing to be able to perform, to bring such enjoyment to all these different people,” said Theoharis in an interview with justArts. She has been performing all her life, and although she is only a sophomore, Theoharis is already branching out into professional theater companies in addition to performing on the Brandeis stage.

In a few days, Theoharis will be appearing in the Woodland Theater Company’s production of Cabaret. The musical takes place during the early days of Nazi Germany and centers around the Kit Kat Klub, a sleazy Berlin nightclub, and its performers and patrons. Theoharis plays Fräulein Kost, a prostitute who lives in a boarding house along with the Klub’s performers.

“She is … [an] interesting one,” said Theoharis of her character. “She’s supposed to be a lot older, so I was surprised and a little nervous when I was cast, because normally she’s played by a 30- or 35-year-old woman, but the director [Doug Hodge] had a different take on it. She’s a prostitute, and she loves sailors. She’s so funny; … there are so many scenes where you see me coming out of a man’s room with three sailors at a time, it’s ridiculous.” Kost is a German character and has some ties to the Nazi party, though this connection is rather understated in the play. Theoharis says that knowing some of her character’s subtler motivations made Kost more interesting, both to her and, she thinks, to the play’s audience.

Acting professionally and going to school full-time is not an easy task. “It’s busy,” says Theoharis. “It’s been crazy. Specifically for Cabaret, we’ve been rehearsing every day, so it’s a lot. I have classes all day and then rehearsal at night. I’ve been exhausted from dancing and everything. But it’s all definitely worth it, I think. You just get such a great experience.”

Theoharis has been involved in professional theater before. This summer, she performed with ReagalPlayers, a company located in Waltham, and she appeared in Turtle Lane Playhouse’s The Drowsy Chaperone. And this past fall, Theoharis sang and acted her way to a Best Supporting Actress Nomination for F.U.D.G.E. Theater Company’s Spring Awakening.The nomination comes from MyTheatre, a subset of My Entertainment WORLD, a website that covers arts performances and programs in Toronto, New York, Boston and occasionally other cities. In Awakening Theoharis played Ilse, a sexually abused student who runs away from home in late 19th-century Germany. My Theatre named 40 nominees in four divisions—National, Regional, Student and Other. Theoharis was nominated in the Regional category on Jan. 12.

Theoharis plays a Nazi prostitute in the production.

Theoharis has also performed at Brandeis. Her most recent role was Hope Cladwell inTympanium Euphorium’s Urinetown: the Musical. Fräulein Kost is quite a departure from the overly cheerful Cladwell, but Theoharis is prepared to encounter all types of roles in her theater experience. “Obviously [acting is] something that I’m so passionate about and something that I’ve been doing forever,” said Theoharis. “I definitely want to at least try to make it a career, but I know that it’s very difficult. In the theater business, … it’s all very emotionally intense, if you live your life auditioning and constantly getting rejected. It’s basically a career you have to go into knowing that you’re going to be rejected. But really it’s something that I would at least want to try to do.”

Theoharis has already proven herself to be a competent and committed performer, both at Brandeis and in the Boston theater scene. It will be exciting to see what she ends up doing in the future. Maybe someday we’ll even see her name in lights.

Cabaret is playing at the Lowell Mason Auditorium on 88 R South, Medfield, Mass. Jan. 27 and 28 at 8p.m. and Jan. 29 at 2 p.m. Tickets are $30.