Anberlin branches with their new album “Vital” released Oct. 16. While front-man Stephen Christian calls it “their most aggressive to date,” I would call it “their punk side, with the use of computers as the latest and greatest musical instrument.”

The work sounds like what someone would expect from any other Anberlin album, but this one experiments more with electronics blended with the studio recording. By themselves, the electronics on “Vital” could easily compare to those from “Mylo Xyloto” by Coldplay, or “A Thousand Suns” by Linkin Park.

Since their beginning, this band has definitely found a sound that they plan to stick with until the end. This new use of sound added to their music is comparable to what kind of frosting you put on your cake. While it will affect the taste, it’s still the same underneath. At the same time that they are trying to shake things up a little, they don’t lose what people would recognize as their music.

If you like Anberlin, you’ll like this album. If you wish they would try something a little new, look no further. If you like punk rock, you’d probably be more into this album as well as their other more recent album, “Dark Is a Way, Light Is a Place.”

Luther’s Movement Fundamentals III dance course has created an original dance production inspired by one of Shakespeare’s most famous plays.

Attendees of “A Tragedy like Macbeth” can expect an integrated and collaborative production.

Professor of English Mark Muggli created the show’s dramaturgy. This production was part of his two-year-long series “Our Shakespeare” after being named the 2011-2013 Jones Humanities Professor. Muggli was inspired to create a dance production after his own personal experience and enjoyment with dance performance.

“I thought a dance based on ‘Macbeth’ could be a powerful piece,” Muggli said. “It has a lot of imagery that lends itself to bodily images.”

Muggli developed a script containing only 300 lines out of the 2500 lines in the original text to help build a ten scene production, set in medieval times.

“I tried to retain the overall arc of the play,” Muggli said. “I thought of the play structurally. What is at its bare bones, is a story about human beings and making choices. What text do I need to convey that?”

Professor of Dance Jane Hawley (‘87) was then asked by Muggli to choreograph the visual and textual performance.

“It was a daunting task,

literature and create an abstract representation of the story,” Hawley said.

Hawley describes

movement vocabulary based on images.” One example

forest, witches and spirits to tell the prophecy of Macbeth.“I don’t understand how the audience wouldn’t get

chills,” cast member Travis Nietert (‘15) said. Auditions for the performance took place last spring

and early this fall. “The cast is intelligent and creative,” Hawley said.

“Critical thinking and creative expression abound.” The students of the Movement Fundamentals III course

composed a dance that exhibits elements and concepts from the show in a thirty-minute pre-performance installation. This will be performed by the cast’s seven

Associate Professor of Theatre, Lisa Lantz was the designer behind the show’s medieval silhouette, and

Theatre and Dance Technical Director, Tom Berger created

the set to capture a different focus in each scene. Professor of Theatre, Jeff Dintaman is the lighting designer.

Kelly Harris (‘15) is the stage manager, David Mendez (‘14) is the assistant choreographer and Dylan Carlson (‘14) composed much of the show’s music.

“Everything is collaborative faculty

student research,” Hawley said. “Students research as well as create.”

Colleen Oster (‘14), who plays Lady Macbeth, thinks that performing “Macbeth” as a dance production helps her understand the play more holistically.

“One of the ideas is that the characters represent every person, so we try to allow the audience to

identify with each character,”

Oster said. Nietert plays the show’s namesake in the production.

He says the audience can expect softness amid the bloodshed as the play transitions between ideas of spirits, war and love.

“The movements are sharp and kind of jagged and warlike, but at the same time have their beauty and grace,” Neitert said.

Audience members do not necessarily need to have read “Macbeth” to understand the story’s message.

“I hope that we do not pinpoint victim and villain, but that we can relate to the human struggle between power and wisdom,” Hawley said. “By the time we are done watching, we are not happy that Macbeth died, but instead saddened by our own understanding.”

“A Tragedy like Macbeth”will run from Nov. 9 - Nov. 17 in Jewel Theatre. Performances begin at 7:30, but audience members are encouraged to arrive at 7:00 to view a pre-performance held in the atrium. The Sunday, Nov. 17 production will begin at 1:30 p.m., pre-performance at 1:00 p.m.

Jayne ColeStaff Writer

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Loud Rock DJ

November 1, 2012 7

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Macbeth. Movement class interprets Shakespeare.

Photos by Jayne Cole/Chips

“Vital.” Alternative rock band, Anberlin, now in their tenth year, release their sixth studio album.

Photo Courtesy of purevolume.com

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