Within the first few minutes after the curtains are drawn at the Boch Center Shubert Theatre, hip-hop, tap dancing, and ballet are showcased by the variety of dancers on stage. One thing becomes apparent right away: Anthony Williams’s 'Urban Nutcracker' is not your typical Nutcracker ballet.
A woman scribbles rapidly into her old, worn-out notebook in the dim light of the bar. There’s a world buzzing around her, but the only things she sees in her peripheral vision are the dark colors of the counter and the clear bubbles in her drink. She’s focused on her writing, finding words for the feelings pulsing through her.
Instead, the bits and pieces from various scenes seem intentional to the point of the film; we are constantly shown the dehumanization of the refugees by various subconscious and external forces. We are reminded that the crisis is not isolated but rather an immediate and immense issue for human beings and countries around the world.
For the next two months, the List Visual Arts Center at MIT is showcasing two exhibitions by artists located abroad that challenge and explore the perception of the mundane through photography, sculpture, and installation.
In this telling of political thuggery, The Resistible Rise of Arturo Ui is injected with humor in a way that makes it easy to forget the seriousness and wrongness of what is unfolding in the play.
Both Minhaj and Wood agree that since we have a “comedian” running (in reference to Donald Trump), their comedy has been affected. Minhaj commented that political culture has become popular culture, saying that the “GOP ran the election like a high school election.” Wood said that as a comedian, you have to “cook with the ingredients you have,” and that the personal attacks that Clinton and Trump sling at each other provides them “ammunition.”