‘Red Rainbow’ staged at Rooke Theatre

By Rowan Berstein ’22 & Rose Cohen ’22

Staff Writer | Arts & Entertainment Editor

Photo courtesy of Wei Shao ‘22

The show’s lighting was by Rori Haft ‘25, with set design by Wei Shao ‘22

Beginning on March 31 and running through April 3, Rooke Theatre staged the first live, in-person production of Azure D. Osborne-Lee’s new full-length play, “Red Rainbow.” The play, which has its characters embark on a fantastical journey through a strange world, was selected as a part of the film, media, theater department’s effort to center nonwhite narratives.

Photo courtesy of Wei Shao ‘22

Mount Holyoke student actors perform in the first live, in-production of Azure D. Osborne Lee’s new full-length play, “Red Rainbow,” which ran from March 31 to April 3

“Red Rainbow,” directed by Theatre Arts major Zoë Fieldman ’22, follows a young woman named Ixchel (Arianna Peña ’25) as she and her friend Nathaniel (Adjoa Baidoo ’24) are transported through a circle of mushrooms to a magical world. Along with strange beings, like a sentient network of mushrooms, Ixchel meets gods and humans who help her connect with her Mayan heritage. They also teach her how to give her abuelita, whose spirit is caught between life and death, a proper funeral — one appropriate to her culture. 

Ixchel shares her name with a Mayan goddess of healing and midwifery, a fact that was explained in an insert in the show’s program, which elaborated on some of the cultural details found in the play.

Georgia Rose ’25, who played Sunface or El Sol Sí Mismo , an antagonist who pursues the main characters on their journey, had a positive experience acting in the play. “What I loved so much about this production was that it was very collaborative,” Rose said. “Whenever we had an idea or a concern, [Fieldman] was so open and took our thoughts into consideration much more than any other production I’ve been in.” 

Maelyn Brade ’25, who took on the role of Officer, echoed what Rose said about being involved in “Red Rainbow.”

“My experience working on ‘Red Rainbow’ has been nothing but magical, in more ways than one,” Brade said. “Throughout the process I feel I got to know more about the theater department, while also bonding with some amazing people.” 

Fieldman found it important to foster this kind of environment during the duration of the play and the rehearsals leading up to it. “I am much more interested in experimental and non-traditional work … under which the role ‘director’ looks much different than as we learn about it to be,” they said. “I wanted to choose a cast that would work with me and be excited about collaborating on their performance.”

Part of this collaborative process included stage combat, choreographed by Assistant Professor of Film Media Theater Noah Ilya-Alexis Tuleja. Sunface wields an axe in the play, intending to participate in a ceremonial battle between the Sun and the Morning Star, or Venus, representing the eternal conflict of the two celestial bodies. This relationship becomes a problem for the protagonists, as Sunface expects Nathaniel to take on the role of his adversary. 

“My quarantine hobby was learning from lightsaber videos on TikTok,” Rose said, “so, I think I was well prepared to handle the axe.”

It’s fitting that Rose drew inspiration for the role from her time in quarantine, as “Red Rainbow” takes place during the COVID-19 pandemic. Feelings of isolation and a desire to escape influence the characters’ motivations throughout the play. In fact, their journey begins with Nathaniel trying to get Ixchel out of the house after months of isolation. Additionally, many moments of comedy come from references to the pandemic, like Ixchel and Nathaniel struggling to put on their gloves and face masks. 

In an unexpected moment during the Saturday evening performance, one of Nathaniel’s ear loops snapped as he attempted to put on his mask. Baidoo quickly recovered with an improvised line about always bringing a spare, and was met with laughter from members of the audience ⁠— it seemed that many could relate to the feeling of a mask mishap.

Fieldman commented on Baidoo’s improvisation, “I encouraged the cast to have some fun with the script and to improvise a bit — though not too much or else our stage manager would have difficulty calling the show — as an attempt to work with a script that was also still in process.” 

The script of “Red Rainbow” is described as a “living document” in Fieldman’s director’s note, and the production at Rooke Theatre was the first time the show was staged in person after it was written in 2020 and initially premiered over Zoom. 

“It was my intention to find a new play going into this process,” Fieldman said. “ I am more interested in process oriented art making versus a more final product focus.” Future productions of “Red Rainbow” will likely look quite different from this one, but Mount Holyoke had a unique opportunity to showcase the play so early in its life. 

Editor’s note: Arianna Peña ’25 is a member of Mount Holyoke News.

‘The Batman’ is a promising new take on a classic character

Rowan Bernstein ’22

Staff Writer

Graphic by Sunny Wei ‘23

If you, like me, have grown tired of watching the same kind of superhero movies in recent years, Warner Bros.’ most recent DC film, “The Batman,” might be the breath of fresh air you need. “The Batman” takes a different direction from previous DC and Batman films, functioning primarily as a noir-style mystery that showcases the caped crusader’s detective skills alongside his physical prowess.

Though it is a reboot of sorts, “The Batman” is not an origin story. Instead, director Matt Reeves relies on audiences already being familiar with the character of Bruce Wayne and his alter ego, Batman, thanks to numerous retellings on film and television throughout the years. Though Bruce’s iconic backstory ⁠— witnessing the murder of his wealthy parents at a very young age ⁠— is often referenced and plays a role in the film’s story, it is not fully rehashed. This decision pays off. In its three hour runtime, the film rarely drags, in part thanks to the omission of this already familiar information. We are introduced to a version of Bruce Wayne (Robert Pattinson) already in his second year as a masked vigilante, investigating a serial killer known as the Riddler (Paul Dano). Pattinson’s Bruce Wayne, too, is still learning what it means to be his city’s protector. 

This interpretation of Bruce Wayne is considerably different from the playboy type seen in films like the earlier “The Dark Knight” trilogy. Rather than putting on a sociable public facing persona and brooding in private, this version of the character struggles to hide his angst, only making public appearances in his fictional home of Gotham City when absolutely necessary, such as a funeral for the mayor. As Batman, he is skilled in combat as well as deduction, directly assisting the police in investigating crime scenes. Robert Pattinson is a perfect fit for the role, nailing Bruce Wayne’s frenzied drive to solve the case at hand and stop the Riddler, even at the expense of his own health. 

Batman may be a skilled detective, but Dano’s Riddler is always two steps ahead of him. As he systematically takes out corrupt police officers and politicians, he leaves greeting cards addressed to Batman, filled with clues to deeper mystery surrounding his victims, which Batman must solve before he can get to the Riddler. A far cry from earlier, more cartoonish portrayals, like Jim Carrey in “Batman Forever,” this version of the character draws inspiration from the Zodiac Killer and his use of ciphers to communicate with the police. As he lurks in the shadows and stalks his prey, The Riddler makes for a terrifying and formidable foe.

Selina Kyle, aka Catwoman (Zoë Kravitz), is another key player in the film. Bruce first encounters her while following a clue from the Riddler, investigating a young woman who works at a nightclub where Selina is also employed. This young woman turns out to be Selina’s roommate and partner, who soon goes missing. Thanks to her job in the club ⁠— and her skills as a burglar ⁠— Catwoman is able to assist Batman in his investigation, as well as seek out her own revenge. While there is a spark of attraction between her and Bruce, Selina’s personal motivations and role in the story are well fleshed out and always take precedence over romance.

Each of these characters, along with supporting figures like police commissioner James Gordon (Jeffrey Wright), has a believable and vital connection to the plot, and every individual piece weaves together to tell a complex and engaging story supplemented by exciting action sequences. 

For instance, there’s a mid-movie car chase that showcases the Batmobile’s high tech capabilities and an exciting sequence illuminated by strobing nightclub lights. The fight choreography throughout the film is impressive and exciting to watch, with up close and brutal combat visually reminiscent of video game fights. 

“The Batman” also has the one thing I find most important in a superhero film: a clear love for the comics and interest in the characters as people. You don’t need to be a comic fan to enjoy the movie — I haven’t read many Batman comics myself yet — but it’s obvious that Reeves wanted to tell a story that could have come straight off of the page. This shows in the film’s sense of sincerity. Rather than wink and nod about the silliness of costumed vigilantes, the film treats its characters and their stories as worth taking seriously. There is plenty of comedy, but it never overshadows the story’s earnestness, and that is why it works.