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Goucher Students Bring Perspective to New Walters Museum Exhibit

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This April the Walters Art Museum of Baltimore debuted their new exhibit, Across Asia: Arts of Asia and the Islamic World. The exhibition features three new galleries, each focused on a different region: East Asia, South and Southeast Asia, and the Islamic World. Containing over 600 works that span over 5,000 years, Across Asia is the result of years of work from curators, museum staff, museum supporters, and more recently, the Walters’s new College Student Advisory Group (CSAG). 

Containing twelve college students from five Maryland campuses, the College Student Advisory’s Group’s main goal is to bring a fresh, youthful perspective to a field that is typically dominated by older experts and academics. Two Goucher students, Amy Kornberg ‘25 and Bronwyn Burke ‘24, served on the advisory group, which was tasked with developing Community Voice labels for specific objects and planning the College Takeover, a community event at the Walters. Both Kornberg and Burke found out about the opportunity through professors at Goucher, who encouraged them to apply. 

“Since I’m an Asian Studies minor, I thought that it would be interesting to learn about different [Asian] arts and artforms, and engage with that. And the application process was fairly easy,” Kornberg noted. 

“I’m from the city, so I grew up going to the Walters Museum. I’ve been there probably a hundred times, and I’m not being sarcastic when I say that that,” Burke said, “so I was like, ‘yes, this is what I want to do.’”

Peter Ibenana, the David Hischorn Head of Community Engagement at the Walters Museum, had the idea for CSAG. “The Walters is really working to bring in more community perspectives and community voices to its exhibitions and installations, but [college students were] not identified at the time,” Ibenana said, speaking to the original inspiration that led to the group’s formation.

The students in the group were contracted for 6 two-hour meetings, the first three of which pertained to Community Voice labels, with the second three being focused on organizing community events. The College Takeover – the event the group organized – featured different community engagement methods, including a zine created by the group, a photo booth, and a button-making activity. For the Community Voice labels, group members teamed up and picked certain objects in the exhibit to write about from a college student perspective. 

Kornberg’s group wrote about an ancient scholar’s desk from the East Asian gallery, and Burke wrote with one other student about a case of ivory statues depicting Jesus Christ from the South and Southeast Asian gallery. Kornberg said that the process of writing was “hard, but it was cool, because we got to hear each other’s stories, and how they connected to the object, and kind of meld them into one. It was hard though, because everyone has such different stories.” 

Burke agreed with Kornberg on the difficulty of the task: “the process initially was very difficult because [my group partner] and I have very different backgrounds. Trying to synthesize our voices into one… was difficult, but rewarding in the end when we came up with the final project,” she said. “We could still be in touch with our own experiences, but it worked well together.”

Burke and Kornberg both felt like the experience of being on CSAG taught them a lot, even if they do not envision themselves working in the field as a career, as is true for Kornberg. “I think that working with other people, that was a good life lesson for me personally, because I’m such an introvert, so talking to other people is hard. Being kind of forced to talk to them gave me an outlet to say ideas and opinions,” she said. 

As a history major with a minor in historic preservation and visual material culture, museum work is right up Burke’s alley. “I learned more about just how long it takes to put an exhibit together, the process, and sort of the background of a museum… I plan on going into library sciences and archival work, so this is already on the horizon [for me],” she said.

Ibenana’s takeaway from the College Student Advisory Group shows a rich vision for the next generation of museum curators. “If there’s anything I would want [CSAG] to take away, [it would be] to not just reimagine not just museums, but understand how spaces can be hubs for collaboration and engagement” Ibenana explained. 

He acknowledged that while the Walters Museum is looking to make some changes with additions like CSAG, there is only so much that can be done with a traditional museum that is nearly one-hundred years old. Nevertheless, he hopes that bringing young perspectives to a space like the Walters will not only spark change within the institution, but that it will inspire the next generation to truly think outside of the box. 

“What I would want them to do is not to come in and become carbon copies of us,” he said, “But to come in, learn some things, and do something different in your time. Do something completely different. Do something that doesn’t look the same as this, because that’s what’s going to bring in a lot more people to have conversations about these things.”

The Walters Art Museum’s Across Asia: Arts of Asia and the Islamic World is free and open to the public. The galleries span the entire fourth floor of the museum, with a small exterior section dedicated to contemporary Asian artists. The Walters Art Museum is open Wednesday, Friday, Saturday, and Sunday from 10 a.m. to 5 p.m., and Thursday from 1 p.m. to 8 p.m. 

Entrance to Across Asia at the Walters Art Museum. Photo courtesy of The Walters Art Museum.
Korean scholar’s desk, the object Amy chose to write about. Photo courtesy of The Walters Art Museum

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Repertory Dance Ensemble

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On Friday, April 21, Kraushaar Auditorium and the Dorsey Center filled with families, students, and movement. The Goucher Repertory Dance Ensemble Spring Concert held that weekend featured a variety of different art that showcased the talent and technique of the Goucher Dance Department. 

The show, which consisted of six performances, featured compositions from both Goucher students and visiting artists. The show was not limited to live media and also included the dance film Flow: Cherished moments in movement by Halley Price ‘23.

Artist Rosie Herrera’s piece started off the show. It was a creative insight into the minds of the dancers as they were given the chance to shape the piece around their own expression. In the second act, choreographer Maurice Brandon Curry’s dance arrangement  A Classical Gas played with the traditional conventions of ballet and had some fun with it. Curry’s composition, backed by Vivaldi and Yo-Yo Ma, had dancers in tux inspired costumes show off their ballet skills and their theatrical senses of humor. Which included confetti, shouting, and bee stings. He dedicated it to the dancers who brought it to life. 

Leah Gabrielle ‘23 presented A Choreopoem for the Angry black women stuck in Time; being black while hiding why I am angry, which she wrote and choreographed. This stand out piece presented Gabrielle performing her poetry while dancers moved in rhythm on stage. The piece was artfully moving and with the intermission immediately following, it inspired much conversation in the audience. 

Gabrielle explained in the program,“I want to show not just the pain and progress but the joy that is found when we choose to see the world in front of us and the perceptions of those who don’t understand us and maybe never will.” The last poem which places Gabrielle alone wrapped in gold addressing the audience directly was particularly brilliant and bold. “This is for the Black women who have never felt understood; it is for the angry Black women they have made us out to be.”

Sam Koseff’s ‘25 composition The Fool features a dynamic and emotional performance  from Laura Juda ‘23, Emma McAlpine ‘23, and Willa O’Connor ‘26. The piece, set to the music standard “Send in the Clowns, is a moody and visually masterful work–and a wonderful and captivating choreographic debut for the sophomore artist. 

As an explosive finish to the showcase,  Je ne sais quoi by Mustapha Braimah beautifully and joyfully celebrated the roots and innovation of African dance. The largest piece in the show, the dancers each wore unique custom costumes by a Ghanaian seamstress making the stage an all out celebration of movement and color. Braimah wrote in the program that the piece, “reflects the conscience and legacies that we’re all a part of and the universal journey that each person takes to find – and share– their passion.” Goucher is one of a select number of schools in North America that requires proficiency in West African dance, and the dancers displayed far more than simply proficiency when they brought Braimah’s choreography to life. 

Creativity and expression is at the heart of Goucher, and the students in the dance department are cultivating a community that encourages unique and meaningful experiences. Next time you have an opportunity to watch a show, take it, it will definitely be worth your time. 

By Athena Perry ’26

Photos courtesy of Athena Perry

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Goucher Debuts 21st Annual Student Art Showcase

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The 21st-Annual Goucher College Student Art Showcase debuted this week in the Rosenberg Gallery, displaying the hard work and endless creativity of the Goucher College studentry. From silent films to stained glass, the new exhibit contains a wide range of mediums, both traditional and nontraditional. With 75 artists featured, this year’s showcase is an extensive look at the diverse and exciting culture of artistic expression at Goucher.

Upon entering the exhibit, viewers are greeted by a vibrantly-colored, three-headed humanoid creature floating next to the gallery title, a pencil on paper illustration by Shahadah Tobias. The three heads each don a different expression, a fitting introduction to the wide array of emotions that onlookers will experience while walking through the showcase. On the same wall is a television monitor that loops through six different student films, including the aforementioned silent film, as well as music videos, animations, and an overdubbed scene from the FOX comedy series Brooklyn Nine-Nine (a piece that is much better seen in person than described in writing). 

The rest of the showcase does not fail to impress, with highlights such as the photorealistic watercolor paintings of Hannah Kraenbring, the wearable cloth works by Robert Graham and Bel Rosenthal, and the handmade Scooby Doo and KAWS rugs by Mark Martin. 

Of course, this is only scratching the surface of the talent exhibited in this year’s showcase. To cover all of it in one article would not only take pages and pages, but it would also do a disservice to the artists whose work should be seen in person to truly appreciate and experience it. If you want to support Goucher students, seeing this year’s Student Art Showcase is a must. It not only gives one an opportunity to see their peers’ hard work on display, but it also promotes the artistic culture of Goucher College that made it the school it is today. Those are causes that are always worth supporting. 

The Open Reception for the 21st Annual Student Art Showcase is Thursday, April 27th from 6-8pm. Over 100 students submitted work, which was first judged by Goucher’s Studio Art faculty. Baltimore based artist and educator Christina McCleary is this year’s juror who will award the first, second, and third place prizes. You can find the showcase in the Rosenberg Gallery in the Dorsey College Center.

Photos Courtesy of Rick Delaney

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GBSU’s Showcase Offers Electrifying Performances, Transcending Genres 

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Dozens of students descended upon Merrick Lecture Hall on Friday evening to witness the Goucher Black Student Union’s first annual Student Showcase, filling almost all of the room’s 228 seats. Pockets of family members, faculty, and staff also populated the audience. 

With Goucher’s cooling system still kicking into gear, the evening’s warmth made for an even hotter environment inside the lecture hall, but students still crowded in to see and support the various performers. 

Hosts Jordan Abrams ‘25 and Olivia Alexander ‘24, who serve as GBSU’s Event Coordinator and Treasurer, respectively, were charismatic as they introduced each act and solicited audience participation during the show’s contests. 

Abrams characterized the showcase as an evening of Black excellence, featuring talented performers and artists across genres. The packed program was balanced out with each type of performance alternating with others. 

Left: Rapper KDCD performs his original song “Day Ones”, Middle: Shawn Pelote sings “Mango” by KAMAUU (feat. Adeline), Right: Naomi shares her original poem “Black in the Moon” / Photos by Amita Chatterjee

Goucher’s own Ann West ‘25 allured the audience in her enchanting dance to Rihanna’s Desperado, followed by designer Yovanna Bueno’s ‘24 hand-crafted crochet pieces, which were shown in a runway walk of 10 models. 

Shawn Pelote ‘25 eloquently sang “Mango” by KAMAUU (feat. Adeline), hitting exquisite high notes, and first-years Trichelle White, Michelle Hill, and Sierra Stokes later put on an upbeat, willowy dance to Drake’s “Get It Together” (feat. Black Coffee and Jorja Smith). 

Two other model walks featured original designs by Antonio Tyler and styled looks by GBSU President Shamira Morgan ‘23 and Vice President Esperanza Tyler ‘23. Each runway had a new dynamic to it, with models strutting in different formations and at times dancing or utilizing the first row of seats to make each act unique from the others.  

The showcase also featured Black artists from the surrounding area, including rappers Kijaay, Trillbino, YungTheoryy, and KDCD, and spoken-word poet Naomi, who all attend Towson University. 

The crowd lights up their flashlights during Kijaay’s performance of his song “Walk It Freestyle”

Every element of the showcase was taken into consideration. The tech crew crafted harmonious lighting to accompany each act and set the mood for the performance, and refreshments were available to attendees. A delectable playlist was paired with and in between each element of the program, exciting the audience and characterizing every dance and model walk.  

Not only did the event provide thrilling performances on a campus that is typically a ghost town on the weekend, but it offered opportunities for students to show their non-academic talents and local artists to get more exposure. Perhaps even more uniquely, it created collaboration and intercommunal interaction between Goucher and our neighbor, Towson University. 

The showcase was organized by the GBSU executive board, which consists of the members listed above as well as External Ambassador Ty’Aria Johnson ‘23, Internal Ambassador ‘25, Secretary Aeon Edwards ‘24, Social Media Manager Manny Vidal ‘25, and Marketing and Outreach coordinator Lily L’Oiseau ‘26, many of whom also participated in the show.

Feature image of Trichelle White, Michelle Hill, and Sierra Stokes’ dance by Amita Chatterjee

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Hold Them Accountable: An Interview With DOCC President Leah Gabrielle 

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On December 10th, 2022, I was a dancer and choreographer in a showcase with the Dancers of Color Coalition (DOCC). During the finale of the show, the DOCC stood shoulder to shoulder. President Leah Gabrielle Carroll (23) and other members of the DOCC read a document detailing the racist behaviors and discrimination from Goucher dance faculty and staff. Subsequently, they read a list of demands to hold the Goucher dance department and administration accountable. Later, an email with the document was released to the student body and faculty. 

Just over two months after the document was released, Leah and I sat down to talk more about the college’s efforts and the student body’s overall response. This incident has prompted a series of actions and an investigation, and there will be updates forthcoming. 

Was there any big catalyst for writing the document or was it just that you had enough? 

“I think in terms of last semester the biggest catalyst was in… [a] modern class, in prior years there has always been consistent reporting involving… [the professor’s] teaching style and how… [they] ran… [their] classes so… [they] had already been on the registrars or provosts roster for getting reported by students and honestly… [they were] just talked about in general…”

Leah continued on to explain how… [the professor] had students watch a film, and opened the discussion to talk about the racist themes within the film which made students “uncomfortable.” [The professor] then turned the assignment into a paper, to which some students from the predominately white class reported the assignment, and [the professor]… to the registrar. 

“That really set people off…I think the fact that [they] turned a discussion-based assignment into a research-based assignment really just made everyone go on a fritz…professors were telling students to report [the professor]….” 

“After that happened it only took people about a month before they started to talk about professor [Mustapha] Braimah in that regard and disrespecting his name and what he’s done and even how he speaks and his accent. There were just various things that happened to professors of color that were not happening to white professors, and they [the white professors] have repeatedly done that are what I would argue are more on the racist end than what… [the other professor] did.” 

What do you think about the reactions after the email was sent? 

“I think as far as the response from professors and administrations saying that they were wholeheartedly behind us felt performative. Not hearing back from Kent [Devereaux] was the first thing that we expected. As far as the students, I definitely felt the student support from my support system and my people within the DOCC, I even had some mentors that saw the piece I put in the showcase and read the letter and he commended me for that and that felt good, that was a lot. I feel like the most unexpected thing was just hearing and getting the second win of all of the conversation behind me about the DOCC being a ‘dancer-oriented organization’.” 

Carroll went on to explain her disappointment that the general population thought the DOCC should not act “politically” although the “of color” part of the “dancers of color coalition” is supposed to be a statement in itself.

After leaving the initial performance I heard conversations between parents and faculty stating that the finale of the show was “unprofessional” and “not necessary,” backed up by comments like “why can’t they just dance?”. 

Photo from the DOCC showcase courtesy of Nia Anthony

Why do a public reading and then send the demands? Was there a strategy behind that?

“As far as sending out the demands, I wanted that to go to as many people as possible. I mean the reason it took so long is that I was trying to figure out how to attach as many students as I could. I was literally running through my friend’s lists of friends and asking them to think about people in their classes. I just wanted it to be common knowledge, we wanted to make sure people had access to this information. It’s always been customary at the end of DOCC shows to do some kind of performative piece, I found it so funny when you told me about people saying the show was political because DOCC shows have always been political, it’s always been about politics.” 

Did people reach out to you after the letter was released looking for support? 

“Literally when we came back to campus I had a lot of people want to meet, sit down and talk under the guise of study abroad or catching up but people have been coming to me, some of the issues even about tenure professors or classes.” 

What about your legacy as DOCC president, and what are your hopes for when you move on? 

“Honestly, it still kind of feels like I’m the new kid in DOCC, being the president has not really sunk in. I’ve been really committed to trying to make sure that this is generational. I love the past DOCC presidents… they did not leave me with a lot of advice or a lot of know-how, so there’s a lot that I want to do in terms of preparation to ensure the DOCC keeps running as an organization. In terms of leaving a legacy, I never expected to get this much attention with this club, it’s always a hope to join the BSU and do a protest and I wholeheartedly came here to do that…I kind of got snagged by the DOCC and I really appreciate them for treating me like family so as much as it doesn’t feel like a large legacy to me, I’ve been able to contribute to the legacy started in 2016 and it’s continued to nurture.” 

Leah has stated that following the letter’s release that she has been in communication with President Kent Devereaux to work on the demands, but said there is little progress to be seen right now.

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“We know the administration won’t protect us”: Rocky cast members share their experience of the banlist removal

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In the past, The Rocky Horror Picture Show was seen not only as a beloved Halloween theatrical production at Goucher, but also as a safe space for queer and sexual expression. In order to maintain this safe space, a banlist was put in place at the request of cast members to bar the entry of people with allegations of sexual assault or other problematic behaviors. 

This year’s performance of Rocky came with news that shocked both the performers and the general student body. On October 26, two days before opening night, Senior Director Emily Ingalls ‘23 was notified of several administrative offices’ decisions to prohibit the banlist. 

“I was stunned, I was speechless,” Ingalls recalled, “I didn’t even know what to do at that moment.”

Ingalls said she was the first student to find out about the decision, and was told by the Open Circle Theater Club’s faculty advisor, who had received emails from the Office of Student Engagement (OSE) and Campus Safety about the decision.

After speaking with multiple offices over the last month or so, the directors said they found out the banlist was first brought to those offices’ attention last school year.

Ingalls explained that since Rocky receives funds from Goucher, they are unable to turn away any Goucher students, therefore the banlist was ruled discriminatory by those offices. Ingalls and Halley Price ‘23, Senior Choreographer, said Campus Safety told them in a recent meeting that there was also concern over people on the banlist retaliating against Rocky cast members. 

According to Ingalls, this all began following last year’s production when someone who was on the banlist went to OSE to complain that they were not allowed into the show. Thea Roland ‘23, who played Janet, said that to her understanding the individual who met with OSE was banned because one of the cast members had “beef” with them, meaning the list was misused.

The issue got “moved up in administration” and seemingly went unaddressed, until two days before opening night. 

“It felt like they were backing us into a corner,” said Roland, “It felt intentional – I think it was intentional. They knew that they couldn’t experience backlash if they did it two days before.”

The short notice left the production team scrambling to figure out how to move forward. When Ingalls informed the cast, which is predominantly made up of female and/or queer-identifying students, who are at higher risk of sexual assault, she said people were crying, having panic attacks, or went outside to scream because they were in fear of who they may encounter in the audience. 

During Rocky, which took place at Merrick Lecture Hall, performers typically wear revealing costumes, are in close proximity to the audience, and display bold acts of queer expression, putting them in a vulnerable position.  

The directors said they gave performers the option to back out from the show and tried to come up with alternative measures of safety. 

“They decided to go forward [with the show] and we were determined to support them in that,” Price said, “we came up with symbols, signs they could do in case they saw something but couldn’t communicate it with anyone immediately.”

Ingalls and Price asked the cast members to not tell anyone that the list was removed, with the hope that people who had been banned previously would assume they were still barred, and therefore would not attempt to come. Ultimately, word got out and the news of the banlist being revoked spread quickly through campus.

In addition to the list being dropped, the show’s previous policies of student bouncers being able to confiscate phones of those attempting to record the show, delete those recordings, and remove disruptive audience members were changed. This year, if a bouncer noticed someone violating the rules, they had to step out and alert the Campus Safety officer stationed outside, who would then come in and handle the situation.

Cast members expressed their discomfort with Campus Safety’s presence in the auditorium, as it was meant to be a student space. They also acknowledged that during the time elapsed between the bouncer stepping out and Campus Safety coming in, further incidents could occur. 

Leila Malone ‘24 was slated to be an ensemble member, but switched to being a bouncer following the announcement of the banlist being removed.

“I felt safe in how I could control how people perceive me for my clothing,” Malone said of bouncing, “I also felt more comfortable in being able to see everybody and watch for… people breaking any rules.” 

Roland believes that the banlist removal demonstrates a larger issue of administrative offices protecting abusers on Goucher’s campus. 

“I can’t believe that the administration doesn’t see the banlist as a symbol of assault on campus,” said Roland, “they said that we were discriminating, yet the people on that list are discriminators. They discriminate on the basis of sex and gender, especially. They have taken advantage of people.”

“I think this was an action of [Goucher] protecting rapists and abusers on campus,” she stated. 

“The people who auditioned… did it under the assumption that there would be a banlist so that they could create the safe environment that they needed to perform in that space,” said Malone, “and then all of a sudden, Goucher took that away from them.” 

Cast members said they attempted to compromise with these offices, offering alternative safety measures such as phone checks, but felt their pitches were “belittled.” 

“We had all these ideas about how to protect each other, but the ones we offered to administration, they shot down,” said Roland. 

Roland, Ingalls, Price, and Malone all expressed that the recent turnovers in different offices may have also factored into the decision, as new staff members are unfamiliar with how Rocky has always been run. 

“I already feel like this campus and administration doesn’t care about us [students] at all… particularly when it comes to the arts,” said Price, “But this was just turning the knife that was already stabbed in my back… it’s just wild.”  

Closing night was on Halloween, which saw the largest turnout and highest number of incidents in the audience, according to Roland. Both cast and audience members noticed a large cisgender-heterosexual presence in the crowd at what is historically a queer space. 

“That was the worst show,” said Price, “we were all so on edge and scared.”

Roland described an instance in which a leading cast member was serenading two male-presenting audience members who seemed “uncomfortable” and began “snickering and laughing” at the performer, causing them anxiety and distress. 

“If you are uncomfortable with presentations of queer sexuality and gender, don’t come to Rocky,” Roland said. 

Despite all the obstacles and harm caused to them, the cast came together and worked to keep each other safe by any means. 

Ingalls said that she is hopeful that Rocky will continue in the future, but needs to have a banlist of some form. Price echoed this sentiment and said that the list provides a “blanket of security” to those exploring their identities through Rocky. 

“40 plus people with all different perspectives on how this should happen came together and took care of each other,” said Roland of the cast’s unification, “We reacted the best that we could.”

Written by Amita Chatterjee ’23 and Dom McKinney ’23

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Mini Photo Collection by Mich Rouse

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These are a mini collection of photos from adventures alone and with loved ones. Taken on my Fujifilm XT-200 with 15-45mm lens.

Between the Trees. July 2022

Behind the Fence. March 2022

Against the Glass. February 2022

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Hub New Music: a Contemporary Concert Experience

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Hub New Music, a Boston based contemporary quartet of winds and strings, had their Baltimore debut at Goucher College on the brisk evening of November 14. Hub New Music aims to foster togetherness through new art as a touring ensemble, their season beginning this past October. 

The group extends their creativity through commissioned pieces by various artists, the works of this night’s show by composers Dai Wei, Nina C. Young, Aaron Holloway-Nahum, and Christopher Cerrone.

The ensemble performed at Goucher between Philadelphia and North Carolina on their seasonal tour. Musician Gleb Kanasevich (clarinet) opened with a short speech introducing the group and the unorthodox method they used to play their instruments, setting the scene for an intriguing show. 

The performance began with an upbeat tune, a playful flute introduction by Micheal Avitabile, followed by fast paced puffs in the clarinet, creating a sound akin to percussion. This was the first method I observed to be unorthodox in the playing of the instruments. 

The show held more creative outlets introduced in the experience such as a spoken word recording played over a melody and a short film to accompany another piece. 

Another notable manner used to express sharper notes found in the violin by Meg Roher and cello by Jesse Christeson was the use of a wire wrapped bow, bouncing lightly on the strings to create a melodic tapping sound. 

The accumulation of these arts exposed the crowd to an immersive listening experience one would not soon forget. Hub New Music can be found and streamed on Spotify, Youtube, and Bandcamp.

Feature image: Hub New Music’s musicians (pictured left to right): Gleb Kanasevich, Micheal Avitabile, Meg Roher, and Jesse Christeson. Courtesy of https://hubnewmusic.org/

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A Review and Reflection of This Year’s Riveting Rocky Performance

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A production of The Rocky Horror Picture Show is a fond Halloween tradition at Goucher done year after year. This past October’s production was special, being the first fully live and in-person production of the show at Goucher in two years. 

The show is an adapted theater performance of The Rocky Horror Picture Show (1975), a musical-comedy-horror film. The movie plays on a screen and on the stage below, cast members passionately lip-synch their lines and songs while energetically reenacting the movie’s scenes. 

After arriving at the show on Halloween night, the last showing, I was astounded to see the line was almost out the door. I was even more surprised after entering Merrick Lecture Hall to see the size of the crowd, leaving almost no empty seats fifteen minutes before the show was scheduled to start. The Goucher community was clearly excited to support Rocky’s return. 

The opening act before the Rocky performance began included members of Goucher’s dance program, who did a fantastic job ramping up the energy in the crowd with a flirtatious and enchanting dance number to Beyoncé’s Dance for You. 

A disclaimer was given at the beginning of the performance regarding transphobic content in the show as well as instances of sexual assault, in order to provide a safe and informed viewing experience for all. Additionally, during said scenes of sexual assault, a cast member circled the stage holding a sign that read, “This is NOT consent.”

The nature of the show typically invites the audience to be loud and interact with cast members, differing from more traditional notions of theater etiquette. Members of the crowd are encouraged to sing along as well as adlib phrases and cheeky remarks about the actions of the story’s characters, bringing a fun, communal aspect to the viewing experience.

The show’s appearance in Merrick lecture hall allowed for a tightly packed, intimate setting, appropriate for the conversational dynamics between cast and audience. However, Covid safety was not a priority. 

With the school’s current mask optional policy, enforcing masking or social distancing in such a small space is mostly out of the Rocky production team’s hands. However, the flyers advertising the show stated that masks are “recommended,” but there was only a small fraction of audience members masked on closing night. 

It’s important that spaces be accessible for all, including disabled and immunocompromised people. Due to varying comfort levels regarding Covid safety and rising cases, designating a section of the seating as socially distanced or mask-mandatory could have helped Covid cautious people feel more welcome and comfortable in the space. 

Historically, and despite the film’s content, Rocky is known to be a queer space and part of queer culture wherever it is performed. Despite this, there was a notable cisgender-heterosexual male presence in the crowd, which differed from my experience seeing past Goucher productions of Rocky. This presence changed the interactive and queer atmosphere usually expressed in the shows. Cast member Cam Mackay-Smith said that this cis-het presence put his fellow cast members on edge. 

In past productions there has been a ban list in place containing the names of Goucher students who the Rocky cast and crew deem unfit for viewing due to past alleged actions or behavior. These students were barred from viewing the show. In the past, this list has been essential to the comfort of cast members due to the revealing costumes and sex being a core theme of the show’s narrative.  

Sources within the production say this year there was no list in place due to the decisions of outside officials deeming it unfair. 

“We didn’t find out about it [the revocation of the ban list] until a couple days before the show.” said Mackay-Smith. 

According to Mackay-Smith, late news of the list being pulled was no fault of the directors, who notified the cast the day they learned of this change. He praised the cast for how they pulled together to support one another in light of this news. 

Despite the obstacles, the cast performed confidently, boldly and with heart, providing the Goucher community with a lively return to this treasured Halloween tradition.

The Quindecim is currently investigating the removal of the ban list. Please stay tuned for followup information.

Feature image of “Rocky Horror Picture Show” film cast courtesy of AMC Theaters.

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