Gallathea, a thoroughly thought-provoking play, evokes lots of laughs, a few sighs and a couple of yawns. Although funny and unique, some scenes are dated, and the overall effect of the play is brought down by actors who are inaudible or ineffective.

John Lyly’s Elizabethan-era play has been revamped by the theater and dance department. Directed by Peter Lichtenfels, Gallathea profiles the love, the hunt and the sacrifice of an English countryside village. It opened to a largely empty auditorium last Thursday night.

In an English village, the loveliest virgin is sacrificed every five years, and Tyterus, the father of the most chaste and beautiful daughter, Gallathea, disguises her and sends her off into the forest to save her from death. From the start of the show the conflict within Gallathea is masterfully portrayed by Gia Battista, as she thinks it’s her duty to the country to be the one sacrificed. On the other side of town Melebeus (Will Klundt) hatches the same plan for his daughter Phillida (Venessa E. Archuleta), who, unlike bold and daring Gallathea, is rather mousey, and more willing to be sent away.

Inside the forest, the nymphs of Diana and Venus’s puckish son Cupid have their own chase and conflict as the chaste nymphs try to deflect Cupid’s devilish advances in vain.

Ting Jung Lee as Cupid is truly the breakout star. She plays the male Cupid with artistic bravado that is oddly reminiscent of most Ken Jeong characters. Lee’s performance as the secondary character Haebe, the not so beautiful virgin pawned off in the sacrifice to Neptune, had the auditorium roaring with laughter.

As those scenes unfold, the completely unrelated side story of the adventurous trio of brothers opens up; sadly only Matthew Canty’s Raffe gets stage time. At the end of the play when the three brothers reunite, it is almost confusing as to who the other two are.

When Gallathea and Phillida meet, brought together by Diana (Alison Sundstrom) they fall in love in exactly three scenes. In so little time the actresses bring enough emotional power to the characters that the audience starts to sympathize with the awestruck lovers even if they are both girls pretending to be boys.

The final scene of the show, where the big reveal is imminent, is the best part of the show. The gods bicker like children, the townspeople are dismayed, and the lovers are exposed. The cast plays it up with the outmost of energy and it seems like a fitting conclusion to a play that sheds light on many modern problems in society.

The town, the forest, and all other scenes are all played on the same set, which in the simplest terms is a giant jungle gym with a floating set of stairs put off to the side and some bushes meant to be the forest. The stage has no curtains or side stages, actors have full reign of the stage and sometimes they even climb into the audience. The choreography is done in such a way that at most times it seems oddly appropriate for the characters, who unabashedly act like children, to be happily hanging and sliding down the set.

There is no soundtrack. The set and the actors clomping around on stage provide all background noise. Video projections both frame and shed light onto the play, which is meant to be raw and not hide anything.

Walking into the theater and seeing the stage crew cleaning up the set and actors milling about getting ready for the performance took some mysticism out of watching the play. It felt more like being at the dress rehearsal rather than opening night, even though this was part of the play.

The audience is asked to leave their cell phones on and text and capture the play in any way that they wish, but it didn’t seem like much of the audience understood or made use of the concept.

Overall the play provides a nice way to spend a weekend night, even if at times there are lulls on stage and actors are hard to understand.

The cast of Gallathea will give its final performances tonight through Saturday at 8 p.m. and Sunday at 2 p.m. at Wright Hall’s Main Theater. Tickets are $12 to 14 for students.

ANASTASIA ZHURAVLEVA can be reached at arts@theaggie.org.

At the height of their fame, Jon and Kate Gosselin and their eight kids were one of America’s favorite families. But celebrity came at a price.

Their TLC reality show, “Jon and Kate Plus 8,” documented the everyday struggles and triumphs of raising six-year-old twins and two-year-old sextuplets. Episodes gave an up close-and-personal peek at their lives in suburban Pennsylvania – including theme park outings, bedtime routines, temper tantrums and everything in between.

Now, thanks to Jon and Kate’s ugly divorce in 2009 and recent reports that two of the sextuplets have been expelled from school, audiences and child psychology experts have once again fired up one of the most heated debates of the last decade: Should kids be filmed for reality TV programs?

Jon and Kate are hardly the only parents to allow cameras to capture their kids’ every move. The Duggar family of Arkansas has been the subject of countless specials and series, most recently “19 Kids and Counting” (guess why they got their own show), and kids are featured in popular shows from “Run’s House” to “Keeping Up With the Kardashians.” Americans are simply fascinated by famous families and their children.

Still, the legality of such programs is questionable. Children who appear on reality TV shows aren’t subject to the same child labor regulations as child actors or performers because they are “participants,” not “employees.” This means that children on reality shows, like the Gosselin and Duggar kids, could be filmed for long hours or for days on end. The studio is under no legal obligation to adhere to commonly accepted child labor practices and limitations.

An investigation by the Los Angeles Times in June found that 11 shows currently filming, including “19 Kids and Counting,” the “Real Housewives” franchise and “Raising Sextuplets,” had not filed paperwork to hire minors.

The psychological impact of a life led in front of TV cameras is also cause for concern. The Gosselin kids’ recent expulsion from school certainly raises doubts about the quality of life a child can have when his or her existence is broadcast on TV for the world to see.

Hilary Levey, sociologist and post-doctoral fellow at Harvard University, said in an op-ed for USA Today that the cameras force kids to perform constantly, even as they are supposedly “being themselves.”

“Unlike, say, Miley Cyrus, who played the role of Hannah Montana, reality TV parents essentially consent for their children to “play” themselves,” Levey said. “Children’s personalities are dissected by viewers, and any embarrassing activities, like potty training, are preserved on the Internet – or in syndication.”

While participating in a reality show could have its benefits, the cons far outweigh the pros. Kate Gosselin often defends her decision to continue her show by citing all the opportunities her children have been given, such as going on fancy trips and getting free stuff like custom-built playhouses. But at what point does the money cease to pay kids back for their lack of privacy or quiet family time that most children take for granted?

Would the Gosselin kids, if given the chance, trade their action-packed Hawaiian birthday vacation (filmed for the show, of course) for the normal life they had before “Jon and Kate?”

Unfortunately, the kids are never able to speak out until they’re adults and by then it’s too late. I have a sneaking suspicion that in 20 years the Gosselin kids will publish a tell-all book, and we’ll all be ashamed that we simply sat and watched as their young lives fell apart before our eyes.

“Jon and Kate Plus 8” used to be one of ROBIN MIGDOL’s favorite shows. Now it just makes her sad. Tell her what you think at arts@theaggie.org.

Artist: RJD2

Album: The Colossus

Label: RJ’s Electrical Connections

Rating: 4

Scheduled to set the Freeborn stage on fire (literally, maybe?) on January 27th of this upcoming year, RJD2 gives Davis audiences something exciting to look forward to with his fourth solo album.

RJD2 retains some of the classic techniques that made his sounds so mesmerizing. Guitar solos, piano and synthesizers mixed with smooth beats used in previous tracks such as “Ghostwriter” and “Here and Now” make their usual appearances in The Colossus.

Of course, great vocal collaborations are expected. Phonte Coleman offers a smooth, soulful voice embraced in fluttering piano.

Although some might not like it, RJD2 captures a very raw sound as heard in “A Spaceship for Now” where the drum sounds very un-produced and digitally un-altered. It’s a rare find these days.

Give these tracks a listen: “Tin Flower,” “The Shining Path (featuring Phonte Coleman)”

For fans of: Ratatat, Blockhead, Soul Position

– Uyen Cao

Artist: Rihanna

Album: Loud

Label: The Island Def Jam Music Group

Rating: 4

Rihanna is back and she’s louder than ever.

Following the release of the dark and tough Hard last summer, full of Rihanna’s pain from her very public fallout with Chris Brown, the pop princess has released an album full of fun club jams without a trace of sadness left.

Rihanna’s lyrics this time around are strong and playful, with kinky songs such as “S&M.” Her second single with Drake, “What’s My Name?” is sure to be a radio hit.

Although this is mainly a fun album, Rihanna has never been one to shy away from ballads and Loud is no exception. She is stronger on songs that still have an up-tempo beat, such as the reggae-infused “Man Down,” but there is a beautiful piano version of her hit with Eminem, “Love the Way You Lie.” It proves that Rihanna can do more than club tracks, and will give you chills.

Loud is exactly what the title promises. It’s fun, fresh and sure to put the Barbados siren back on top.

Give these tracks a listen: “S&M,” “Man Down,” “Love the Way You Lie (Piano Version)”

For Fans of: Beyonce, Katy Perry, Keri Hilson

– Anneta Konstantinides

Artist: Kid Cudi

Album: Man on the Moon II: The Legend of Mr. Rager

Label: Universal Motown

Rating: 3

Kid Cudi produces a dark sophomoric album that not only doesn’t satisfy fans, but also deeply confuses them. Man on the Moon II not only has very little to do with Man on the Moon I, but it also shows a whole different side of the emo rapper.

There is no doubt that Cudi is a groundbreaker in his genre, and everything from his style to his tone is solid, or at least it was on his first album. It’s a hit-and-miss album. The opening track “Scott Mescudi Vs. The World” in which Cudi sticks to rapping and Cee Lo sings the chorus, has a nice traditional flow yet sounds fresh and innovative. “Mojo So Dope” drips darkness as pop culture’s loneliest stoner reflects on reality and fantasy. “REVOFEV” and “We Aite” start out great but seem to go nowhere and never pick up.

In Man on the Moon II, Mr. Rager, Cudi’s self-destructive and unstoppable alter ego, aims to sound soulful and insightful. Instead, he falls flat as he tries to create meaning.

Give these tracks a listen: “MANIAC,” “Mr. Rager”

For fans of: Kanye West, The Roots

– Anastasia Zhuravleva

MUSIC

Myx Presents: Loaded

Tonight, 6:30 p.m., $10

Freeborn Hall

Over half a dozen YouTube music sensations will come together for one night at Freeborn Hall in this Entertainment Council-sponsored event. Performers will include Andrew Garcia, Erika David, Summerbreeze and Michelle Martinez, among others. It’s a rare opportunity to see your favorite Internet talents live and in person – not in a four-inch-wide video.

Early Music Ensemble

Sunday, 3 p.m., suggested donation $6

St. Martin’s Episcopal Church, 640 Hawthorne Ln.

Did you know UC Davis had an Early Music Ensemble? Well, now you do, so you might want to check out its concert this Sunday. Details about the ensemble’s repertoire or concert program are hard to come by on the music department website, so you’ll just have to go and be surprised.

Student Chamber Ensembles

Tuesday, noon, free

Music 115

Come see your fellow Aggies perform in small groups in this free combined concert. These musicians sure know their stuff, and it’s always inspiring to watch someone play an instrument really well, isn’t it? It is for me, at least.

AT THE MOVIES

Tous les Matins du Monde

Tonight, 7 p.m., $5

Mondavi Center, Vanderhoef Studio Theater

This 1991 French film (with English subtitles) is based on the true story of 17th-century composer Marin Marais, who looks back on his experiences as a musician and lover. The film stars Gerard Depardieu as Marais and features acclaimed viola da gamba player Jordi Savall, who plays all of Marais’s original compositions. It’s the perfect blend of film and classical music.

THEATER/MONDAVI

Gallathea

Tonight through Saturday at 8 p.m., Sunday at 2 p.m., $14

Wright Hall, Main Theater

It’s your last chance to see Peter Lichtenfeld’s modern take on the Elizabethan classic Gallathea at Wright Hall’s Main Theater. The play deals with cross-dressing, unrequited love affairs, deception and more, and features costumes by designer Liz Galindo. It also incorporates video, text messaging and other multi-media elements to create a truly unique 21st-century theater experience.

6 Degrees

Friday through Saturday, 8 p.m., free

UC Davis University Club, Old Davis Rd.

Six different experimental dance performers unite for this traveling show, which promises to provide a unique viewing experience at every performance. UC Davis alumni and others who inspire them will be among the performers. The first half of the performance will feature five-minute solo routines by each of the performers, and in the second half all will unite for one piece, choreographed by Dandelion Dancetheater co-director Eric Kupers. See preview in today’s Muse.

Ornette Coleman

Saturday, 8 p.m., $17.50

Mondavi Center, Jackson Hall

Ornette Coleman is a jazz music legend, and if being an award-winning saxophonist and composer isn’t enough, he’s also credited with inventing “free jazz,” his own unique style of playing. In 2007, he also was the first person to ever win a Pulitzer Prize for completely improvised music.

Jeanine De Bique, soprano

Saturday at 8 p.m. and Sunday at 2 p.m., $17.50

Mondavi Center, Vanderhoef Studio Theater

A native of Trinidad, Jeanine De Bique has performed with the Basel Opera in Switzerland, the New York Philharmonic and the Young Concert Artists Series in New York and Washington. She is one of the most promising young singers of today, so don’t miss this opportunity to hear her live.

ART/GALLERY

Wayne Thiebaud in Conversation with Kenneth Baker

Today, 4:30 p.m., free

Buehler Alumni and Visitors’ Center

San Francisco Chronicle art critic Kenneth Baker will interview famed UC Davis artist Wayne Thiebaud in this free lecture at the Visitors’ Center. Both are famous around the country for their expertise and accomplishments in the art world, so their conversation is sure to be exciting and informative for any art lover.

Poetry Reading

Tonight, 7:30 p.m., free

Logos Books, 513 Second St.

The works of late, local poet Quinton Duval will be read by Duval’s close friend Sarah Phelan and Lynne Knight, who will also read some of her own works. This is the first in a series of three poetry readings at Logos Books.

Birds of a Feather

Tuesday, Dec. 23, free

Pence Gallery, 212 D St.

You see birds everywhere, but have you ever considered them to be art? Well, in this new exhibit at the Pence Gallery, that’s exactly what they are. Each piece in the exhibit is inspired by birds of all species and in all forms.

ROBIN MIGDOL can be reached at arts@theaggie.org.

Musicians, choreographers and dancers don’t often take the stage at the same time. But in a new show called 6 Degrees, that’s exactly what they’ll do.

Dandelion Dancetheater, an experimental theater company, will present 6 Degrees at 8 p.m. on Friday and Saturday at UC Davis University Club on Old Davis Road.

The show will be divided into two parts. The first half will feature five-minute pieces created by the participants, while the second half will feature all the artists performing in a piece directed by Eric Kupers, co-director of Dandelion Dancetheater and UC Davis theatre and dance alumnus. Kupers’ interdisciplinary piece will feature many forms, styles and approaches to performance-making.

Julia Hollas, Dandelion Dancetheater’s administrative coordinator, said that the project largely represents Dandelion’s ideals. A “radically inclusive” company, Dandelion welcomes the work of people from various walks of life and multiple artistic disciplines. Their intermeshing of disciplines means that a hip-hop dancer might teach a dance routine to a musician, while an actor and modern dancer might work on a duet.

“All artists perform in both their specialty and forms they aren’t entirely familiar with,” Kupers said. “Watching a Dandelion show is about seeing the energy created when vastly different people come together to create. 6 Degrees creates a matrix of artists, some of who know each other and others who will be meeting for the first time.”

Founded in 1996 by Kimiko Guthrie and Eric Kupers, Dandelion Dancetheater performs in various collaborative events and festivals throughout the Bay Area in addition to holding an annual home season in San Francisco.

Their shows aim to dismantle the barrier between artist and viewer, enabling the viewer to see himself reflected in the performance. Both the creator and the means of creation are determining factors in the significance behind Dandelion Dancetheater’s art.

Dana De Guzman, administrative assistant and performer in 6 Degrees, has learned and benefited from 6 Degrees’ interdisciplinary approach. De Guzman said she had seen herself as more of a musician before joining Dandelion, where she immersed into a new world of artistic expression.

“I have learned many styles of dance and movement as well as many new perspectives on musical approaches,” De Guzman said. “Everyone is at some level a student or a teacher of specific talents. This has ultimately opened my interest in further expanding my definition of ‘performer.'”

“What comes out is pure energy, a display of the magic or making performance,” Hollas said. “Davis students should expect to see some great and varied performances, but also to be immersed in an experience.  In more ways than one, they will be drawn in!”

For more information, go to dandeliondancetheater.org

ELENI STEPHANIDES can be reached at arts@theaggie.org