The latest Jan Shrem and Maria Manetti Shrem Museum exhibition considers the importance of connections across time, space and species 

By JULIE HUANG — arts@theaggie.org

Open from Aug. 7 to Nov. 29, “Breath(e): Toward Climate and Social Justice” is one of two exhibitions available to the public at the Jan Shrem and Maria Manetti Shrem Museum this fall quarter. The project originated as a traveling exhibition that was guest-curated by conceptual artist Glenn Kaino and independent curator Mika Yoshitake at UCLA’s Hammer Museum. The Manetti Shrem is its last stop. 

Kaino and Yoshitake first began to conceptualize this exhibition in February 2020, gaining new clarity on the message of their work with the rise of the COVID-19 pandemic and the increased awareness of police brutality amid the Black Lives Matter movement. 

Manetti Shrem Curatorial Assistant Grace Xiao explained that the pandemic and the Black Lives Matter movement left foundational and lasting influences on the show’s intended themes. 

“They remind us that breath is precarious,” Xiao said. “The curators were really gesturing towards the idea that because of its precariousness, breath can be a point of resistance. Breath is survival, and survival for marginalized communities is resistance in and of itself.”

The theme of environmental consciousness permeates the gallery, also taking the form of a collection of paintings by Brandon Ballengée, an artist, educator and biology professor based in Louisiana. These works depict fish in the Gulf of Mexico, which have recently disappeared — likely due to oil spills in the area.  

“These Ballengée works have been a student and staff favorite,” Xiao said. “The five paintings displayed are all made from oil that came from oil spills.” 

Ballengée’s unconventional usage of this material, which is typically considered harmful, to create delicate artwork, highlights the often-ignored reality that the adverse effects of human activity on vulnerable environments like the Gulf of Mexico are regrettable, but not inevitable: that the negative relationship between people and the environment can be changed.

Another series of works, by Cannupa Hanska Luger, an enrolled member of the three affiliated tribes of Fort Berthold who is of Lakota descent, further examines the necessity of responding to climate change in ways that break away from prevailing attitudes. One such attitude is anthropocentrism, or the idea that everything in the world exists in relation to human beings. Through this worldview, natural landscapes and other living things are defined and valued only by how well they serve as resources to further human goals. 

Combating this human-centric view of nature, Luger’s works, and “Breath(e)” as a whole, present an anti-anthropocentric and non-Western view of the world. Sculptures of people in futuristic suits, which are a part of Luger’s “Sovereign Series,” are made of a variety of materials including ceramic, steel, felt paper, cork, wood, synthetic hair, glass and detritus. 

“Anti-anthropocentrism is about what happens when we understand other things around us as sovereign,” Xiao said. “Cannupa’s work imagines the land as sovereign. For example, the boots [of these statues] are made up of clay from the local area. He’s really thinking about how all these things around us are sovereign.”

Like Ballengée’s fish, Luger incorporates a range of materials into his work that are not always associated with art in the public imagination. Another piece of his on display, titled “Red Rover,” refashions outdoor furniture and discarded materials, granting them new purpose in the form of artwork. 

“[Luger] is thinking a lot about Indigenous futurity, which is the idea that there are a lot of indigenous knowledge structures that we can learn from, in order to better face the climate changes that we have today,” Xiao said. “Indigenous peoples had been living on this land rather sustainably for centuries before settler-colonialism came into the country.” 

Luger’s work centers the perspective that in nature, there is a place for everything. Rooted in Indigenous American culture, this view reveals that humanity’s environmental future might be preserved through connections to the past. 

The anti-anthropocentric perspective that is diffused throughout the gallery space takes on a unique manifestation in Michael Joo’s 3D-printed coral sculptures and “Noospheres (Composition OG:CR),” a multichannel live AI-edited video installation. 

“Michael is thinking a lot about how we might use AI to help the environment, and how artificial coral structures might benefit marine life if scientists find a way to use them appropriately,” Xiao said.

Acknowledging the controversial, culturally-charged reputation of artificial intelligence (AI), Xiao noted that learning of the AI-usage in the making of Joo’s piece can evoke emotional reactions in visitors, which ultimately become a part of their viewing experience.  

“I approached the piece by sitting with my frustration, and it helped me discover more about the work,” Xiao said. 

Occasionally, text appears at the bottom of the display screens, based on a conversation that Michael had with his collaborators — including scientists, programmers and engineers — about the concept of flux. 

“He ran it through AI and it morphed the text a bit, so now the language occasionally makes sense and occasionally is garbled,” Xiao said. “The usage of AI, even if unintentionally, helps reflect the ways that language morphs over time.” 

The centrality of time in “Breath(e)” continues in Jin-me Yoon’s “Turning Time (Pacific Flyways),” an 18-channel video installation filmed at a bird sanctuary on Vancouver Island, Canada. It features a group of dancers, all Korean-Canadian young adults, performing a traditional Korean crane dance. 

Yoon coined the term “vertical time” to describe her work, referring to the ways that the future and the past are represented in the present moment. 

“ I really love that description, which I think underlies a lot of the work in ‘Breath(e),’” Xiao said. “The Korean dance is about longevity, and this piece feels like it’s honoring what came before and what’s coming in the future.”  

Yoon’s installation reflects a greater theme threading together the collection of works displayed in the “Breath(e)” exhibit center: the connections that can be made across the boundaries of space and time. 

“Each of these artists are thinking about this idea that, in order to face climate change, we have to come together globally,” Xiao said. “Even though it began with something that could be called tragic, this is more of a hopeful show than anything.”

The exhibition suggests that dominant notions of what constitutes culture and appropriate reactions to cultural issues must be re-evaluated. “Breath(e)” challenges what true growth looks like, as humans might have to consider resources and perspectives that were previously dismissed in order to reach an uncertain future. 

The Manetti Shrem is committed to supporting the community-building themes displayed in “Breath(e)” with its own hands-on events. One of these programs is “Art Spark,” a weekly activity that invites the community to make their own artwork related to the exhibits currently on view. 

Linda Alvarez, the Manetti Shrem’s coordinator for programs and student connection, explained that there have been three different free weekend art activities centered around the “Breath(e)” exhibition, including a bee-themed sculpture in the vein of Garnett Puett’s “Apisculpture Studies” and a gel plate printing activity inspired by Ballengée’s research with fish species.
“Art Spark serves a wide audience range, and you have elementary-age kids, college-age students and elders all processing information from the show and making their own connections,” Alvarez said. 

  Manetti Shrem’s Academic Liaison Qianjin Montoya stated that “Breath(e)” also inspired a course taught by Professor Margaret Kemp, titled “Major Voices in Black World Literature.” 

“It’s an embodied experience, as students respond not only to texts in the form of books but also artwork and images,” Montoya said. “What Margaret is doing is aligning Black storytelling with non-Western narratives that don’t always follow a linear structure.” 

Montoya finds that this unconventional approach to art also resonates with the central themes of “Breath(e),” as individual artist experiences come together to form a message of environmental consciousness and social justice, not the other way around. 

“Almost every artist in ‘Breath(e)’ is making artwork in response to their work with another community, whether it be a community of bees or a community in Flint, Michigan,” Montoya said. “All of them are building bridges to wider issues like climate change and social justice through personal connections to another community.”

Xiao noted that visitors have been spending more time than usual in the gallery space that constitutes “Breath(e),” which she hopes reflects the strength of interests that visitors are able to form with the artwork. 

“I feel like there’s something for everyone in this show,” Xiao said. “One of my colleagues told me that she has a friend who never goes to museums, but this time he went and saw the Tiffany Chung piece. He loved it, because he’s a data scientist.” 

Montoya said that the variety of mediums and forms represented by the pieces in “Breath(e)” allows its message to resonate with a wide variety of people who might think in different ways, but are each connected by shared communities, global problems and ultimately, the act of breathing.

“These urgent situations and issues that we’re dealing with can’t be communicated on a single register,” Montoya said. “They need to come through multiple registers, whether that looks like data, visual art or dance.” 

Xiao characterized her own experience with the gallery space of “Breath(e)” as one of slow contemplation, reflecting on how that experience slots into the weight of its message. 

“Topics like climate change and social justice have an urgency to them,” Xiao said. “There’s this idea that we always have to think about the solution, but in this exhibition, I resonated with this idea of slowing down and taking the time to stand in front of a work of art and absorb it. What can we learn from our ancestors? What can we learn from the people who have stewarded this land for centuries?”

Written by: Julie Huang — arts@theaggie.org 

The UC Davis alumna has been working as an illustrator and graphic designer for over a decade

BY JONAH BERMAN – arts@theaggie.org 

On their next visit to The Davis Collection, Davis students and residents now have an opportunity to see multiple new murals. Painted in vibrant blues, greens and yellows, the assortment of hand-painted artworks are now on display in the brand new shopping center.
These new murals are available for viewing thanks to UC Davis alumna Lily Therens, a Sacramento-based designer and illustrator. Therens has been working as a visual artist for over a decade, and recently transitioned to a full-time freelancer. 

Therens didn’t originally plan on a career in the arts. In fact, she attended UC Davis with the intention of declaring a major in environmental science. However, her ambitions shifted after taking a design course to fulfill her General Education (GE) requirements. Enthralled by the course, Therens eventually switched to being an art history and design double major.
“It was kind of just listening to my instincts that I had been ignoring for a while,” Therens said.

Therens took a particular interest in illustration courses during her time at UC Davis. She noted how learning illustration further ignited her passion, providing her with a skillset that she regularly uses to this day. 

Notably, Therens’ time at Davis — especially her art history coursework — led her to find inspiration from a plethora of sources. She specifically touched on the ways that modernism influenced her as she developed her style, sharing her affinity for bold color palettes and “anything that was sort of tongue-in-cheek thematically;” design aspects that are now a staple in Therens’ works. 

“I always try to do something that infuses a silliness or a story into [the piece] that gives it a little bit more levity,” Therens said.
The process for creating her murals at The Davis Collection began almost two years ago, when the property developers reached out in late 2023 after learning about Therens’ previous designs for the city. Therens began creating her designs before the buildings were completed, working extensively with both The Davis Collection developers and the City of Davis.

Although Therens had significant creative control when designing her sprawling murals, the city communicated which images they did and didn’t want represented; specifically, the city felt the murals should branch out from over-represented images of Davis. 

“We didn’t want it to feel really cliche, so we [didn’t] want to see overdone images of bicycles, agriculture and cows,” Therens said.

 Another thing the City of Davis emphasized was the importance of how Indigenous practices — specifically land stewardship — would be reflected in the murals in addition to the broader topography and geography of the town.

Outside of Nordstrom Rack, Therens’ largest mural out of the three within The Davis Collection features an assortment of symbols that highlight native foods and vegetation, outlined in earthy green, brown, yellow and blue. 

Therens’ second mural, taking up the south corner of Mendocino Farms, captures figures enjoying the scene set out before them, depicting a rich Arboretum-like space with plenty of plants and animals. 

Therens hoped that when visitors saw her murals, they would appreciate them as a representation of how Davis has grown to encompass so many unique and treasured elements  — beyond the common cliches that descriptions of the town fall into. 

“Hopefully it feels like a more accurate representation of daily life in Davis and what community is,” Therens said. “I would love if people felt that the pieces I created are representative of a community that is long-lasting, beyond what it’s known as on the UC Davis brochures.”

While Therens already has a substantial portfolio, she still has some dream projects she’d like to check off her list. She specifically cited the Pabst Blue Ribbon annual Art Contest, which searches for new beer can designs, as something that she’d love to contribute to. 

“I do a lot of work with the food and beverage industry, and I’d love to design retail packaging,” Therens said. 

As Therens looks back on her time at UC Davis, she advises current students to focus on the importance of finding the convergence between passion, individual talents and style. 

“Find the things that make you happy and find the way to make that your bread and butter,” Therens said. 

The new murals at The Davis Collection serve as a testament to the way perceptions of Davis have developed past pre-conceived notions, throughout our town’s storied history. Similarly, Therens views a willingness to upend our own expectations as a crucial part of our lived experiences. 

“There are things out there that you don’t even know exist as careers,” Therens said. “When I first attended Davis, I didn’t know that art and design could be a pursuable career, let alone a focus, you know?”

Written by Jonah Berman — arts@theaggie.org

Dustin Wong, Julius Smack and Synthesaurio set to perform at local ‘Banana House’

By MIRIAM RAMAKRISHNAN — arts@theaggie.org 

On Nov. 9, Third Space Art Collective — a community of creatives who adhere to a do-it-yourself philosophy — will be hosting a house show featuring three distinctive performers. From 6 to 9 p.m., Dustin Wong, Synthesaurio and Julius Smack will be taking over the Banana House at 616 11th St. to play an eclectic mix of genres. Admission starts at $10, but no one will be turned away for lack of funds. 

Wong is a former guitarist for Ponytail, an art-rock band from Baltimore Art School. After getting its start as a school project, the band continued to experiment with music professionally, according to Impose Magazine. 

“Wong tends to arrange his electronic material in short, sporadic bursts, often contrasted against a cantering percussive synth line or reedy wisps of guitar,” Reed Jackson said in an article for Spectrum Culture. 

Currently local to Davis, Synthesaurio is an “audiovisual project” by epidemiologist Pablo Gomez. He utilizes algorithms as a way to influence his production design and visual composition process, resulting in a very unique sound.

“I see music as another tool to bring people together and uplift the efforts of those who are working on building a better world for all of us,” Gomez said.

As Synthesaurio, Gomez defines his music style as a mix of cumbia, psychedelic rock, ambient and vaporwave genres. 

“To me, cumbia experimental is an esoteric process that evokes near-spiritual experiences,” Gomez said. “My biggest influence right now is the current political climate, which is what pushes me to write and perform music. I like to think of my music as an extension of community organizing — another tool to bring people together and uplift the efforts of those working on building a better world for all of us.”

On tour with Wong from Los Angeles, Julius Smack is an alter ego created by LA-based musician Peter Hernandez, in which he blends Y2K dance music with other synth beats to create a wholly new concept.

“The house scene matters more than ever right now,” Hernandez said via email. “House shows are humble, [do-it-yourself (DIY)], human — the antidote to online.” 

Hernandez first became interested in the music scene when he himself attended a house show in his hometown of San Jose. 

“When I was 18, I saw an experimental folk artist from Portland called Dragging an Ox Through Water, and we talked for a bit about his unusual set up of homemade synthesizers,” Hernandez said. “I remember leaving and feeling ecstatic that an amazing musician would have a conversation with me. I think that moment really instilled a determination to meet as many artists as I could.”

Gomez shared a similar experience, explaining that the house show environment inspired him through a unique camaraderie.  

“Living-room shows are so intimate and [a] great way to connect the audience with the performers,” Gomez said. “I have been in lots of shows where I end up hanging out with the performers and learning more about their music and eventually becom[ing] friends.”

The technical aspects of organizing such an event are a feat in-and-of-themselves. Josh Redman, an events director for Third Space, detailed the process of planning the Nov. 9 show and others like it.

“Bands on tour usually reach out about shows months in advance — at least two months but often three months in advance or more,” Redman said via email. “Once a band asks about a show, then the organizer needs to confirm a space, find other bands, make a flyer and start promoting.” 

Redman went on to highlight the importance of audience behavior and courtesy during smaller shows at places like the Banana House.

“It’s really important for people going out to a house show to understand what the expectations are, because it’s so generous of people to host,” Redman said. “If attendees don’t respect the space, then they may be discouraged from hosting again.”

Beyond the logistics, Redman is very enthusiastic about the haven that smaller, more intimate shows provide for artists and listeners alike. 

“House shows provide an alternative and non-commercial space for more experimental and challenging art that conventional venues may not be open to,” Redman said. “[House shows] build a community around shared experiences and collaboration and not just a traditional performer/audience dichotomy.”

All aspects of the show — from the bands to the organizers to the attendees — are set to come together on Nov. 9 at the Banana House to bring the Davis community this standout show; come one, come all.

Written by: Miriam Ramakrishnan — arts@theaggie.org 

Hallmark hit ‘Providence Falls’ shows that cable TV can still remain relevant in modern-day viewing

By IQRA AHMAD — arts@theaggie.org   

In the endless whirl of streaming services — Netflix, Prime Video, Hulu, Peacock, Disney+, Apple TV+, Paramount+ and more — viewers are drowning in choice. What once felt like liberation from cable’s grip has twisted into a tangled web of logins, monthly fees and an eternal search for which platform owns which shows.  

Somewhere between all the buffering and password sharing, another question arises: Whatever happened to cable television? 

Surprisingly, it turns out that it never really left. 27% of Americans said they mainly use cable TV to watch live sports and 26% kept cable because of comfort and convenience, according to a 2024 survey of 11,000 Americans by CableTV.com. No autoplay countdowns, no vanishing titles — viewers just turn the TV on and something’s already there.

While streaming giants continue to raise prices and compete for attention, and as many Americans begin cancelling their subscriptions and trimming their streaming budget, cable is perhaps making an unexpected comeback. Networks, like Hallmark Channel, are reviving their charm with feel-good classics and originals.

Hallmark’s comfort comeback

Hallmark has long been the home of cozy predictability, with snow-covered towns, second chances and that one bakery that saves Christmas every year. But with its new original series, “Providence Falls,” the network shows that even in a streaming-saturated world, there’s still a hunger for slower, feel-good storytelling. The series mixes Hallmark’s signature sweetness with a touch of magical realism and historical romance that draws viewers in. 

This three-part series shows that cable TV is not recycling old formulas and plotlines, but rewriting them. Based on novels by Jade Deveraux and Tara Sheets, the series follows Liam O’Connor, a 19th-century Irish rogue sent forward in time to modern day Oregon to help his ill-fated love find her “destined” partner, even though he is still in love with her. It’s part romance, part mystery and time-travel fantasy: a bit bolder than the typical Hallmark holiday story. 

While viewership numbers and ratings are modest, with 6.8 out of 10 stars on IMDb, these ratings don’t tell the full story. The fact that Hallmark invested in a three-part special event, produced partially in Ireland and Vancouver, signals a renewed ambition to change their usual small-town storylines and implement something new. 

The chemistry between the leads also gives the story its heart. The actors balance Hallmark’s sincerity with a more grounded emotional connection. Liam isn’t just a stock romantic lead, but flawed and human, which makes the fantastical premise and the way he navigates time travel believable. 

While the series still feels familiar and comforting for loyal Hallmark fans, its imaginative and new formula still works to attract new ones back to the world of cable. 

Why cable still matters in 2025

While cable TV might not dominate the conversation like it once did, and many assume it’s on the road to obsolescence as networks continue to lose subscribers each year, some providers are fighting back. Cable companies such as Spectrum and DirecTV have held press events to showcase their efforts to make the viewing experience more seamless and accessible; integrating traditional cable with popular streaming apps and on-demand content. 

Beyond that, cable still offers various comforts that streaming services cannot yet fully replace. Cable remains a popular choice because it provides high-quality picture and sound — without the buffering or compression that often plague streaming services. Cable TV users also have longer-standing relationships and tenure than with streaming services. 

Though, it is important to recognize that streaming services have ultimately changed the way TV is viewed. Streaming services have captured 45% of the United States’ TV viewership in May 2025, according to an article by the New York Times. This dominance of streaming services reinforces why cable’s remaining foothold in live sports, local news and convenience is so valuable. 

Despite the rise of streaming, cable TV remains a vital part of the media landscape. Its reliability, access to live programming and connection to local communities give it a niche which algorithms and streaming services can’t replace. In an age of endless choice, cable provides consistency, convenience and comfort that still matter. It seems that some stories are best enjoyed the old-fashioned way: on a familiar channel, at a familiar time.

Written by: Iqra Ahmad — arts@theaggie.org

Amidst the 50th anniversary of the cult classic, ‘The Rocky Horror Picture Show,’ Erotic Nightmares cast reflects on the importance of the performance

By BELLA PETERSON — arts@theaggie.org 

The Davis community is no stranger to shadowcasting, especially with the ever-charming Erotic Nightmares Club on campus. With nearly monthly performances of the live rendition of the cult classic film, “The Rocky Horror Picture Show” (1975), many found themselves turning to “The Rocky Horror” Club when looking for a way to celebrate Halloween. 

On Oct. 31, Erotic Nightmares held their first official Halloween viewing, something that’s become a tradition since the film’s release. “The Rocky Horror Picture Show,” while at first unpopular in the mainstream for its depiction of sexuality, rose to fame in 1976 through midnight showings, with fans starting to sing and shout at the screen. 

Shadowcasting, as a form of performance, involves not only a cast of characters performing live alongside the film, but also full participation from the crowd — a completely unique experience. Getting to squirt water guns at the rest of the audience and snap rubber gloves while watching a movie is something everyone should experience at least once in their life. 

With the show falling on Oct. 31 — and this year being the original movie’s 50th anniversary — it’s hard to imagine the club’s performance as anything other than fantastical. Upon entering the showspace in Rock Hall, you could feel the energy in the air like lightning, with everyone dressed in their Halloween costumes and buzzing with anticipation. With the crowd eagerly awaiting the cast to begin the performance, many were pleasantly surprised by the pre-show featuring the Davis DRAG Club. 

Members of Erotic Nightmare’s board shared their excitement for the show and how they make their shadowcast come to life each quarter. Erotic Nightmares President Vivian Sapovits, a fourth-year molecular and medical microbiology major, discussed the importance of this showing in particular. 

“We perform three shows every quarter, but our first of the year is always in October and it is usually our biggest audience,” Sapovits said. “Since shadowcasting has become a Halloween tradition over the years, it’s extra exciting that we are doing our first Halloween show. This is also the only show where we don’t have a theme — just pure Rocky Horror.” 

Erotic Nightmares Secretary Maiya Duvall, a fourth-year classical civilization major, shared the influence of their personal experiences on the Halloween show. 

“For me, personally, I didn’t have a lot of Halloween celebrations as a kid that I’ve been able to remember fondly, so I’m very grateful that I get to make some long-lasting memories this Friday,” Duvall said. “I hope that if there’s anyone else out there in Davis who doesn’t have anything to do this Halloween, they feel encouraged to come see our show and celebrate this extravagant holiday with so many passionate partygoers.”

As most of their shows have different themes — ranging from “emo night” to “Star Wars” to “pirates and mermaids” — it was especially thrilling for the cast to perform on the spookiest night of the year with no theme at all. 

When it came to their roles in the club, the cast shared how their personal experiences shape the work that they do. 

Erotic Nightmares Vice President and Treasurer Vivian Albelda, a fourth-year biological sciences major, shared her journey discovering and joining the club. 

“My first time seeing [“The Rocky Horror Picture Show”] was at a shadowcast this club put on three years ago, during my very first quarter at Davis,” Albelda said. “I had so much fun that night that I started doing tech for the club the next quarter, and I have not missed a show since.” 

Albelda also noted what stood out most to her about Erotic Nightmares: not just the act of shadowcasting, but the group of shadowcasters themselves. 

“This club is just such a wonderful community — everyone has been so friendly to me since the moment I joined,” Albelda said. “It is so important to me that we as a board work to maintain a welcoming environment accessible to everyone, regardless of their theatre experience.”

“The Rocky Horror Picture Show” has been a staple in the LGBTQ+ community since its debut, and the act of shadowcasting only furthers the sense of community it fosters, according to Sapovits. Beyond shadowcasting, Erotic Nightmares functions as a non-profit, donating proceeds from ticket sales to various LGBTQ+ organizations. Albelda noted that continuous donations to the Sacramento LGTBQ Community Center has become one of the most meaningful parts of the club to her personally. 

Sapovits also shared the importance of not only the club’s philanthropic mission, but how it serves to create a new space for queer UC Davis students. 

“Rocky brings me so much joy that it’s honestly hard to put into words,” Sapovits said. “For me, the best part is the community. Obviously times are hard for everyone, but safe spaces for queer identities, and especially trans people, are so important right now. I am so grateful I am a part of this group that accepts everyone as they are,” Sapovits said.

The strongest element of “The Rocky Horror Picture Show” is the community it fosters. The cast made their feelings of pride obvious for everyone to see, and the crowd became connected through a collective, celebratory feeling. 

The crowd was stunned by Sapovits’ raunchy performance as Dr. Frank-N-Furter — the movie’s complex, melodramatic antagonist — alongside Albelda’s creepy and quiet Riff Raff. 

Eren Peixoto masterfully acted out Rocky the moment the monster of a man came to life in Frank-N-Furter’s laboratory. Each member of the cast showed off their strengths as the show progressed, fully capturing the essence of their characters in the film through song and dance. 

Beyond the cast’s individual talent, the absolute love and effort that went into their performances effectively crafted an atmosphere where everyone involved would be included; if it was an audience member’s first time, they were welcomed into the space as “virgins” with open arms. 

Having each performed multiple shadowcasts, the members of Erotic Nightmares have longstanding hopes and goals for each show. For Sapovits, performing “The Rocky Horror Picture Show” has allowed him to continuously discover new things. 

“Rocky Horror has let me explore my gender identity through a very unique outlet,” Sapovits said. “Stepping into a character like Frank really lets you embody that personality and experience in a way that might be impossible otherwise.” 

Albelda also expressed the emotional importance of the club’s performances. 

“We say that the message of this movie is ‘Don’t dream it, be it,’ and I find that this rings very true to my own experience in this club,” Albelda said. “I usually like to stay on the tech side of theatre, but it really is so wonderful to watch your friends perform with such confidence, and then realize that you are also capable of that.”

Just the beginning of this year’s shadowcasts, Erotic Nightmares’ Halloween show has set the bar for their upcoming shows, which will have their very own themes to make each night especially memorable. If the cast performs even half as spectacularly as they did on Halloween, you’re guaranteed to not be disappointed. 

“Shadowcasting has created this bright and wild community that brings so many of us together in such an unusual way, across the globe,” Sapovits said. “At Rocky showings, everyone can be themselves. It’s a very ‘come as you are, or who you want to be’ vibe.”

Written by: Bella Peterson — arts@theaggie.org