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Even Dedicated Fans Turned Away from O Cappella Fest

Obertones and Guests Pack Fairchild Chapel

by Julie Noyes

Last Saturday night's underpublicized a cappella fest demonstrated just how fast news travels via word of mouth at a small school. Arriving on time meant risking the chance of being turned away at the door of Fairchild Chapel. There simply was not enough room, considering the fact that there were loyal listeners pressed against the doors more than a half an hour before the show started. This year's festival, emceed by sophomores Greg Robinson and Matt Marlin, not only featured Oberlin's own Obertones, Zarya and In-A-Chord, but also was graced by the presence of the Allegations from Allegheny College, and the Ford S-Cords from Haverford College.

The energetic and always creative Obertones hit off the fest with their most anticipated cover, "That Way" by the Backstreet Boys. Caught slightly off-guard, the audience took a moment to respond, which actually allowed for more of the song to be heard before the screaming began. Although there was very little choreography or costuming the song was, once again, a hit and ended with an enthusiastic response.

This seemed to be a new Obertones, at least for this year, with respect to costume and choreography. They were much more relaxed and less scripted, meaning they were there more for music appreciation than for playful entertainment. Yet this was not an entirely serious display. They did, however, grace the audience with a skit about none other than Nancy Dye, who, according to the Obertones, defines budget cuts as slashing funds from every other club and adding it to football.

Their novel set consisted of songs such as "My Cherie Amour," "Marianne" and "Crazy Love," the classic Van Morrison piece enhanced by senior romance expert Dave Palter's always-sexy performance. Another highlight of their rather laid-back performance was a song written and sung by first-year Jason Goss. Titled "Sunday Morning," the piece entranced the audience and exemplified the Obertones' promising future.

Next entered a co-ed group that had only rehearsed for a short time last semester. This group, Zarya, represented the non-traditional side of a cappella. No one could help staring straight ahead as the Slavic pieces boomed through the small chapel. A translation accompanied each piece, but this did not encroach on the mystery of the music. This boisterous group was refreshing in that they incorporated a different culture's traditional type of music into a forum which is traditionally dominated, at least at Oberlin, by pop culture.

The third performance introduced the audience to the first guest group. The co-ed group known as the Allegations was missing several integral singers and it showed. Although each individual possessed a wonderful voice, the slower songs such as Sarah McLachlan's "Angel" and Ben Folds Five's "Brick" sounded hollow. They quickly redeemed themselves when they turned away from slow melodious songs to more sound effect oriented pieces. Devo's song, "Whip It" delighted the audience and their "Are You That Somebody" introduced the idea of rap-a cappella ,which turned out to be impressive.

In-A-Chord took the stage next, representing Oberlin's first co-ed a cappella group. Immediately, energy and personality emanated from the members (compounded by Lavel Blackwell's sizzling shirt). Performing perhaps their best show to date, this group thrilled the audience with "Helmet" by The Bobs, "Wishin' I Was There" and "How Deep is Your Love," all arranged by Blackwell. Their sound was clear and full and was rewarded with the audience's enthusiastic response.

Finally, the all-male guest group FordS-Cords claimed the spotlight. Running down the aisle they just kept coming and coming, all fourteen of them. Their mostly recent pieces such as "Real World" by Matchbox 20 and U2's "Mysterious Ways" revealed the character of this group. Each soloist added his personality to the piece, making it impossible for the audience not to dance in their seats. Their skit was a bit less redeeming as it generalized such schools as Yale, West Point and the University of Florida based on certain stereotypes surrounding them, but it was a good attempt at humor. Overall this group was musically impressive. When asked how difficult it was to produce arrangements to suit a 14 person ensemble, a member replied, "I guess it's just what I enjoy doing." This lackadaisical response characterized the easy-going aura of the group, who were generally playful and talented.

O Cappella Fest 2000 was a success, teeming with wit, talent, and a mix of not only genders of groups but also cultures of songs. The guest groups were an added bonus, and allowed the Oberlin community to see exactly how talented its own a cappella groups are.

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Copyright © 2000, The Oberlin Review.
Volume 128, Number 17, March 10, 2000

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