History Boys Gets Top Marks

Be mindful not to compare The History Boys, winner of the 2006 Tony Award for Best Play, with other sentimental, treacly schoolboy fare like the 1967 film To Sir, With Love or the 1989 film Dead Poet’s Society. The History Boys seeks not to romanticize education, but humanize it, asking questions not only about the nature of education, but also the workings of the human heart, and the goals we choose to pursue.

Playwright Alan Bennett uses an English grammar school (the equivalent of an American high school) as the backdrop for his tale about differing views regarding education. While preparing for university entrance exams that will ideally gain them admission to prestigious Oxford or Cambridge University, eight foul-mouthed and sharp-tongued boys find themselves at the center of an ongoing educational debate. Their current teacher, Hector (Dave Landis), perceives education as something intended for the heart, his curriculum consisting of memorizing the poetry of W.H. Auden and Stevie Smith, the performing of classic film scenes, singing, and promoting fluency in French, which in one hilarious scene, he has them utilize by acting out a scene in a brothel. The headmaster (Stephen Huff) does not agree with this approach; instead he wants something quantifiable. He brings in Irwin (Eric Duhon) who, denouncing “sheer competence,” encourages the boys to differentiate themselves from other potential applicants by presenting alternative, controversial interpretations of historical events. “Truth,” he argues, “is no more an issue in an examination than thirst at a wine tasting or fashion at a strip tease”.

Hector complains that Irwin’s flashy approach to exam preparation is not history; it’s journalism. Hector and Irwin cannot see eye to eye regarding the purpose of education. Is education valued for its own sake or is it valued as an avenue to achieving success? Irwin says, “Education isn’t something for when they’re old and grey and sitting by the fire. It’s for now. The exam is next month.” Hector retorts, “What happens after the exam? Life goes on.” The play, however, wisely avoids casting either as the good guy/bad guy. Both teachers have their convictions, and more importantly, both have their imperfections.

The play also addresses homosexual relationships among students and between students and teachers. However, this is not a morality play, and the subject is treated less controversially than it might have been were this an American play.

The cast is anchored by strong performances by Landis and Duhon. Of the boys, standouts include DJ Hill, as Scripps, the moral compass of the group, Joe McDaniel as charismatic Dakin, the object of so many characters’ affections, and Ed Porter as the passionate Posner, whose emerging homosexuality and youth make him feel isolated from his peers and whose rendition of Lorenz Hart’s “Bewitched, Bothered, and Bewildered” and scene with Hector is heartbreakingly poignant.

Walking away from Boys, you may not have any answers, but it’s worth the price of admission to be asked the questions.

The History Boys, directed by Rhodes professor Cookie Ewing with assistance by junior Mallory Primm, features performances by sophomores Omair Khattak and Ed Porter and alumnus Michael Towle (2008). The show concludes its run at Circuit Playhouse February 15.

This article also appears on the Rhodes Codetta blog (rhodescodetta.blogspot.com). In addition to theatre coverage, Codetta features coverage on music and art both at Rhodes and in the Memphis community.
- Cristina Iskander

Orpheum’s Drowsy Chaperone “Shows Off”

The Drowsy Chaperone, winner of five Tony Awards in 2006, is both homage to and parody of the light, bubbly musical comedies characteristic of the Jazz Age, full of archetypal characters and frivolous, predictable plotlines. However, to fully accept and embrace this idea, you have to ignore some anachronisms. First, cast recordings did not even exist until sometime in the thirties, and secondly the musical score is not entirely in the style of the twenties. However, these are relatively easy things to disregard and do not interfere too much with enjoyment of the show.

The narrator for the evening, simply called Man In Chair (Tennessee native John West) shares his favorite indulgence with the audience—a cherished, old record of the (fictional) 1928 Broadway smash, The Drowsy Chaperone. He explains, as he puts it on, that when he listens to it, it transports him, and makes him feel as though he is seeing it live. The Man, who simply wants “a story and a few songs to take [him] away” from the reality that is his lonely, cluttered apartment, is delighted as his imagination takes over, the walls of his home give way and the characters of Chaperone stream in, miraculously entering from his refrigerator and dancing out of his closet.

The characters of 1928’s Drowsy—gangsters (Dennis Setteducati and Marc de la Concha), a producer Feldzieg and his ditzy, blonde girlfriend, Kitty (Britt Hancock and Lindsey Devino), Latin lothario Adolpho (Roberto Carrasco), and the drowsy (read: drunk) chaperone (Patti McClure) have gathered at dowager Mrs. Tottendale’s (Kristin Netzband) home for the marriage of retiring Broadway starlet Janet Van De Graaf (Elizabeth Pawlowski) to oil magnate heir Robert (Leigh Wakeford). As he watches the drama unfold, Man in Chair provides commentary—criticizing or praising certain lyrics and jokes in the show, drawing attention to some of the smaller, less flashy moments, and giving backstage information on the actors performing in the show within a show, gossiping about their careers, rivalries, and scandals.

All of the actors sing and dance ably and their devotion to the giddy, self-aware spirit of the show is admirable, but because of the nature of the piece, there are few opportunities to expand beyond a two-dimensional character portrayal. Pawlowski, McClure, and Carrasco have brief moments of triumph, where they are able to step out of the ensemble (Pawlowski in “Show Off,” McClure in “As We Stumble Along,” and and Carrasco in “I Am Aldopho), but it is only John West, as Man in Chair, who manages to escape this fate entirely, and his droll delivery is an ideal companion to the absurdities that characterize the show within a show.

The set design is inventive, the costume design is impressive, and some of the comedic gags like the repetition of the same lyric as the record “skips” are tremendously clever. However, at times, the script veers from self-conscious to self-congratulatory.

Despite its imperfections, The Drowsy Chaperone is something that people who love musical theatre will immediately understand. However, that said, it is not necessarily a show that anybody will enjoy because to truly appreciate Chaperone, you need to have experienced or felt what Man in Chair feels for this show, whether you have obsessed over a seemingly insignificant moment in a show, felt comforted and swept away by a cast recording, or acknowledged a show’s imperfections but adored it nonetheless.

Memphis was the second stop for the non-equity touring production of The Drowsy Chaperone. The show was performed at the Orpheum January 13-18.

This article also appears on the Rhodes Codetta blog (rhodescodetta.blogspot.com). In addition to theatre coverage, Codetta features coverage on music and art both at Rhodes and in the Memphis community.

- Cristina Iskander

Dr. Harter’s Recital

On Thursday October 23rd, 2008 I joined countless others in Tuthill Auditorium of Hassell Hall to hear Dr. Harter’s oboe recital: Music and Letters from the Nineteenth Century. Most of the music faculty perform annually and I was excited to see how Dr. Harter’s would compare to last year (in which she performed selections by Prokofiev—a composer near and dear to her!). This year’s concert was a complete departure from last year’s—but just as delightful! Her program featured the music works and letters of Robert and Clara Schumann, Johannes Brahms and Heinrich von herzogenberg. I was particularly excited about this music and these letters because they came straight out of the German romantic era—a movement that swept the arts and permeated society itself in Germany during the 1800s. They took their romantic notions very seriously! As such, the music and letters explore many emotions, bringing one to tears with or joyous laughter. They did this by means of particular intervals in the music that create tension or a particular term of endearment in a letter.

The letters gave critical insight into the thought-processes of the composers and how they made their living, as well the effect of their music on themselves and their audience. These letters also provided intimate glimpses of how these people interacted and how their music reflects not only their ideas and notions, but the ideas and notions of society. Dr. Harter drew an apt and interesting parallel between the art of writing a letter and the art of music itself. In her own words: “all of the little things make a letter personal and unique: salutations, endearments, inquiries about health and happiness…after you drop your work into the mailbox, there is a physical sensation of accomplishment, followed by that anticipation that you might get a reply from someone else in the world that also practices this lovely art”. Just as the minutiae of a letter make it unique and whole, so too in music do the smaller things, like motives, cadences and key changes, distinguish the piece from others as well as making it a completed work. The sense of accomplishment in finishing a letter or completing a musical compositions are similar—one must wait to see how his/her masterful creation is received and hope that somebody else in the world understands the underlying message of their creation.

I hope to see even more people at her recital next year! It’s an event not to be missed!

Interview: Questions by Laura McLain. Conducted by Laura McLain and Brigid Hannon.

1)How long have you been playing the oboe and why did you choose to focus on the oboe over other instruments?
I started in 3rd grade – it was one of those “meet the band instrument” days in music class. Everyone I knew played the flute or clarinet, and the oboe sounded kind of neat. I tried it out on that day and actually got a sound, and had some lung capacity, so they pushed for me to try it. When I went home that night and told my parents I wanted to play the oboe, they had to open up the encyclopedia to find out what it was.
Knowing what I know now, I would probably pick the cello or French horn – great instruments, great expressive qualities, great ranges, and no reeds!

2)How do you feel about your recital?
It was fine. (Nothing’s ever perfect…)

3)If you had to choose only three composers to listen to for the rest of your life, who would they be?
I think you helped me pick these: Antonín Dvořák (Czech, 1841-1904), Francis Poulenc (French, 1899-1963), Astor Piazzola (Argentine, 1921-1992) – all three have great variety in their writings, a lot of folk influences, lots of different genres.

4)Best musical event you have ever attended or participated in?
The best $10 I ever made: I joined the “Jazz Chamber Music” course during my senior year of undergrad. Of course, my friends told me that I was in the wrong room that first day. I told them I was taking sand paper to my “square” (or “classical”) corners. The director taught me a lot about reading chord changes and how to improvise (“no such thing as a wrong note, just wrong resolutions” was his motto), but I always impressed the jazzers with my sight reading skills. Late in the semester, a cold December night in Pittsburgh, the group went to a jazz club downtown – the performing space was in the basement, and cold and dank. But we had a blast performing everything. The instructor’s sister was a jazz vocalist, so she came and sat in while the group of us made up little riffs to back her up. It was a great evening – and we each made $10! (I think I spent mine all on hot chocolate that night!)

5)What advice would you give to music students who do not know which career path to follow?
The best advice, make sure to enjoy what you’re doing, no matter what. It’s great to be personally invested in all of your work, but find time to be yourself on your own time too. Balance is important, and I’m still working on that myself.

6)How did you end up at Rhodes?
A little luck. I feel like I was in the right place at the right time. I had finished my comprehensive exams at the University of Connecticut and was teaching at the Oberlin Conservatory when I had the interview here at Rhodes. I had two one-year contracts when I was teaching mostly music courses for the general liberal arts student including a course entitled “Paris at the Turn of the Twentieth Century.” I then went to Georgia State University for a year while I finished defending my dissertation. I came back to Rhodes on a one-year contract and then won the tenure track job. I feel very fortunate to be in a place where I can continue to learn too – and also to model the ideals I feel are important – a musician, an educator, and a scholar.


7)How do you spend your free time? Favorite Memphis activity?
Free time?! What’s that?! Grading…practicing…sleeping…
Really, I schedule time to play badminton a few times a week – I’ve been playing since high school and there are few places in town to play, including the navy base in Millington. I love to go hear live music on Beale Street, and now that the new smoking laws are in effect, the weeknights are pretty breathable!

8) Do you watch tv? what shows? What is the last movie you saw in theaters?
I watch way too much television and I don’t even have cable! Numbers – because it’s about a college professor who works with the FBI, and I have a thing for numbers. NCIS – I have a few navy connections anyway, and Mark Harmon is good eye candy! Then I have my collections of tv on DVD: Frasier, M*A*S*H, Chuck, Star Trek Next Generation, Home Improvement, etc.
The last movie – well, does the Metropolitan (NY) Opera productions in the movie theatres count?! (http://www.metoperafamily.org/metopera/broadcast/hd_events_next.aspx)

I saw the last James Bond movie, and I’m looking forward to this upcoming one.

9) Is there a person or event that has shaped your life significantly?
This took a while to think about, but I don’t know why. One of my oboe teachers in undergrad (I had three…) made a huge impact on how I do things here at Rhodes. He also coached my wind quintet and a number of other performing classes. Once, the quintet had been booked for a lunchtime concert at the PPG building downtown Pittsburgh where business people were to bring a brown bag lunch. My teacher showed up with his own brown bag lunch “to make sure there was someone in the audience.” He was our cheerleader (who also then critiqued our performances at the next coaching time…) but he was always there to make sure we had an audience. I try to do that here – I always try to make events that I have students involved with, including sporting events. It’s nice to have a friendly face in the audience.


- Brigid Hannon, Laura McLain

Review of Professor Bryant’s Recital: An Evening in Old Vienna

On Monday November 10th, 2008, as I entered Tuthill Auditorium in Hassell Hall, I came in expecting a great piano performance and some interesting music—what I got was much, much more. After Professor Bryant’s opening remarks about the content of the program, I knew I was in for a treat! He organized a concert of purely Schubert music, and not only for piano, either. The program featured a couple of piano solos, a collection of art songs for voice (Sandra Franks) and piano, and a piano trio with cello (Iren Zombor) and violin (Wen-Yih Yu). Professor Bryant transitioned from his solo pieces to the arts songs and from art songs to the trio by sharing tidbits about Schubert’s personal life, musical style and also his own personal experiences in Vienna with some of the music on the program. This touch made the performance very personal and educational. I especially enjoyed how special the piano trio was to Professor Bryant. He was asked to sight read it when he was in Vienna! His deep connection not only with this piece, but several others on the program made the aural experience simply phenomenal! I particularly enjoyed the Schubert art songs, both for their inherent lyricism and the distinctive motives in the piano accompaniment. Each piece had a specific motive and key that fit in exactly with the subject matter of the song—this was especially noticeable in Auf Dem Wasser Zu Singen (“To be sung on the water”) because the arpeggiated chords in the accompaniment sounded like rippling water. I highly encourage all students to attend faculty music concerts; they’re a great way to hear beautiful music and learn something, too!

Interview with Professor Bryant about his recital on Monday Nov 10th, 2008: Questions by Brigid Hannon. Conducted by Brigid Hannon.

1) How do you feel about your performance on Monday Nov 10th?

“I was really ecstatic about it! I was thrilled with the audience’s reaction, especially at the end of the recital, at the end of the trio—how well it was received. I just feel really good about it! Actually, when I think about other recitals some I haven’t felt as good about as I did this particular one.”

2) How did you go about preparing for this concert?

“One of the solo pieces, the impromptu, I’ve known forever…since 1981 when I was in Vienna! The very first piece, Moments Musicaux was brand new to me. I’ve taught it to students but this is the first time I’ve learned it and performed it. I learned it about a month before the fall semester began. The soprano and I decided which songs to perform, 4 of the 5 I already knew.”

3) Favorite Piece?

“I believe my absolute favorite of the whole thing was my second solo piece and that’s the impromptu in G-flat Major. That was one piece I learned over in Vienna, 27 years ago, so its been a part of me that long! The trio is my absolute favorite piece of chamber music for the reasons that I explained during that recital about the personal meaning it had to me.”

4) Practicing techniques or memorization tips?

“It depends on the style and the actual piece of music it is. I always catch my self with every lesson where someone’s memorizing something, saying ‘One time with the music one time without the music. Even if you have to break it down phrase by phrase.’ Drilling it over and over with the music so that you get that visual reinforcement and then trying it by memory.”

5) How did you get interested in Piano?

“I was reared in a small town, a small town in North Georgia and we were a family of five. There were three of us boys, I was the youngest of the three. To be completely honest with you, Brigid, each of us took piano and started either when we were in kindergarten or first grade. A lot of it was a competitive thing. It did work out that my older brothers one by one dropped off around fifth or sixth grade. By that time I was with a teacher and she realized that I had some stuff. That I had some extra gifts and that of the three guys I was a natural at it.

6) Favorite composers to play music of?

“What I did the other night is certainly a favorite. Most of that is because of my year in Vienna and the experiences I had there. So Schubert is one of the first ones that comes to mind. Also Rachmaninoff and late Beethoven. He [Beethoven] spent the later period of his life in Vienna and I got to walk on some of the streets where he walked and visit parks where he did some of his composing.

7) What is the most exciting or memorable experience in your life?

“Well if I think of everything in my life I think it would just hands down have to be the birth of my children. That moment when the child is born is just one of the few times where my jaw just has dropped and I found myself speechless. That’s just something that can’t be put into words just how wonderful that was. When I got to hug my son for the first time was one of life’s greatest moments. I can still remember that electric moment when I could first hug him.

8) What do you do in your free time?

Most of it is spent playing with my son—that’s anything from soccer to baseball, a little bit of football. But his favorites are soccer, baseball, jump rope and anything having to do with High School Musical. He’s the only one at home now that my daughters are both in college, that way the spare time is spent mostly with him.

- Brigid Hannon

Chamber Music Concert

On Thursday November 13^th, 2008 I braved the blustery winds and made my way over to Hassell Hall to attend the Rhodes Chamber Music Concert. All of the performers were current Rhodes students and I was impressed with the wide array of instruments and diverse repertoire. Each ensemble was comprised of a different group of instruments, and the ensembles ranged from a string trio performing selections by Antonin Dvorak, to a guitar ensemble imitating the sounds of rain in Leo Brouwer’s Cuban Landscape with Rain, to a quintet including bassoon, oboe, French horn, clarinet and piano playing Beethoven—and everything in between! I love watching how expressive the instrumentalists are while playing the music. Violinists are particularly fascinating to watch because of their arm movements, and the way they tend to lean into phrases and relish sustained notes. There were a number of talented violinists at the chamber music concert that evening, all of whom engaged with the music in different ways. Another instrument and instrumentalist I enjoy hearing and watching is the flute. The only noise I can coax out of a flute is a shrill high note, so hearing beautiful legato phrases and high notes that don’t induce head-aches is a real treat! My favorite piece of the program (aside from the Geographical Fugue) was “upbeat” from Springsongs, by Gary Schocker. Nicole Baker played flute and Tyler Turner accompanied on piano. The duet was riveting and beautiful. It required quite a deal of breath support and control as there were several runs up to the higher notes in the flute’s register—but Nicole managed it with lovely musicality and grace. In fact, it sounded like something out of a movie soundtrack from a 1960s or 70s classic!

Of course, no chamber music concert is quite complete without the rhythmically demanding, spoken word piece called “Geographical Fugue” by Ernst Toch. The entire Music Theory 206 class clambered on stage to show off their skills! I walked out of the theater that night thinking about “Trinidad! And the big Mississippi…”.

I think more students should attend chamber music concerts. It’s a great way to hear new music and support your friends! It was so fun to cheer on my friends and it’s always a comfort to the performer to see a familiar, smiling face in the audience! The next Rhodes student performance is the Wind Ensemble performance on Thursday December 4^th at 7:30 in the BCLC ballroom. I hope to see you there!!

- Brigid Hannon

La Traviata: Mysterious, Unknowable

On Saturday October 25^th, 2008, I attended Opera Memphis’ performance of Verdi’s classic, La Traviata at the Orpheum Theater in downtown Memphis. I was particularly excited about the performance because while it was my third time seeing this operatic masterpiece, it was my first time hearing it sung in Italian. Back home in St. Louis operas are done in English so it was a real treat to hear the lovely, lilting phrases and melodious arias in their mother tongue. In terms of casting, Opera Memphis brought in Kallen Esperian, no doubt to boost ticket sales because of her famous name due to her notable talen in her hay day. I have to say, I prefer Pamela Armstrong’s rendition of Violeta (as seen in both the 2001 and 2007 versions of La Traviata, produced by Opera Theatre of St. Louis) because her singing was more powerful and evocative. While Kallen did an ok job, I was less-than impressed. She barely grazed some of the higher notes and her voice was not the big, booming operatic voice—filled with passion and angst—that one would expect from an opera star playing Verdi’s Violeta: especially during her duet with Alfredo in which they sing about the mysterious unknowable qualities of love. I was very impressed, however, with Kirsten Piper-Brown’s performance as Violeta’s maid, Annina. Her voice was rich and much more of an aural presence than Kallen’s. It commanded my attention and though she sang little, it was enough to leave a lasting impression. So, La Traviata was not the best I’ve seen from Opera Memphis, but I’m not going to let that discourage me from seeing other shows—and you shouldn’t either! The next operas on deck for the 2008-2009 season are Scott Joplin’s Treemonisha and Gounod’s Faust.

- Brigid Hannon

The Academy of St. Martin in the Fields: An Un-regrettable Experience

So who exactly is St. Martin and why is he in a field? This is what I found myself wondering on Tuesday evening, October 28^th 2008, while sitting in one of the back pews of Immaculate Conception Cathedral in Midtown Memphis. On that particular evening I was fortunate enough to attend a performance by The Academy of St. Martin in the Fields Chamber Ensemble, touring the states through Concerts International. I say fortunate both because I only had to pay $5 to see this show, which started at $50 per ticket (ah, the perks of being a student) and because this group of prodigiously talented musicians was traveling through Memphis on their 2008-2009 US tour. As expected with such a well-known name, the church was full. It was a predominantly older crowd, with a sprinkling of students. The program consisted of a string sextet by Brahms, Prelude and Scherzo by Shostakovich and a string octet by Mendelssohn. This small group of eight string players dazzled young and old audience members alike. Their skill was advanced, their technique was impeccable and their tonality (thanks both to the instrumentalists and the wonderful acoustics of the cavernous venue) was expressive, arresting—even celestial (pun intended, the performance being in a church and all). The group is based in London and the players come from all over the UK and one from Bombay, India. Needless to say, if you ever find yourself in the same city as these musicians, attend one of their concerts! You will not regret it. It’s an un-regrettable, highly enjoyable experience! For more information on this chamber group visit the following website: http://www.asmf.org/

- Brigid Hannon

Avenue Q

On Saturday October 4^th, 2008 after a satisfying BBQ dinner at Rendesvous, my friends and I made our way down Main St. to the Orpheum, where the bawdy puppet musical, “Avenue Q” was playing. So what’s so great about a musical with puppets, you may ask. Well, I asked myself this very same question and because of my skepticism put off seeing this production for several years (I’ve had the soundtrack in my “favorites” playlist on Itunes for years). I wondered, why bother seeing puppets perform? I can envision the action just by hearing the songs. Well, as it turned out, I was not completely right. “Avenue Q” is more than what the catchy, politically incorrect songs lead on. For starters, it won the 2004 Tony Award for best musical, surprising most who assumed Wicked was a shoo-in for the award. Personally, I find “Avenue Q” to be a shoo-in. Who could resist puppets singing about racism, sexual preferences and schaudenfreude? In addition to the “wickedly” witty lyrics and catchy tunes, the cast, staging and set provide enjoyment and amusement. During the show, tv screens descend at pivotal moments and play funny cartoon clips which go along with the plot and make jokes involving sexual innuendo. The set doesn’t change from the apartment complex located on Avenue Q, but it’s used creatively for various events such as Christmas Eve’s wedding, Kate Monster and Princeton’s date night, and the grand opening of Kate Monster’s “Monstersorrie School”. Another bonus to seeing the show in person is that you can see the actors who manned (or “wo”manned) the puppets and I was introduced to my new favorite puppets—the bad idea bears! While the idea of the “devil on your shoulder” is cliché, these bears jazzed it up and had impeccable comedic timing.

I particularly loved that the actors sang the songs differently from the Broadway recording I have. This made the show unique and personal to this traveling cast—and as a consequence worth my money! My only complaint would be that the woman playing Gary Coleman didn’t sound enough like our favorite Diff’rent Strokes character.

Unfortunately, the traveling company left Memphis on Sunday October 5^th, but don’t miss it if it comes to your home town or you happen to be in New York (where it always seems to be playing)!! If you’re a musical junkie don’t despair because “Mamma Mia” is running from November 18^th-23^rd and “The Pajama Game” is closing out 2008, running from December 9^th-14^th. Buy your tickets now! Student tickets are available for $20!!

Multicultural Celebration at U of M

Rhodes Orchestra ToMoRrOw !!!