February 27,1997
The Banner
Page 3
Perspectives
Letters to the Editor
Hodges’s letter off
target
Dear Editor,
I am writing in response to Mr.
(J.M.)Hodges’s misinformed and
irrational criticism of Rob Bowen,
director of “Angels in America.” As
a member of the company, I take
personal offense to having my ex
periences and those of my colleagues
- extolled by an individual whom I
have never met and who possess no
firsthand knowledge of our pro
cess. As I tear apart your criticisms,
Mr. Hodges, I would like to give
you a few lessons in responsible and
effective writing that may be of
some use, should you ever again
feel the need to publicly express
your opinions.
The first lesson is never to pretend
to possess knowledge of a subject to
which you have no first-hand expe
rience. In this letter I am not going
to touch upon any subjects to which
I have no reliable source of infor
mation. You see, as a member of the
company, I am in a position to
speak knowledgeably and honestly
about the specifics of our process.
You, Mr. Hodges, do not enjoy this
same privilege, yet your letter im
plies that you are a reliable author
ity on all things relating to our
show. This is simply not possible,
because, as you said yourself, our
rehearsals were closed. You make
vague and misleading statements
concerning the amount of time we
spent in rehearsal, and how Bowen
“treats them like slaves.” Yet you
fail to state any sources at all to back
up your claim about our supposed
over-working. I sure as hell know
you never asked my opinion. Hy
pocrisy. Do I smell another lesson
brewing? Had you done any real
research into this argument, you
would have discovered that we have
an actor in this company that is a
member of the Equity Union, which
exists to protect actors from the
kind of treatment you allege and
has strict rules regarding the amount
of hours that can be worked. I can
assure you, we came nowhere close
to violating those rules. I would
remind you that all the actors were
made aware of the rehearsal sched
ule at auditions, and we chose to
participate.
The second lesson that I would
like to impart, Mr. Hodges, is that
a half-truth is as bad as a bald-faced
lie when it omits pertinent infor
mation that is necessary for a com
plete understanding of the issue.
You bring up the issue of a black
character in the play being played
by someone who is white. Yet, in a
disgusting attempt to sway your
readers’ emotions to issues of rac
ism, you conveniently omit the fact
that a black woman was cast in this
role originally. For reasons that are
only her and the director’s busi
ness, the person had to leave us late
in the process. I am fairly sure that
you were aware of the original
casting choice, Mr. Hodges, but I
am respectful enough not to bring
up that issue in a public forum. You
also assert that a scene containing
nudity was “cut out.” A blatant lie.
The scene is there in entirety. True,
given the nature of the space we
work in, the nudity proved inap
propriate, but nudity is not the
point of the scene. If you believe
that the point of the scene is nudity,
you should probably not consider
theater criticism as a future en
deavor. You most certainly have
the right to criticize a show based
upon the final product, but when
you make personal attacks oa a
member of our company and ac
cuse others of lying with no rational
basis for your attacks, it is disre
spectful and childish.
When you must resort to name-
calling in your writing, it is a good
sign that you lack confidence in
you statement. Anyone who truly
believes in themselves can assert
their opinions respectfully and with
dignity and still make a point.
Hypocrisy is the greatest enemy of
effective persuasion, Mr. Hodges.
It invalidates your arguments and
just makes you look stupid. If you
had botheted to do your home
work , you would have discovered
that Bowen is a wonderful director
who cares about his company and
the message of the show. Rob is a
caring individual and one of the
best directors that I have ever had
the privilege to work with.
It almost seems that you have not
really told us why you are so upset.
If you truly have a valid criticism,
let’s hear it. We have worked hard.
We deserve it. By the way, “flop”
does not usually refer to shows
which sell out every performance
and receive standing ovations at
every curtain call.
Josh Olsen
Sophomore, undeclared
More ‘Angels’
Dear Editor,
Having been in the audience for
two performances of Theatre
UNCA’s production of “Angels in
America,” I feel the need to re
spond to J.M. Hodges’s letter to
the editor that appeared in the Feb.
20 issue of The Banner.
A total of two African-American
students auditioned for the role of
Belize, and Rob Bowen did give the
role to one of these two. Unfortu
nately, that actor decided to leave
the production for personal reasons
approximately two weeks before the
show’s opening. Given these cir
cumstances, I think Mr. Bowen
adapted as well as he possibly could
have without canceling or postpon
ing the production.'
Mr. Hodges is also correct in stat
ing that (‘Angels’ author Tony)
Kushner calls for the character of
Prior to appear nude. Mr. Bowen
decided to have the actor playing
Prior remain in his underwear. The
dramatic action of the play is not
interrupted or changed by this thin
scrap of cotton, and the scene re
mains as written in every other re
spect. Mr. Bowen feared that the
discomfort the nudity might cause
that audience could distract
iattention from the true issues of
the play. Mr. Bowen did not, as
Hodges suggests, “cut it (the scene)
out.”
I am also uncertain what kind of
“exploitation” Mr. Hodges is ac
cusing Mr. Bowen of I cannot speak
from the perspective of a Mormon,
a homosexual, or an African-Ameri-
can. As a Jew, I saw many aspects of
Jewish culture, religious practices,
and language treated with accuracy
and respect.
It is my impression that the reason
why Dr. Grant Hardy was inter
viewed was that he is the advisor of
the Mormon student group that
was actively dealing with and dis
cussing the religious issues in the
play. It is sad that Mr. Hodges feels
left out for lack of consultation, but
activity brings attention. Mr.
Hodges accuses someone of mak
ing generalizations about Mor
mons, and then tells us: “...we (Mor
mons) are all rational, open-minded
human beings who accept people
for who they are, not what they
are.” It is always inaccurate to gen
eralize, Mr. Hodges. Even when
you do it.
Mr. Hodges complains that Mr.
Bowen isn’t qualified to direct this
play because he “...doesn’t under
stand what it’s like to be any of the
characters.” Presumably, he feels
that because Mr. Bowen is not Jew
ish, Mormon, homosexual, or Afri
can-American, he can’t possibly
direct it well. The beauty of theater
is that it allows audiences, actors,
designers, and directors, through
suspension of disbelief, to leap out
of themselves and into the emo
tional lives of characters on a stage.
If you still hold to your theory, you
should never direct any play that is
not about people like yourself.
Most disturbing are Mr. Hodges’
malicious and angry attacks on the
behavior and person of Rob Bowen
throughout his letter. This is sad
not only because it takes away from
the important focus of the play
itself, but because it slanders a good
person. Assistant Professor of
Drama Rob Bowen is, in fact, an
experienced director who shows
great courage in making his UNCA
directing debut with a play of such
power and significance. I think that
it shows Rob’s sensitivity for his
actors that he closed rehearsals. If
you were playing a scene in which
you had to strip down to your un
derwear or kiss another heterosexual
man, would you wan t a lot ofstrang-
ers at the early rehearsals, Mr.
Hodges? The theater is a holy space
to actors, and I suggest that in the
future you respect it and them.
Congratulations to the cast and
crew of “Angels in America.” It
wasn’t easy, but you did admirable
work with a brilliant and difficult
piece of text. Bravo.
David Rothman
Junior, political science
Theatre UNCA
deserves thanks
Dear Editor,
1 want to thank Theatre UNCA
for their brave and inspired pro
duction of “Angels in America” last
weekend. It was a necessary, timely,
and provocative event. What el
egant and dignified performances,
and what courage to tackle one of
the hardest pieces—both techni
cally and thematically—in the con
temporary repertoire.
David Hopes
Professor of Literature
Amnesty Interna
tional needs you
Dear Editor,
I am writing on behalf of the cam-
pus-based chapter of Amnesty In
ternational (AI). AI launched nu
merous information sessions, letter
writing campaigns, and topical
events during the past two semes
ters, each of which attracted stu
dents and community residents
alike. We are now in need of new
members who will take an active
role in organizing, planning, and
scheduling events for next term.
If you are interested, please meet
with us in Ramsey Library’s Red
Oak Room (to the immediate right
of the lobby doors) on Friday, Feb.
28 at 4:00 p.m. We will have a
general discussion about AI and
will answer any questions you may
have. We will also show a film on
slavery in Sudan, followed by a
discussion about ethnic genocide
in the Great Lakes region of central
Africa, both of which will give you
an idea of the type of issues we deal
with. There will be free pizza for all
attendees.
Andre Mack
Senior, international relations
Feminism was ill-
defined
Dear Editor,
I appreciated Ms. Tracy Wilson’s
clarification of the false stereotypes
of “feminists” as necessarily lesbi
ans and men-haters, and I agree
that far more women are “feminist”
in their thinking and action, as she
asserts, than are willing to admit.
However, granting Ms. Wilson
these accurate insights, I have one
question directed, not at her asser
tions, but at the presuppositions of
her thinking in general. The first is
simply this: who says men and
women are equal? It’s one thing to
assert and argue for this, but why
should anyone believe you? What is
your source of authority? Is it your
own intuition, instinct, common
sense, or empirical investigation?
Societies throughout history have
argued for such particular social
understandings (Nazi Germans of
Jews; American whites of blacks)
without any other reason than that
their self-derived philosophies told
them so. I believe that your argu
ment for equality lacks a very im
portant component—authority.
So, where do we find authority on
what the relationship between men
and women is? The best authority
is the very designer of the genders.
Now, for the sake of argument, let’s
say that this authority, higher than
yours and my say-so, decreed that
men and women were in fact equal
in one sense, but not interchange
able and not the same (which is
really what seems to be at the heart
of your argument). How would
you respond to that? In fact, what if
this authority designed their very
natures to act, respond, and think
in different ways-in short, to be
different! If that were the case, which
I believe it is, then women wouldn’t
be acting with timidity at all when
they decline to join the “equality”
bandwagon. They’d be simply de
lighting to live as they have been
designed, equal in value and worth
to a man, but different in gifts,
roles, and functions. With this un
derstanding of women, then “au
thority,” “roles,” “submission,” and
“leadership” don’t carry the alba
tross image that you paint upon
them. Structure designed by the
author ofmen and women becomes
good and, hold on, even natural.
Berry Stubbs
Campus Pastor
Reformed University Fellowship
The fountain of youth may be in a convertible
Dave
Barry
columnist
I got a convertible.
Now, I know what you’re going
to say. You’re going to say: “Dave,
you pathetic fool, you’re 49 and
you’re having a mid-life crisis.
Trade that thing in immediately
and get a car more suitable for a
person your age, such as a 1910
Hupmobile with air bags.”
No, darn it! I love my convert
ible! I’ve always wanted a convert
ible! For 33 years I’ve been driving
boring cars, starting with my
mom’s Plymouth Valiant, which
was a Ferrari compared with my
dad’s car, a Nash Metropolitan
powered by a motor the same size
as the one found inside Tickle Me
Elmo.
I am a member of the small,
select group of automotive losers
who purchased both a Ford Mav
erick and a Chevrolet Vega—cars
manufacturd when the motto of
was—really—powerboat racer.
Currently, in addition to selling
cars, he is co-producing a kick-box-
ing movie.
In terms of mature practicality,
Jerry is not Mr. Both Feet On The
Ground. I think that, if he could
have, he would have sold me an F-
used convertible with a 5-speed
stick-shift transmission.
Immediately after I bought the
car, I put the top down and took
my wife, Michelle, and my son,
Rob, for a ride. They both wanted
to know why anybody would want
a stick shift, seeing as how you have
the U.S. auto industry was: “We’re
Working Hard To Make You Buy
An Import.”
For the past seven years I’ve driven
a practical, box-shaped car. The
auto industry calls it a “sport utility
vehicle,” which suggests that it’s
sporty. This concept is reinforced
by TV commercials showing such
vehicles racing up mountainsides,
splashing across rivers, winning the
Olympic pole vault, etc.
In fact, this vehicle is a station
wagon. Admit it, sport-utility-ye-
hicle owners! It’s shaped a little
differently, but it’s astation wagon!
And you do not drive it across
rivers! You drive it across the Wal-
Mart parking lot!
When I went to trade in my sport
utility vehicle, I was going to buy
another practical car; I truly was.
But I ran into a salesperson named
Jerry. Jerry’s former profession
16. (“Dave, if you’re willing to do
business today, we’re going to throw
in the floor mats AND the heat-
seeking missile package. ”) But I was
firm, and in the end we compro
mised on him selling me a sporty
to spend a lot of time shifting it.
“Well,” I explained, in my Knowl
edgeable Guy voice, “it’s actually
very practical, because by depress
ing the clutch you can more pre
cisely control how fast the r.p.m.s
go through the carburetor, which
produces your ignition.”
The actual truth, of course, is that
a stick shift makes you feel like a
major automotive stud. You crank
up the song “Little Deuce Coupe”
by the Beach Boys, and when they
sing, “I get pushed out of shape,
and it’s hard to steer, when I get
rubber in all four gears,” you sing
along at the top ofyour lungs as you
push the clutch in, put the car in
gear, ease out the clutch and—Kiss
my exhaust pipe, automatic-trans-
mission weenies! You back out of
your space in the Wal-Mart park
ing lot.
One thing I’m a little concerned
about is bullets. I live in Miami,
where it is customary to celebrate
certain special events (such as night
fall) by firing guns into the air.
When bullets come down, they
sometimes injure people. It’s such a
problem that the Miami Herald
recently printed a letter to the edi
tor, which I swear I am not making
up, from a Miami man who sug
gested—and I don’t think he was
joking—that we would have a safer
community ifpeople would do what
he does, namely, shoot at the
ground.
Here is an actual quote from this
man’s letter: “There are enough
bullets in my yard to throw off a
Boeing 747’s compass, but they are
all buried where they were fired, not
to come down miles away.”
Unfortunately, many Miami resi
dents are not as thoughtful as this
man. So for me, the fun of driving a
convertible is dampened by the nag
ging concern that maybe I should be
wearing a steel hat.
Another concern I have is that Rob,
who has a driver’s license despite
being only 16, which from my per
spective is the same thing as being a
fetus, wants to drive my car. I fig
ured learning the stick shift would
slow him down; I know it took me a
while.
My mother taught me, and I can
remember the two of us yelling at
each other a lot as the car, with me at
the controls, would lurch forward
two feet, then stall, two feet, stall,
two feet, stall, and so on, causing our
heads to be flung violently back and
forward, like human windshield
wipers. To travel just one mile that
way would have required several
weeks and thousands of aspirin.
But Rob picked it right up. The
second try, vroom, he was off. So of
course he wants to use the convert
ible. My feeling is, sure! He can use
it whenever he wants. The only con
dition is that first he has to drive for
33 years. Until then he gets the
Hupmobile.