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N.C. essay. volume (None) 1965-1976, April 12, 1971, Image 1

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THE N. C. ESSAY NORTH CAROLINA SCHOOL OF THE ARTS APRIL 12, 1971 Mitchell Costelloe Commissioned VOLUME V, NO. XV Viewpoint D & P Dileimna The issues and events surrounding the plight of the school’s Design and Production Department came to a firey, emotional peak recently, resulting in a memorandum being sent from Dean Ron Pollock (of the Drama Dept.) informing faculty, students and staff of certain distinctions in productions and the requirements for such. And from that, two productions have been cancelled, feelings are tattered, and questions remain unan swered. There have been many elements at play in this drama. It has been no secret that the dean, faculty and students of the Design and Production Dept, have been overworked, under taught and quite dissatisfied with the operation of their School. And rightfully so. The department, out of necessity, has been a makeshift operation at best all year; students are receiving inadequate instruction because of the heavy work load and both faculty and students have become increasingly frustrated. Like the Drama Dept, earlier this year,they finally decided to take action. Document The first signs of open disgruntlement occurred during the production of “John Brown’s Body” (although Pollock told The Essay t^at many of the problems encountered with the production were inherent). It was mostly talk, students and faculty reciting their dissapproval of the system under which they were trying to teach-receive an education. Then, a group of students (with faculty assistance), drew up a lengthy, multi-facted document, outlining their grievances. It was then presented to the SCA, where students withdrew the document, decided to re-think the issues, and have just recently completed what they feel is a stronger and more complete statement. (This document will eventually go to President Ward, Mr. Hall, etc.). In the meantime, there had been great difficulty wiUi the Drama Workshop productions of “Landscape” and “Endgame,” both directed by Barry Boys. At the same time, the Copland Festival was on the eve of hap pening. In the middle of all this, a major equipment break down jAreatened to halt the Copland Festival entirely (this was blamed on old, hardly func- tionable equipment) and was solved only after emergency funding was granted for equip ment expenses. But the im pressions of the near breakdown were deep. Directives Although the next series of events may not be directly related to the proceeding, it would seem that there is a link. On March 19, Dean Pollock issued a statement to Barry Boys (who at this time was planning “Uncle Vanya” as a Level Six workshop production and who maintains that such plans were announced in January). The memorandum was the result of a meeting between Boys Level Six, Pollock, Dean John Sneden of D & P , and Agnes Lattack, D & P faculty. It referred to six major points concerning workshop productions; 1. The Workshop will be presented on the campus of NCSA. 2. Costumes in stock and or rehearsal clothes may be used. If stock costumes are used these may have size adjustments only and these adjustments are to be made by the cast. Nothing is to be built. The only assistance available from the School of Design and Production costume staff will be in pulling the stock costumes. 3. Scenery, if used, may be only minimal, neutral, modular unite to be designed and prepared by the School of Design and Production. The scenic running crew shall be the cast supervised by one student to be assigned by the School of Design and Production. 4. Of the $250.00 total assigned budget for this project $50.00 will be reserved for the use of the director in securing necessary furniture and properties. Assistance in this will be provided by one student assigned by the School of Design and Production. 5. The “Children’s Show” lighting show package will be made available after April 18 (all other dimming ^uipment will be in use or is not in useable condition). 6. The following definition of “workshop” is to apply; “a latter stage rehearsal with invited audience.” Boys responded to Pollock’s memorandum with a statement of his own, a sometimes searing account of what he though of the initial directive. It is essentially an attack on what Boys calls “the logic of failure,” which he feels- fears stalks the NCSA campus. His statement is a defense of his own artistic criterion, a defense of what he considers professional attitudes and a stern denoun cement of what he sees as blatant mediocrity. This was foUowed by another statement from Dean Pollock, in which some of Boys’ arguments are refuted and alternatives are offered: 1. Accept the limitations and proceed with the project. 2. Offer reasonable alternatives which, I am sure, will be met by reasonable and thoughtful consideration. 3. Choose an alternative project, alternative material, or an alternative teaching approach. The last in these series of ex changes came from Boys. It began; This is to inform you that I have abandoned the above-named production (“Uncle Vanya”)... Also cancelled, out of necessity, was another production, “Little Foxes.” The two remaining spring productions thus, are “The Last Sweet Days of Issac” (directed by William Dreyer) April 24 and 25, and “The Just Assassins” (directed by Donald Hotton, May 10-15. Workshop One of the major [Mints of contention in all of this is the definition of a “workshop”. Pollock insists that the definition provided in his March 19 memorandum has always been in effect, if loosely applied. Boys maintains that there has never been a certain guideline for workshops here, stating that the first play he did at NCSA, “Mr. Roberts”, was listed as a workshop and yet, received full financial and departmental assistance. He also maintains that he had announced plans for producing “Uncle Vanya” last January and wonders why these In Concert Majorie Mitchell, concert pianist, presented , a faculty recital, Friday, April 9, in the Main Auditorium of the North Carolina School of the Arts. Her recital, titled “A Program of American Music,” included works by Edward MacDowell, Charles Ives, Charles T. Griffes, and Sameul Barber. Miss Mitchell has been on the faculty at the School of the Arts since September, 1968. She has been playing recitals and orchestral concerts in Europe and America since 1953. She has been a regular performer on BBC and in Hamburg, Berlin, Munich, Vienna, Amsterdam and Zurich with radio symphony orchestras. Miss Mitchell studied for four years at the JuUiard Graduate School under fellowships and taught piano there. She made her Carnegie Hall debut in 1956. “A veteran concert pianist of tremendous virtuosity” (Erie, Pa., Jan. 27, 1970), Miss Mitchell leaves April 11th for radio engagements in Vienna, Han nover, Zurich and Frankfurt. The Sonat No. 4 “Keltic,” by Edward MacDowell, was published in 1901 and dedicated to Edward Greig. The First Sonata, by Charles Ives, begins majectically, im mediately complex in its use of rapidly shifting dissonance, with no sense of any tonal center. The second movement, a snycopated scherzo in the form of a verse and chorus begins with “How Dry I Am” and interweaves with many quotes of “Bringing In The Sheaves” . The third movement is rhapsodic and romantic in concept. Derived material in cludes primarily “What A Friend We Have In Jesus.” The Sonata by Charles T. Griffes, an early twentieth century work, is characterized by broad powerful themes. It is spiritually a bitter expression; its tragic message colored by harsh dissonance. Dancer Joins Co, David Graniero, an eighteen year-old college freshman majoring in dance at the North Carolina School of the Arts in Winston-Salem and the son of Mrs. Margaret Graniero of Tampa, Fla., has signed with the Le Grande Canadien Ballet Company of Montreal. Graniero, who was recom mended for the company by Robert Lindgren, Dean of Dance at the School of the Arts, came to NCSA as a high-school junior in 1968. As a member of the Dance Department, he has appeared in several productions, including Duncan Noble’s “Flick Flack,” Job Sanders’ “Summer Night,” the world premiere of Agnes de Mille’s “A Rose for Miss Emily,” and the School’s traditional Christmas performance of “The Nutcracker Ballet.” The Le Grande Company, under the artistic direction of Ferdinand Nault, is currently embarking on a tour which will feature the first ‘rock ballet,’ “Tommy” based on the rock opera of the same name com posed by Peter Townshend and originally performed by The Who. Also on the program is a ballet titled “Hip and Straight.” Graniero will appear in both productions. The seven-week tour will in clude week-runs in major cities across the U.S. and conclude in Canada. Students of Clifton Matthews, pianist, will present a complete performance of J.S. Bach’s Well Tempered Clavier, Volume 1, on Sunday afternoon April 18 at 2; 30 p.m. in the Main Auditorium of the North Carolina School of the Arts. The work consists of twenty-four Preludes and Fugues, one in each of the major and minor keys. Published in 1722, it is one of the monuments of the keyboard literature, the fugues being consummate polyphonic compositons, the preludes a compendium of keyboard techniques, both the preludes and the fugues en compassing the entire range of Donald Hotton, of New York City, and Paul Meier, from England, have been appointed to the faculty of the North Carolina School of the Arts School of Drama for the second semester. Hotton is teaching elementary acting and Meier is an instructor in speech. A veteran of stage, screen and TV, Hotton has appeared on Broadway in “Mother Courage,” “Malcolm” and “Lute Song”. He toured nationally with “Luv” in the role of Harry Berlin and “The Andersonville Trial,” both of which played in the Piedmont area. Hotton, who has appeared in over 200 plays, was a speech major at the University of Wisconsin and studied acting with Herbert Berghof and Mira Rostova. He has served as Orchestra Emerson Buckley, Music Director and Conductor of the Ft. Lauderdale Symphony Or chestra, will conduct the spring concert of the NCSA Orchestra. The program, which will be held in the Main Auditorium on April 16 at 8:15 will feature works by French composers. A specialist in French music, Buckley received the Chevalier de rOrde des Arts et des I^ettres from the French government for his work in this field. He also received the Ditson Award from Columbia University for his contribution to contemporary American Music. Buckley, who is at present conductor of the Opera Guild of Greater Miami, has conducted the New York City Opera, the Central City Opera Company in Denver and companies in Seattle, Duluth, the Temple University Music Festival and the Manhattan School of Music. Robert Costelloe, an instructor in NCSA's high school Visual Arts program, has been com missioned by Burlington In dustries to do a sculpture for Burlington’s New World Headquarters in Greensboro. The sculpture, which will be 12 ft. high and composed of cadmium steel, will be a part of a $40,000 art collection featured at the Headquarters. Costelloe’s creation will be the major sculpture on display, situated in a closed courtyard. It is expected to be on display by mid-May. Costelloe, who was com missioned after architects from Odell Associates in Charlotte saw models of his work and projected ideas, said of the conunission that it was the “most important I’ve received so far.” Bach’s imaginative and ex pressive genius. The performers will be Lynda Fowler of Miami, Florida; Nicholas Smith of Chattanooga, Tennessee; Robert Sherman of Norfolk, Virginia; Jane Stuckenbruck of Johnson City, Tennessee; Charles Jones of Roanoke, Virginia; David Carson of Fuquay-Varina, N.C.: Jeffery Anderson of Pittsburgh, Penn sylvania; Rieko Nakashima of Miami, Florida; Sharon Moss of Burlington, N.C.; Sally Steinhardt of Roanoke, Virginia; Drucilla Hennig of Winston- Salem, N.C.; Benjamin Bradham of Greensboro, N.C. director for the Inter-American Players and directed “The Recluse” at the Cafe La Mama in New York. A graduate of the University of Kent, Canterbury, England, Meier also holds a diploma in speech and drama from the Rose Bruford College of Speech and Drama in Sidcup, Kent, England and a first class International Phonetics Association degree. He comes to the school from La Center, Ky., where he was head of the Speech and Drama Department at Ballard Memorial High School. In addition to varied acting and directorial experience in England, Meier is a playwright. He is the winner of the 1970 Best New Play competition in Kent, England and wrote and directed “What’s Going On Here,” which was produced in England in 1969. Concert He was the conductor for the World Premieres of “The Crucible” (N.Y. City Opera) and “The Lady From Colorado” (Central City Opera Company), both of which were composed by Robert Ward, President of the School. The spring program includes "Divertissements,” by Jacques Ibert; Poem for Flute and Or chestra, by Charles Griffes, with I^ura Dietz, flutist; Symphony in B flat major, by Ernest Chausson; and the Piano Con certo in G, by Maurice Ravel, Earl Myers, pianist. In discussing the program, Buckley said that although Griffes is American, “he is of the French school of music.” He said of the Ibert, “This is con temporary music, but it is fun. It is an entertainment.” Buckley’s son, Richard, is a student at the School and plays bass trombone in the NC^ Orchestra. Students Perform Bach New Drama Faculty

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