Oatolber 9, 1970
The N.C. Essay
The new convocation plan, intro
duced last spring, continues this
year as a performance series for stu
dents. Publicized only internally,
the program provide excellent ex
perience for student performers,
supplying the middle-ground between
rough preparatory stages and final
presentation of works.
The convocations usually are
held in the Main Auditorium from 1:35
to 2;25 on Wednesday and represent a
student production of some type.
Since the drama and dance departments
have regularly scheduled performances,
the convocations will be largely de
voted to individual musicians and
ensembles. This will help balance
and experience factor among the de
partments. Each week the N.C. Essay
will prevue the up-coming convocation
Clifton Matthews, chairman of
the Convocation Committee, was con
tacted for further information con
cerning the new series. When asked
how performers are chosen, Matthews
explained that when a teacher feels
his student is ready, the student's
name is submitted and worked into
An actual screening process is
not necessary, since the primary ob
jective is experience in performing.
In the past, convocations were taped
for the library. These recordings
serve as useful reference and edu
cational material. It is hoped that
taping will again be possible.
In describing the function of
the series, Matthews said,". . . in
providing an opportunity for students
to witness each other’s work, the
Wednesday series should promote in
terest within individual departments
and bring all departments closer to
gether. The purpose of the convocation
program is to provide a time and
place each week,, for sharing artis
tically within the NCSA family."
"There are no theaters in gjmis
on Broadway. It's not fair to the stu
dents to have to work in non-pro
fessional circumstances when we are
training them to work in professional
theater," said Ward Resur, instructor
in the School of Design and Production
in an interview last week.
The situation is only temporary,
since a new theater will be constructed
in the future; but, for the present,
the problems are there. For example,
the building has a low ceiling. Since
the lights have to be mounted so
close to the stage, there are inevitably
hot spots. Accoustics are also dif
In addition to the structural
problem, the equipment is poor or
there is a lack of it. Resur said
that the light dimmers were in bad
shape and that they are being re
wired in order for them to last the
Until this fall, the house lights
have consisted of light bulbs in tin
cans. This year, house lights are being
Spread of equipment has also
presented a problem. At times, the
production department has supplied
lighting and sound equipment to a
dance department production, an
opera, and a drama presentation at
the same time.
However, once the new theater
is constructed, many problems will
be solved. On the bright side, the
gym is perfect for work in television
and motion pictures.
Zorba The Greek by Nikos
Kazantzakis is, in short, a cele
bration of life. Faithfully adapted
for the musical stage by Joseph
Stein, with music and lyrics by John
Kander and Fred Ebb, "Zorba" has
retained all of the "vivre pour
vivre" originally intended. However,
the National Touring Company's pro
duction at Duke University fell
short of these intentions.
The setting is Greece, 1924. A
leader and other performers in a
modern day Greek Bouzouki Circle are
giving their interpertations of life
with the leader's conclusion, "Life
is what you do while you're waiting
Into this scene enter Zorba,
whose own philosophy is grab at life,
"every minute is a new minute, every
second a new second."
Together with Nikos, whom
Zorba meets in a cafe, Zorba goes to
seek his fortune in Crete. Nikos
learns from Zorba his philosophy of
living as the two move through in
tense love affairs with tragic end
Yet, dispite their mutual
grief, Zorba urges Nikos to dance
and together they dance to assuage
the pain. For them, life will go on.
As Zorba would say, "The only real
death is the death you died every
minute you are not living."
The leader, who acts as a gen
eral commentator on various scenes,
is a major factor in keeping the
show together. Margalit Ankory in
this role has some trouble vocally.
Her voice was appropriately harsh
but at times the orchestra seemed
to drown her out. Her movement how
ever was sharp and intriguing. This
"0! that this too too solid
flesh would melt ..."
Hamlet 1 sc. 2
The Battle of the Bulge is on
here and somehow the bard's words
never seemed more topical.
Members of the department of
dance, under a new procedure initiated
by their Dean, Robert Lindgren, are
required to weigh in at regular in
After the first weighing period,
Margaret Porter, R.N., t^e school
nurse, was pleased to note that no
more than fifty students were over
weight when compared to standard
weights averaged by the Metropolitan
Life Insurance Company. These stu
dents were placed on diets and will
weigh in at weekly intervals. The
others willhave monthly check-ups.
There is no time limit set on
weight loss and loss is definatly
not considered synonymous with ability.
However, a dancer's efforts and con
cern would certainly reflect the pro
fessional attitudes the department
hopes to instill. Every major dance
company has some kind of weight check
up. NCSA is not the first.
In addition, these diets in
co-operation with the new cafeteria
service will hopefully enable the
students to develop sound eating
habits and lose weight without resor
ting to fads or crash diets.
Preferably a dancer should weigh
five pounds below the ideal weight
prescribed by Metropolitan, though,
naturally, body make-up and bone
structure are considered. Dancing
is a visual art, and what pleases
the eye is right.
In Lindgren's words, "I make no
demands, the audience demands. It's
obvious that you can't disguise your
self in a tutu and who would want to
lift a ballerina with a lot of excess
As a result, the majority of
dancers plus a number of other stu
dents from other departments have taken
this matter to heart. Simply observe
the staggering amounts of cottage
cheese and salad consumed here. And
so, the question remains: "To be or
not to be" .... fat, that is.
was most obvious as she waited with
the village cronies to scavenge the
belongings of Hortense after her death.
The scenes with Nikos and the
widow also had momments. Both Thom
Koutsoukos as Nikos and Vilma Vaccaro
as the widow has clean, pure voices.
Their sensitive duet about "The
Butterfly" was especially pleasing.
As Zorba, Micahel Kermoyan was
suitably robust and virile. His