North Carolina School of the Arts
Campus Development Includes
Present Renovation
For over a year now an ar
chitectural team, from New York
and Winston-Salem, has been
developing a master plan for this
school. T^e master plan very
simply calls for this: a work
place, a living place, and a
performing place.
Future plans include a per
formance center which would
house two theatres: a drama
theatre which would seat 500, and
a larger theatre for opera, dance,
all-school productions which
would seat 1,000.
Connected to this building, or
contained within the structure;
would be a substantial area for
the School of Design and
Production. This space would be
comprised of classrooms, scenic
and costume storage area, and
all the room required for the
building of sets and designing of
costumes. We hope all this will
take place in three to five years.
More immediately, the theatre
and auditorium will be un
dergoing renovation. The funds
for these repairs comes partiy
from state appropriations which
we have had for two years but
have not been able to use because
it’s only this year that we’ve
owned the grounds we are now
occuDving. Mr. Sokoloff pointed
out at the SCA meeting, February
9, that none of these
decisions concerning the
renovation of the theatre and
auditorium have been made
without numerous meetings of
faculty and deans.
The theatre will be air con
ditioned, seat 260 people, and
house a stage large enough for
dance performances. By
manipulating parts of the
audience area we will be able to
have axial, arena, and thrust
stages. In the future, when the
performing arts center is
finished, our present theatre will
serve as a workshop for drama
and dance. We can expect the
theatre and auditorium to be
completed by November. In the
meantime, either trailers will be
brought in to provide classrooms
for drama students or space will
be rented. Summit School will be
used for performances.
The auditorium will be
repainted, air conditioned, and
the stage will be enlarged to its
entire width by breaking down
what was the original
P'oscenium. Two or three back
rows will be removed for red
carpeting which will extend into
the auditorium to dress it up.
The present seating will remain
and &e windows wUl be bricked
in. A regular staircase will be
built to replace the rickety one in
existence now. On stage right a 3-
story area will be constructed to
house dressing rooms and air
conditioning equipment. The
area in the basement of the main
building, which is now occupied
by the Drama School, will be used
^ the School of Music after more
(H-actice rooms and studios are
built. This, too, will be air con
ditioned.
44T •
A sensitive smoke detection
system, a fire alarm system that
is, will soon be installed in the
college dorms.
The new library, classrooms,
and studio space for music and
dance will be housed in a 3-story
bulling which would probably
connect to the present theatre
and extend ahnost to the main
building. A third story walkway
will connect the two buildings and
present drawings leave a plaza
area from the main buUding to
where the new building stvts.
This, of course, is in the “near”
future. Take into consHeration
that the renovations of the
theatre and auditorium will cost
between six and seven million
dollars.
Robin Kaplan
Little Foxes” Awaits
Washington Decision
The North Carolina School of
the Arts production of Lillian
HeUmans’ “The Little Foxes”
has been recommended by the
tenth region of the American
College Theatre Festival to
represent that region during the
national presentations in the
John F. Kennedy Center in April.
The production, directed by Dr.
William Jeager, was recom
mended after its presentation in
the regional finals at Columbus,
Georgia, last month. The finals
included presentations by
Virginia Politechnical Institue
(“A Midsummer Nights
Dream”), Memphis State
University (“Out of a Silent
Planet”), Georgia Southern
(“Blood Wedding”), and
University of Miami (“The
Boyfriend”). The final com
petition was held in the Springer
Opera House, a restored theatre
from before the turn of the
century, from January 12th to the
16th at the rate of one a night.
The recommendations are
made from one of three
catagories: first, a school with an
undergraduate program in
dramatic arts, in which the cast
is all student; secondly, a school
with a dramatic program for
graduates in which the cast is
also all student; thirdly, a school
with a dramatic department and
in which the production may
include professional actors,
however the cast must be at least
50 per cent students.
“The Little Foxes” was
reconunended under the first
category and “The Boyfriend”
imder the third. Traditionally,
only one play from each region
will be presented at the national
conference in April. Thus there is
no certainty &at “The LitUe
Foxes” will go to Washington.
The final results wU be an
nounced toward the end of
February.
The Conference, an annual
event, is sponsored by American
Express, American Airlines and
American Oil Company. The last
School of the Arts production to
attend the natiomd conference
was “She Stoops to Conquer”
which had its final presentation
in the newly restored Ford
Theatre in Washington, and
received coverage in National
Geographic Magazine.
JON THOMPSON
Page 3
Calendar of Events
February 15 Perry Guitar Recital, 8:15 Aud.
February 16 Phipps Bassoon Recital, 8:15 Aud.
Jose BaUes Reynolds Auditorium.
8:30 Admissions Charge
Baha’i Fireside, 8:00 P.M., Seminar A.
February 18 MitcheU Faculty Recital, 8:15 Aud.
February 19 N.C.S.A. Orchestra, 8:15 Aud.
February 20 Walker Recital, 3 o’clock Aud.
February 21 Duo Voice Recital, 8:15 Aud.
February 22-24 Dr- Brodie Hanes Community Center,
8:15 Admissions Charge
February 22 Wilson Senior Voice Recital, 8:15 Audt
Warsaw String Quartet Reynolds High School, 8:15
February 23-24 Film Friends “Capricious Summer”
Hanes Community Center, 8 o’clock
February 23 Koonce Guitar Recital, 8:15 Aud.
Drama Scenes Workshop
February 24 Herrick Recital, 8:15 Aud.
February 25 North Carolina Dance Theatre, Reynolds Auditorium
February 26 Davies Faculty Recital, 8:15 Aud.
February 27 Tiller Tuba Recital, 3 o’clock Aud.
Paul RoUand Lecture, 8 o’clock Aud.
February 28 Fletcher Guitar Recital, 8:15 Aud.
February 29 Music Master Class, 8 o’clock Aud.
Winston-Salem Symphony Reynolds Auditorium
8:15
March 1 White Piano Recital, 8:15 Aud.
Brindle Reynolds Auditorium, 8:30 Admissions
Charge
March 2-3 Wind Ensemble Concert, 8:15 Aud.
March 3 Organ Recital First Presbyterian
March 6 Hauser Guitar Recital, 8:15 Aud.
March 7 Gelber Piano Recital Wake Forest, 8:15
March 8 Kipnis Harpsichord Recital Reynolds High
School, 8:15 Admissions Charge
March 8, 9, 11 “The ICing and I” Reynolds Auditorium
Admissions Charge
Matthew Piano Recital, 8:15 Aud.
Wilson Voice Recital, 8:15 Aud.
Muchem Piano Recital, 8:15 Aud.
Winston-Salem Symphony, 8:15 Aud.
Holidays
Vienna Symphony Wake Forest 8:15
Admissions Charge
Medas Guitar Recital, 8:15 Aud.
Film Friends “The Wrong Box” Hanes Community
Center, 8 o’clock
March 10
March 12
March 14
March 17-18
March 18-26
March 23
March 28
March 29-30
March 30
March 31
Manoogian Recital, 8:15 Aud.
Good Friday Holiday
Erick Friedman - Violinist
When the violin majors of
N.C.S.A. were told last summer
that Erick Friedman would be
coming to the school to teach,
there was an excitement reveling
that of the anticipation turkeys
must feel in November.
weekly teaching stints here are a
never- ending source of in-
spfrational energy so necessary
to the growth of a student.
As a violinist, Friedman’s
talents were reco^ized from the
beginning. His father, an
amateur ^olinist, gave his son a
violin at an early age. Until he
was 10 years old, he played by
ear, encouraged by a teacher who
taught him to play by listening to
records. Thereafter he was tsJcen
to study with the famous violin
teacher at Juilliard, Ivan
Galamian.
It was when Erick Friedman
was 12 years old that he first
played for Jascha Heifetz at a
violin competition. Five years
later he played for the master
again and began to study with
him, continuing through 1961
when Heifetz and Friedman
recorded Bach’s Double Violin
Concerto for RCA.
Friedman has remained an
individual, not in spite of, but
because of his great
teacher. This intense
individualism was noted in his
1963 recital review in the New
York Herald Tribune: “Although
Mr. Friedman has received much
publicity as a protege of Heifetz,
he does not resemble his mentor
except in the superficial
characteristics of elan and
vitality. Mr.'Friedman digs
deeper into his fiddle than Heifetz
and comes out with a ravishing,
full-blooded tone that soars and
sighs with just the proper
measiure of restraint.”
Friedman has made guest
appearances with many of the
country’s leading symphony
orchestras, inclu^g those of
Chicago, Baltimore, Detroit, the
Natinal Symphony of the Air
(under Stokowski), the New York
Philharmonic, and many others.
Under his RCA recording
contract, the young artist’s fame
spread with higtuy- acclaimed
discs with the New Symphony of
London, the London Symphony
and the Boston and Chicago
symphonies. His recordings of
Bach Sonatas for Violin and
Harpsichord, and the Franck and
Debussy sonatas both won
“Grammy” award nominations.
Erick Friedman’s enormous
success in his native United
States rapidly spread from
Europe to Souft Africa and the
Far East, where he has toured
extensively to sensational ac
claim. Following a year’s sab
batical during which he studied
French, Greek, English
Literature, Calculus and Physics
at Princeton Univ., where he
came in close contact with Mr.
Harsanyi, then conductor of the
Princeton Chamber Orchestra,
Friedman returned to the concert
stage in a stunning Philharmonic
Hall recital in November 1967.
The New York Times’ critic
declared: “Urbane, smooth, and
suave-Mr. Friedman’s per
formances were all that and
more, for he is a masterly fiddler
with a tone that sounded big, a
steady bow arm, and excellent
intonation.”
In Berlin during January 1970,
Erick Friedman appeared with
Herbert Von Karajan and the
Berlin Philharmonic. The critic
for the Berliner Morgenpost
stated after the performance:
“Violinist Erick Friedman, a
towering, six-foot plus, played for
the first time with &e Berlin
PhUharmonic. His association
with Heifetz was evident when he
revealed, in addition to perfect
technical command, a real un
derstanding of European music.
Friedman had Paris “at his
feet” when he made his debut
there, one critic noted. In 1968,
there was the same adulation,
and if possible, more! The critic
for L’Aurore wrote: “Nothing
could distract from his
magnificent mastery and his
stupendous technique. Not even
the fainting of a female listener in
the audience, who perhaps
swooned because of his diabolic
prestissimo execution of
Paganini’s Moto Perpetuo.”
In addition to his international
professional commitments,
recording dates and a fully-
booked U.S. tour this season, he
now adds teaching to his list of
accomplishments. Even though
he admits that he isn’t a teacher,
his direct and intelligent attitude
does an invaluable service to the
music students here.
-Clifford Young-