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N.C. ESSAY
Tuesday, November 12, 1974
Letter From London
Diary: Time After Time At The Theatre
By SONNY LINDER
I'.ss.w Staff IN-
porU‘1
Friday, Oct. 4
“The Tragedy of Tragedies or the Life
and Death of Tom Thumb” at the Young
Vic Theatre, directed by Bernard Gross.
Although the first act of the comedy of
manners by Henry Fielding proved to be
a bit torpid, we are highly entertained by
the final scenes.
Fielding was getting at the pomposity
and falseness of his contemporaries in
the theatre; the last scene in the play
ended with each character dying a
verbose saccharin death. Some funny
moments.
Friday, Oct. 11
Experts from the “Canterbury Tales”
presented by Robb Inglis, actor and
director.
This afternoon was quite enjoyable for
our group. We saw this one-man show.
Not a reading, but a full-scale staged
■ -production in costume, the program
included “The Nun’s Tale”, “The
Priests’s Tale,” and the “Millers Tale.”
Part of the two-hour show was done in
original Middle English dialect.
Immediately following the
performance for our group, Mr. Inglis
departed on a scheduled tour of U.S. and
Canadian theatres.
Monday, Oct. 14
The Royal Shakespeare Company’s
production of “Summerfolk” by Maxim
Gorky (English version by Jeremy
Brooks and Kitty Hunter Blair); at the
Aldoych Theatre.
Most students agreed that the way in
which the Royal Shakespeare Company
presented Gorky’s powerful, intricate
portrait of the sedentary life of Russia’s
turn of the century nouveau-riche was
practically flawless. Although just over
.'i*2 hours long, the time passes
unnoticably as we were compelled to
identify with and examine the
predicaments of these sad, pathetic lives.
Two weeks later, Ms. Margaret Tyzak,
who played Maria Luvna in
■ Summerfolk”, came to speak with us.
Saturday, Oct. 19
All day trip to Stratford-on-Avon. A
two-hour auto bus jaunt through rolling
jastoral English country brought all 20 of
iis to this town of Shakespeare’s
i hildhood and his death.
We visited such landmarks as
Shakespeare’s birthplace, and to New
Place, where the poet spent his
retirement and death.
Holy Trinity Church, in which
Shakespeare is buried, contains his
gravestone.
At 2 p.m., we attended a,production of
“Twelfth Night”, again by the Royal
Shakespeare Company. This was done at
the Royal Shakespeare Theatre on the
Avon River bank.
Nicol Williamson, a well-known actor
here and in the U.S. played Malvolio.
Discussion lasted among us for several
days about the company’s interpretation
of underlying homosexual motives. Duke
Orsino’s attraction to Cesarie (Viola
really); and Antonie’s devotion to Viola’s
brother Sebastian.
Monday, Oct. 21
An afternoon visit to the Queen’s
Theatre in the borough of Hernschurch.
We saw both the present theatre here
(old and cramped), and the new theatre
which is in the process of being built
(modern and spacious).
Also, director John Hole entertained
-students questions on many aspects of
English professional theatre. We all left
with the realization that to be an actor
over here is much more of a self-sacrifice
than in the U.S. For instance, the
standard Equity wage here is between 17
pounds and 30 pounds per week. That is
the equivalent of $50 to $70. The cost of
living is about equal to the U.S.
Wednesday, Oct. 23
The National Theatre Company
production of “Spring Awakening”,
written by Franz Wedekind (translated
by Edward Bend.)
The thought provoking study of
adolescent naivete as presented in the
first act of this play, rapidly transformed
(or rather degenerated) into a
.sermonizing expres.sionistic climax and
denouement, complete with a headless
ghost and a mysterious stranger.
Still, some of the acting was
admirable, displaying that much sought
after commodity of repose which Mr.
Dodding and our other directors are now
trying to cultivate in us awkward
Americans.
Friday, Oct. 25
Double-header! An afternoon with
Margaret Tyzak of “Spring Awakening”,
followed by an evening at the Old Vic to
see “Equus.”
The dynamic Ms. Tyzak answered
questions for about two hours in an
informal session at Moreley. We also got
a chance to chat with the actress over tea
cakes.
Suck topics as vulnerability, ensemble
playing, and an actors individuality were
discussed in depth. Ms. Tyzak also
described the rigorous two-week
repretory system in which she grew over
the years, refining her technique and
perfecting her craft.
I.ater that day, we saw the National
Theatre Company’s “Equus”. The play
by Peter Shaffer explores the relationship
between a psychiatrist and a young boy
with a horse fetish. Although some of the
acting seemed weak, the play was well-
staged and carried off in a bold,
forthright, interesting manner.
As the I/)ndon climate grows mistier
and colder, our pace grows increasingly
swift. Classes are constantly
challenging; our work for voice, acting
and verse speaking classes continues to
stretch our minds, bodies, and emotions.
Photo b,v lla/.el I.euchars
Students chat with actress Margaret Tyzak. Left to right; Ms.
Tyzak, Katharine Buffaloe; back to camera Sonny Linder, Danny
Arden; standing, Lucius Houghton, David Wynn, faculty.
Qiorus Objects to Requirement
CHORUS, From Page 1
There has also been a disciplinary
problem in chorus, mainly because some
non-voice majors are so resentful of their
forced attendance, they bring their
resentment out into the open at each
rehearsal. At least once every two weeks,
some non-voice major speaks out at some
point in rehearsal to say, “I k;iow we
sang the last passage badly, but we don’t
want to be here in the first place.”
The discipline problem has been worse
in years past. Nancy Vineyard, a voice
major and member of the chorus for the
past two years, says, “There were many
more discipline problems last year. For
one thing. Dr. Rock’abrand is a better
conductor than the one we had before.
He’s more of an inspiration to the chorus
and makes us want to do a good job.”
Ms. Vineyard also has some
suggestions for future improvements,
and her first suggestion was echoed by
most students mterviewed by this
reporter. “I think the main problem is
people who are in chorus against their
wishes. We could have a much better
chorus if all the people who don’t want to
be in chorus were allowed to drop out.
The administration keeps saying that
people are getting musical benefit from
being in chorus, whether they like it or
not. It seems to me that if a person
resents being in chorus they won’t learn
anything at all by being forced to
attend.”
Chorus is a four year requirement of ^11
piano, guitar and composition majors.
Many have never sung before, and have
difficulty singing "Three Blind Mice” in
tune, much less Igor Stravinsky’s
“Mass.” Also, a number, not all, of these
non-voice majors feel they are forced
into a situation that makes them
uncomfortable, and wastes their time
that could be spent practicing.
The attitude of some of the unwilling
choristers was typified by the comments
of Bob Priest, a guitar major.
“I came to this school to improve my
technique on the guitar, not my voice,”
Priest said. “I need all my time to
practice my instrument. I have sung
previously in a choir at another school,
and did profit some from the experience.
However, I think now is the time for me
to concentrate on the guitar, and I resent
spending time singing in chorus when I
should be practicing.”
“Many non-voice majors agreed with
one who said, “I have such difficulty
singing that I am embarassed to open my
mouth in chorus.” Some students say
they do not sing at all in chorus, they just
put in the time to “pay their dues.”
Speaking for the music administration,
in an extensive interview, Scott Schillin,
assistant to the dean of music, spelled out
the reasons for the chorus requirement.
“It’s easy for me to sympathize with
the non-voice majors in the chorus,
Schillin said. “After all, I’m at pianist
and I had to sing five days a week (as
opposed to the one two-hour rehearsal
here) in a chorus in graduate school. I
sort of resented it too, at first, but I
eventually got a lot out of the experience.
Many of the things I learned in chorus
are the very reasons for the chorus
requirement here.
“From chorus you learn improved
musicianship, better ear-training and the
inner workings of good music, by being
part of the rehearsal experience, and you
learn something invaluable - how to work
within an ensemble.
Surprised By Complaints
“I’m surprised at the number of people
that complain to me day after day asking
to be let out of chorus. If I could assume
that every piano major, guitar major,
and composition major would always be
asked to only work at what they majored
in, then I would say the chorus
requirement is not needed. The chances
are, however, in today’s job market, it
could be very valuable to be able to work
as a conductor of an ensemble, or do
some, other work within an ensemble.
Schillin went on to say, “Some of the
students who wish to get out of chorus are
too single minded about their majors.
Their degree should stand for a total
musical experience, and that includes
some ensemble.”
Alternatives Discussed
During the interview, Schillin
discussed several alternatives. One of
the possibilities is a system of two
choruses; one for people who already
know how to sing and a second training
chorus, that would teach people how to
sing with an easier repetoire.
A popular solution to the problem
would be to drop the requirement
altogether. Several students voiced the
opinion that some sort of training chorus
where the people who have real difficulty
could slowly learn the art of choral
singing, seems preferable to the situation
as it now stands.
Ms. Vineyard said, “We could surely
cut the size of the chorus to include just
the people who enjoy it. People who enjoy
singing and happen to come from another
school such as drama, might like to help
us replace the musicians who don’t want
to sing in chorus. Of course, the time
w ould have to be re-scheduled so that all
could participate. When the non-voice
majors simply look at the chorus as a
drudgery, they should be allowed to
quit.”
Derrick Croom, also a voice major,
.said, “Those who just can’t carry a tune
in a bucket shouldn’t be stuck in chorus!
How can you derive benefits from an
experience in which you show no
interest?”
Many Enjoy Chorus
There are quite a few non-voice majors
that do enjoy being in chorus. Heawon
Kim, a piano major, says, “I like being in
chorus. It was hard on all of us to try and
sing the Stravinsky, but the music is
getting easier now and it’s more fun.”
Another student who enjoys being in
chorus is Sally Lillienthal, a sophomore
voice major.
She said, “I personally like being in
chorus; however, I don’t think everybody
not in an instrumental ensemble should
be forced to take it. I think Dr.
Rockabrand is definitely a more exciting
conductor than last year’s chorus
director, and there is a chance that the
choir could work out its’ problems. That
chance remains slim, unless there is a
complete turn-around in the attitude of
some choir members. Some of the
problem lies with a number of voice
majors who see themselves as being
strictly soloists, and feel that it is
beneath them to sing in a group.”
Rockabrand Hopeful
Dr. Rockabrand says he is hoping for a
turnaround in the attitude of some chorus
members. This is his first year at NCSA,
and even though he admits the first choir
concert was not up to par, he continues to
have high hopes for the future of the
chorus.
In an interview, Dr. Rockabrand
expressed his feelings on the importance
of ensemble experience. “Ensemble is a
social art. It is the art of working
together with others to present a work of
artistic merit. Ensemble is a worthy goal
to pursue, and as soon as the students
become more at ease with the concept of
ensemble. I’m positive that they will
begin to really enjoy this experience”.