Howdy y’all! My name is Leticia Schenkel. I am a philosophy major from Grapevine, Texas, but most importantly, I am the loudest and the proudest member of the Texas A&M Class of 2026!
I am super excited to be coming out with another issue of the Green Room Magazine It has been an absolute pleasure working with the faculty and the students on this issue, and I am really excited to highlight the stories of the seniors who are graduating this semester. Although this year is coming to a close, there are still plenty of opportunities awaiting students over the summer and at the beginning of fall Thank you for reading, and have a great summer!
M. Campbell, J. Goodman, J. Honeycutt, K. Kattari, A. Quackenbush, V. Reiser, A. Spiers
Faculty Advisory Committee
Ciara Anderson
Contributor
Samuel Payne
Contributor
Luke Nannapaneni
Contributor
Lenzy Zettler
Contributor
Sera Albers
Contributor
Colton Neuville
Contributor
Sommer Edgerson
Contributor
Cole Schantel
Contributor
Cruz Diego Gonzalez
Contributor
TableOf Contents
The Myth, the Music, and the Meaning of Hadestown pg 4 Two Of A Kind pg 14
Bamboo Flute, Worldview Salute: On Shakuhachi Around the Globe pg 8 Thoughts pg 16
Barely There: A Portrayal Of Addiction pg 11 Ending With A Bang pg 12 The Bridge Between Culture and Instrument pg 10 Cinovile pg 18
“Every time we dare to hope, to sing, to fight for a better ending, we keep the possibility alive. And maybe, one day, the ending will change.”
If you had even the slightest bit of hope that, by telling the same story over and over again, you could somehow change the outcome would you?
That’s the bittersweet heartbeat of Hadestown, a modern retelling of an ancient story a story so old, it feels woven into the fabric
of human hope itself. The story remains the same Orpheus walks into the underworld for Eurydice He tries to lead her home He turns around too soon She’s lost forever
But this time, it’s enriched with a soundscape that feels like a smoky bar at midnight, with the thrum of life and death vibrating in every note. And sitting in the audience, you almost almost believe it might end differently this time
Eurydice (Megan Colton) and Orpheus (Bryan Munar), Photo Credit: Evan Zimmerman for MurphyMade. Photo courtesy of OPAS
A Brief History of the Conception of Hadestown
Hadestown didn’t just appear fully-formed on Broadway stages. Its journey started humbly in 2006, when folk singer-songwriter Anaïs Mitchell conceived it as a DIY community theater project in Vermont
What began as a scrappy, heartfelt performance would later evolve into something monumental The foundation was Mitchell’s 2010 concept album a haunting, lyrical retelling of the myth that caught fire among folk and indie music fans.
A Deep Dive into the Characters and Their Motivations
What makes Hadestown so timeless is how deeply human its characters feel, even when they’re gods. Orpheus is the dreamer. The poet. The one who believes that music can heal the broken world. Eurydice is the realist. Scarred by hunger and hardship, her love is fierce but practical she can’t survive on poetry alone
Hades is power personified. A god-king who traded his heart for control, building a kingdom where love is conditional and freedom is an illusion. Persephone is life itself, half in light, half in shadow, yearning for the days when she loved without chains. Hermes, our narrator and guide, moves between realms with wisdom and sorrow, knowing how the story ends but telling it anyway
The ensemble plays a dual role: they are townsfolk and Hadestown workers, shifting seamlessly between worlds. It’s one of the quiet triumphs of the production how dual casting creates a cyclical, layered world where everyone is trapped in the system, yet still trying to sing. And in musicals like this, where the ensemble shifts shape with every scene, it just works. It reminds you that roles change, but struggles stay the same
Why a Jazzy Musical?
You wouldn’t think a Greek myth would pair naturally with New Orleans-style jazz, but that’s the magic of Hadestown. Jazz with its improvisations, blue notes, and brass bravado mirrors the very heart of Orpheus’ rebellion. His music isn’t neat and pretty
It’s messy, aching, alive Anaïs Mitchell’s songwriting pulls from New Orleans jazz, Americana folk, gospel, and blues.
Every genre woven into the show feels like a living artery, pumping the story forward
Hades’ deep, growling basslines drag you into the darkness Persephone’s raucous, halfdrunken ballads remind you that life is still sweet, even at its most bitter.
And Orpheus’ ethereal melodies offer the tiniest spark of hope: fragile, flickering, but impossible to kill.
The Set Matters
The set of Hadestown doesn’t just frame the story, it is the story. Swinging industrial lights loom overhead, evoking a city choked in smoke and dreams deferred.
The rotating stage spins like fate itself, grinding characters toward their destinies whether they’re ready or not
Each character’s props the battered guitar, the swinging pocket watch, the lifeline of a red flower are subtle, constant reminders of who they are and what they stand to lose
And then there’s the audience. We’re not passive watchers. We’re part of it. When Orpheus sings the world into bloom, the lights shine outward into the theater, and for a brief, breathtaking moment, we are the world he saves.
The set isn’t just beautiful, but an active participant in the storytelling, making Hadestown one of the most immersive musicals I’ve ever seen.
My Experience as an Audience Member
I’ll be honest: I cried. More than once.
I’ve loved Hadestown for years. I’ve memorized the soundtrack, sung along while doing the dishes, and whispered the lyrics under my breath while working late into the night But nothing, nothing, could have prepared me for seeing it live
When Hermes first steps onto the stage and those opening notes crackle into the air, I felt like I was transported. Back to the first time I heard “Wait for Me.” Back to a time when I still believed you could sing your way out of sorrow.
“Wait for Me” is still my favorite song Hermes, Orpheus, the Fates, and the Workers all pulling the weight of the world behind them. And the way the set lit up during Orpheus’ journey to the underworld the walls swinging open, the lights trailing his path felt like watching hope itself struggle against the dark
It was beautiful. Transformative. Breathtaking.
An Honest Analysis
Beyond the stunning performances and breathtaking visuals, Hadestown carries a deeper message about human nature, justice, and collective responsibility
It asks us: what happens when the system is rigged against hope? Why do we keep singing anyway?
The show offers a masterclass in intercultural competence through its weaving of different musical traditions, its portrayal of systemic oppression, and its acknowledgment that struggle transcends borders, languages, and eras.
The characters’ differences, between gods and mortals, rich and poor, highlight how necessary it is to understand and work across those divides if we want a different ending
It touches civic responsibility at its core, and reminds us that participation whether through art, protest, or love is essential.
Maybe the story can’t be rewritten Maybe Orpheus will always turn around Maybe Eurydice will always slip away.
Hadestown teaches us that there’s something sacred in the telling of the story. Until then, we wait for each other. We sing for each other. And we remember.
Namisa Mdlalose Bizana as Persephone
Photo Credit: Evan Zimmerman for MurphyMade. Photo courtesy of OPAS.
By Samuel Payne ‘25| Performance Studies (Master Of Arts)
The first of these was titled “Shakuhachi Around the Globe” and took place on Thursday, April 17, at 6:30 pm in Texas A&M’s Rudder Theatre
The Concert
At the start of the concert, the host asked how many audience members were hearing the shakuhachi live for the first time, and a sizeable number raised their hands, showing how significant cultural events like these are for the state
True to the concert’s name, seven pieces were performed by musicians from across the world. The music featured a variety of instruments and vocal talents, all unified by the through line of the shakuhachi The Japanese bamboo flute is most often heard as a solo instrument, so the concert challenged audience perceptions by presenting it in various ensemble settings
Being a wind instrument, the shakuhachi is able to play continuous pitch as long as the breath lasts (or even longer with circular breathing techniques) When this is coupled with its pure, breathy tone, the shakuhachi pairs well with vocals, as evidenced by the latter half of the program
Wild Ways by Roxanna Panufnik brought the instrument together with a full chorus of Texas A&M students, and the traditional Japanese trio that followed also saw singing from the koto and shamisen players
The World Shakuhachi Festival came to Texas for the first time last week. It was the eighth incarnation of the global event, and the first time it was hosted in the United States in over 20 years, since New York City in 2004. With over 200 participants and 67 invited guest musicians, the four-day festival saw a slew of events including mini-performances, workshops, and classes, headlined by four mainline concerts
Expanding The Shakuhachi
In contrast to the evening's vocal performances, the shakuhachi was also paired with more percussive pieces, such as the piano in “Turtle Dance” from the Silk Road Fantasy Suite by Jiping Zhao This piece was the most exciting of the evening, with its quick tempo and staccato style reminiscent of Chopin’s Mazurkas
The contrasting middle section felt harmoniously static, more akin to the expected shakuhachi oeuvre, before leading back into the Mazurka theme
This style represents a blend of traditional Japanese musical elements with Western classical practices, showing how the shakuhachi doesn’t simply exist around the world, it moves through it.
The shakuhachi traditionally plays contemplative music in free rhythm, and the concert began and ended with a solo shakuhachi piece in this style, in a sort of programmatic arch form
The opening piece, “Yearning for the Bell” , was fanfarish and consonant at first before developing more half-step dissonance in the higher register and ending low again In contrast, the closing piece, “The Chill Winter Wind,” leaned into dissonance from the start and utilized significantly more vibrato to emulate shivering in the cold. The demographics of these two soloists also demonstrated the globality of the shakuhachi.
Swedish shakuhachi player Gunnar Jinmei Linder opened, and the finale was performed by Japanese musician Kizan Kawamura
The Impact
“Shakuhachi Around the Globe” expanded the audience’s musical horizons Some pieces, like the opening, featured a solo shakuhachi, playing into expectations, while the remainder pushed musical boundaries by pairing it with complex ensembles.
The piano duet “Turtle Dance” was a high point with its unique style fusion, and the finale “The Chill Winter Wind” mirrored the opening by providing a gateway look into traditional practices.
Cornelius Boots, one of the masters at the WSF, playing the Bass Shakuhachi. Photo from the Cornelius Boots Website
By Leticia Schenkel
Colton Neuville is a Senior Performance Studies student from Euless, Texas, and he will be graduating with his BFA this May! Neuville has always been interested in the world of performing and decided to join the Aggies to expand his knowledge of the performance world. He has always been artistically inclined.
Throughout middle school and high school, Neuville was involved in choir and theater, specifically choosing Performance Studies because it is a space that bridges the gap between several different mediums of performance After four years of hard work and dedication, Neuville’s work has manifested itself in the form of his Senior Capstone project: an exploration of instruments beyond their purpose, considering how they may also function as cultural devices.
“I’ve always wanted to be able to play a wide variety of instruments, and having been able to work with Dr Connor and the Music Technology Program here, I’ve been able to build and learn how to play several.”
Said Neuville, “However, for my Capstone, I really wanted to take the next step and be able to design an instrument of my own.”
Neuville was able to explore and work with a couple of instruments in his last semester, one electronic and one acoustic
S E N
Performance Studies
This work inspired him to learn more about an instrument family he wasn’t familiar with, leading to his project Neuville describes his capstone project as “an exploration of the principles of sound and culture that have made the flute what it is today, with my own personal twist on its physical traits, in a way that reimagines the instrument’s functionality.”
He learned how instruments tell stories across cultures.
“Instruments serve as relics of the times and places they come from. They say that Art imitates Life, and with instruments, I think that’s totally the case,” said Neuville “They represent the sounds, materials, practices, and ways of life of the areas where they come from. Over time, we’ve seen instruments evolve, adapting to the presence of new tools, materials, and crafting methods.” Neuville’s creative transformation of the flute changes our perspective of instruments as one-dimensional.
My short film Barely There explores the hidden depths of addiction, emphasizing the subtle and often invisible ways individuals mask their struggles from the world around them
Drawing inspiration from the film Flashback, starring Dylan O'Brien, my short film centers around Nathaniel, a college student quietly battling pill addiction.
The story investigates how people facing addiction often adopt different personas to appear stable to their friends, family, romantic partners, and society.
Through Nathaniel's eyes, viewers witness the internal chaos and loneliness that arise from continuously maintaining these different facades, highlighting how
addiction can fracture identity and isolate an individual.
Unfortunately, unexpected production setbacks have delayed filming. To continue progressing, I’ve transformed the script into a more ‘literarystyle’ narrative.
This novelization approach enriches scene descriptions, providing a vivid sense of the intended character movements and emotional subtleties, capturing closely the essence of the original cinematic vision.
Narratively, the project uses the framework of an Alcoholics
Anonymous meeting intertwined with potent flashbacks This method allows for an intimate portrayal of Nathaniel’s inner turmoil, juxtaposing with the external image he projects to those around him.
By Luke Nannapaneni ‘25 | Performance Studies
Ultimately, Barely There aims to shed light on the profound emotional struggles and hidden burdens associated with addiction. It emphasizes the importance of compassion, understanding, and openness when addressing such sensitive topics. Rather than simply cautioning viewers, the project seeks to humanize the complexities of addiction, encouraging meaningful conversations and fostering empathy towards those battling similar experiences.
Concept Art provided by Luke Nannapaneni
Ending With A Bang
A Look Into the Student Choreography Showcase
by Sommer Edgerson ‘25 | Dance
Student Choreography
Showcase is a show solely produced by students within the Texas A&M Dance Program. This school year, I was part of the Senior Committee along with several seniors, Macie Everitt, Lindsay Walker, Bailey Zettler, and Lenzy Zettler.
Our responsibilities as Senior Committee included creating the poster design and program, marketing the show, creating the show order, doing choreographer and dancer outreach, and obtaining crew. We began preparing for the show last summer, so it is so fulfilling to see it come to life.
Sommer Edgerson, Gianna Zarate, Sunnie Swenson, and McKenna Brennan. Photo courtesy of Sommer Edgerson
It is rare to hear what the behind-the-scenes was like for a show. The audience sees the finished product, but has no idea what went into creating the show. This show is one of my favorites! It allows for students to fully dive into the creativity with no rules or restrictions For the show, I choreographed a contemporary jazz piece entitled “Did he move any of us?” The piece is about a group of women who have all been negatively affected by the same romantic partner. And, unfortunately for that man, he is sitting in the audience.
The movement is very direct, intricate, and sharp with an element of sensuality, which signifies how female rage is often stigmatized The dancers are fighting with the struggle of wanting to be angry, but having to conceal it to stay “modest.”
My choreographic idea stemmed from my obsession with the song “Smooth Operator” by Sade. I didn’t know what a smooth operator was, so I looked up the definition and thought the idea was genius. I made a Pinterest board to set the vibe of my piece and exactly what I wanted to portray.
That board included the costume which were different kinds of black silk dresses with a choker with a black rose on it. The dancers embodied this character incredibly well.
I am grateful to have worked with all 12 of my amazing dancers through this process As a senior, this was my last piece I choreographed for the dance program, and I ended my journey on a bang!
Lenzy Zettler and Bailey Zettler before their final duet performance, photo courtesy of Lenzy Zettler
The Student Choreography
Showcase is an incredible opportunity for Dance Students at Texas A&M. It’s a show that is put on entirely by students, including a Senior Committee, Junior Committee, choreographers, dancers, production crew, and with the help of a faculty advisor and production director. This semester I had the opportunity to be a part of the senior committee, as well as to choreograph a duet with my twin sister, Bailey
Throughout the semester, nearly 60 dance students rehearsed and worked hard for the opportunity to perform in this concert We have been planning and rehearsing to get the show finalized and ready to perform for a whole year. It is something that everyone looks forward to and has a lot of fun doing. I am so grateful to have been able to help manage, create, and perform with all of my best friends. It is a show that I won’t forget!
Specifically, the duet that I choreographed was very special to me My twin sister and I have been dancing since we were 3 years old This piece was our last time dancing together in college. Through everything the last four years have brought, we have learned that change can be a good thing.
So, as we embark on this new adventure, it was important that I create a piece that would begin to wrap up our time here while also celebrating what lies ahead.
I have had the best time of my life for the past three years that I’ve been a part of the Texas A&M Dance program , and I’m endlessly grateful for all I’ve learned and experienced. It is a special place with so many special people!
This photograph was taken for an assignment in one of my classes. The prompt was to create an image inspired by horror or film noir. I shot it while I was home for spring break, which gave me the perfect opportunity to recruit my family as actors and assistants I cast my father as the subject, posing him as a cowboy, and thought the presence of a gun would add a subtle but unsettling sense of horror.
My dad got really into the shoot and came up with the brilliant idea of placing only five bullets on the table leaving the sixth missing to hint at a deeper story It invites viewers to wonder what the cowboy plans to do with that last bullet The shoot itself was far from high-budget. My sister stood behind me holding two flashlights while I directed the angle of each beam The lighting setup may have been simple, but the result was dramatic
Thoughts A Photographic Story
As someone who’s loved photography since I was a kid and now studies Visualization at Texas A&M, I used this assignment to combine two of my favorite things: photographic storytelling and cinematic lighting The strong contrasts help guide the viewer’s eye and build tension, while every part of the image contributes to the narrative.
The final photograph ended up winning “Best in Photography” at Vizagogo, our end-of-year showcase and that recognition meant a lot to me It reminded me that compelling ideas, creative teamwork, and good lighting can carry a piece much farther than any fancy gear. What started as a class assignment became one of my favorite photos I've ever taken.
Cinovile
by Cole Schantel ‘26 | Visualization
Every time Viz-AGoGo rolls around I get the urge to make something cool that will for sure get into the show and blow everyone away This year was no exception, as I took it upon myself during spring break to do a solo animation project called Cinovile. I ended up working on it tirelessly for 10 days straight and it was selected for the show alongside a few group projects.
I didn’t make it solely for the show as I wanted to improve my skills and make a good portfolio piece, however, the show was a significant motivation Unless you have some kind of platform online, there aren’t a lot of ways to have the work you did over the semester seen apart from showing people directly. That’s a big motivation behind why people are so eager to submit to the show and often put their best foot forward.
There are also plenty of people in the industry that judge submissions for awards and come to see the show, which could lead to more opportunities down the line if you manage to stand out. I volunteered for the curation of the screening, so I was able to see everyone else’s projects that they’d worked on just like I had.
This year had some exceptional work, almost too much to fit into the hour or so long screening. It’s clear that a lot of drive and passion helps run this end of year event at PVFA, from the people making the artwork to the people helping set up for the big day
