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re·imagine Vol. 1 Issue 2: Fall 2010

the official publication of LSU’s College of Music & Dramatic Arts

LSU Theatre Students Flip over CMDA’s Movement Studio Also in this issue Dean’s Four Moving-Forward Initiatives 7 Cutting-edge Piano Distance Learning Demonstration 16 Antigone Summer Performance in South Korea 34 Opera to be Featured in National Documentary 40


Christopher O’Riley Solo piano recital Thursday, September 30, 2010 Recital Hall, 7:30 p.m. Live taping of “From the Top” presented by LSU and NPR Tuesday, November 2, 2010 LSU Union Theater, 7:30 p.m.

Christopher O’Riley with LSU Symphony Orchestra Rachmaninoff Piano Concerto No. 3 Friday, February 18, 2011 LSU Union Theater, 7:30 p.m. Christopher O’Riley Chamber Music with LSU Artist Faculty Friday, March 11, 2011 Recital Hall, 7:30 p.m.

$28 general admission | $19 faculty/staff/seniors | $15 students (with I.D.)

Christopher O’Riley is the CMDA’s Visiting Distinguished Artist


Features On the Cover

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Students Take to the Skies With Aerial Silks Ask most who have witnessed companies such as Cirque du Soleil and they can tell you that aerial silk performance can be a captivating method of theatrical presentation that incorporates athleticism, coordination and flexibility while defying gravity at the same time. However, many may not know that such exhibitions and a place to practice the craft can be found on the LSU campus.

57 Development

22 Music

34 Theatre

A Q&A with Jeff Nytch, the consulant for the upcoming Janice H. Pellar Entrepreneurship Project

The LSU Symphony Orchestra is Noteworthy among Top Symphony Groups

Nytch sat down for a one-on-one interview regarding the upcoming entrepreneurship events at the College of Music & Dramatic Arts at LSU.

The LSU Symphony represents talent and diversity. Under the direction of Carlos Riazuelo, the award-winning symphony serve as ambassadors to the performing arts community and heighten the skill level of musicians performing in other area groups.

Departments

LSU Theatre brings Antigone Overseas to Seoul, Korea The LSU Department of Theatre was honored as the only American university invited to perform in the renowned Young Theater Festival in Seoul, Korea. Thirtyeight members of the LSU family traveled to South Korea from June 16-27, 2010.

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Box Office

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Swine Palace

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CMDA

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Tiger Band

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School of Music

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Faculty & Staff

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Department of Theatre

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Development

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Opera

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Annual Report fall 2010

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From the Editor

re·imagine The official publication of LSU’s College of Music & Dramatic Arts

I am honored to represent the LSU College of Music & Dramatic Arts. You will soon see why. As you thumb through the pages of this, our first edition in true “magazine” format, take note of the diversity and prominence of our faculty and students. In a recent conversation with a potential CMDA employee, I was asked about my favorite part of working with the College of Music & Dramatic Arts. Without hesitation I began my response, without any thought in advance of how I might answer such a question. While speaking I could feel my eyes light up and sense my energy level jump as I described what it feels like to just walk into our newly renovated CMDA building. As I enter the building and walk through the halls, passing practice rooms with students playing instruments, singing or rehearsing scenes from a play, I get excited. It is thrilling to be the first communications director to serve the entire college. This is great! With degrees from LSU in Mass Communication and Theatre, what more could I ask for? I get to promote and communicate the artistic endeavors of our talented faculty, staff and students. And, with our visionary dean, we are pushing new initiatives to launch our college to not only be more self-sufficient, but also to be more visible in the community. Did you know that you would be hard-pressed to find an arts organization (or even church choir) in this region that does not have an LSU student or teacher— r current or former— r participate at some level? Without CMDA, there would be a very scarce and far less prepared performing arts community. We have actors in movies, singers in the world’s top opera groups, jazz performers and conductors being honored across the world, professors doing research in some of the most sacred places on earth and the list goes on and on. I hope when you finish reading this magazine you are filled with a new level of energy and desire to be part of our progress in arts education and outreach. Of course, we can only give you a taste of the fine work being done by our faculty, staff and students. To see more of our progress, please visit our award-winning website at cmda.lsu.edu. Enjoy!

EDITOR Pamela Matassa ART DIRECTOR Sydney Nakashima contributing designer Timothy E. Little PHOTOGRAPHY Timothy E. Little contributing photographers Eddy Perez Fred Buchmann Vastine Stabler Nick Erickson CONTRIBUTING WRITERS Curtis E. Adamson, Jr. Sara Baker Michael Bellinger Jacquelyn Craddock Michele Guidry Rachel Larson Aaron Looney Vastine Stabler Joey Watson CMDA.LSU.EDU Sydney Nakashima LOUISIANA STATE UNIVERSITY President John Lombardi Chancellor Michael V. Martin

Pamela Matassa Editor

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Executive Vice Chancellor and Provost John Maxwell Hamilton Dean of CMDA Laurence Kaptain


Box Office CMDA Special Events

LSU Opera Vanessa

CMDA Convocation

by Samuel Barber directed by Dugg McDonough conducted by Michael Borowitz

David Pogue, Guest Speaker

Aug 30 at 4:30 pm Shaver Theatre

Oct 28-30 at 7:30 pm Oct 31 at 3 pm

*part of the Janice H. Pellar Entrepreneurship Program in the Creative Arts

Claude L. Shaver Theatre

‘The President’s Own’ U.S. Marine Band

LSU Theatre

Oct 14 at 7:30 pm Union Theater

Moments of Joy written and performed by Joy Vandervort-Cobb Associate Professor of African American Theatre and Performance, College of Charleston

Sept 9-19

From the Top Taping

Studio Theatre

Live with Christopher O’Riley

Nov 2 at 7:30 pm Union Theater

Major Music Ensembles A Cappella Choir

by Noel Coward directed by George Judy Swine Palace

Sept 22 (PWYC), 23 (Preview), 24, 28-30, Oct 1, 6-9 at 7:30 pm Sept 26, Oct 3, 10 at 2 pm Shaver Theatre

Kenneth Fulton, Conductor

Nov 2 at 7:30 pm University United Methodist Church

Tigerama Roy King, Director of the Tiger Band

by Freyda Thomas directed by Richard Holden LSU Mainstage

Nov 10 (PWYC), 11 (Preview), 12, 16-19 at 7:30 pm Nov 14, 21 at 2 pm Reilly Theatre

Nov 15 at 8 pm Baton Rouge River Center

Concert Spectacular Featuring highlights from the School of Music

Feb 4 at 7:30 pm Union Theater

Performing Arts Series The Berlin Philharmonic Wind Quintet Performing Arts Series

Oct 7 at 7:30 pm Recital Hall

fall 2010

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Upcoming Events Only select events are listed below. For a complete events listing please scan the QR code at right or visit cmda.lsu.edu. For ticketing information on these, or any other CMDA events, please visit cmda.lsu.edu or call the LSU Union Theater Box Office at 225-578-5128.

AUGUST National Anthem Auditions 8/28 CMDA and LSU Athletics Recital Hall, 10 am David Pogue 8/29 Performing Arts Series Holliday Forum (Manship School), 5 p.m. CMDA Convocation 8/30 David Pogue, Guest Speaker Shaver Theatre, 4:30 pm

SEPTEMBER Moments of Joy 9/9-19 LSU Theatre Studio Theatre

Vanessa 10/28-31 LSU Opera Shaver Theatre

NOVEMBER From the Top Live Taping 11/2 Union Theater, 7:30 pm A Cappella Choir 11/2 University United Methodist Church, 7:30 pm Tartuffe: Born Again 11/10-21 LSU Mainstage Reilly Theatre Jazz Ensemble 11/15 Manship Theatre, 7 and 9 pm

Symphony Orchestra 9/13 Union Theater, 7:30 pm

Tigerama 11/15 LSU Department of Bands Baton Rouge River Center, 8 pm

Hot Summer Nights and Cool Jazz Encore Presentation 9/14 Fresh Market, 7 pm

Symphony Orchestra 11/19 Union Theater, 7:30 pm

Design for Living 9/22-10/10 Swine Palace Shaver Theatre

Wind Ensemble 11/21 Union Theater, 7:30 pm

DECEMBER

Wind Ensemble 9/22 Union Theater, 7:30 pm

Candlelight Christmas Concert 12/5 Union Theater, 7:30 pm

CMDA Alumni Reunion Weekend 9/24-25

FEBRUARY

Christopher O’Riley 9/30 CMDA Guest Artist Recital Hall, 7:30 pm

King Lear 2/2-20 Swine Palace Shaver Theatre

OCTOBER

Concert Spectacular 2/4 School of Music Union Theater, 7:30 pm

Berlin Philharmonic Wind Quintet 10/7 Performing Arts Series Recital Hall, 7:30 pm Tiger Band Alumni Reunion Weekend 10/15-16 LSU vs McNeese State ‘The Presidents Own’ U.S. Marine Band 10/14 Union Theater, 7:30 pm

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Wind Ensemble 2/14 Union Theater, 7:30 pm Symphony Orchestra with Christopher O’Riley 2/18 Union Theater, 7:30 pm

What is this Thing? Throughout this publication you will notice QR Codes (they look like retail barcodes) and we would like you to scan them with your phone. For those of you who may not know, QR code is short for “Quick Response” code. Although it was originally used to track vehicle parts for manufacturing purposes, QR Codes are currently being used in marketing and sales to provide consumers with more information on the product or service being advertised. We are using QR Codes in this publication to give you a little “lagniappe” (French for “a little something extra”). All you need to do is use a camera phone equipped with a reader application (we suggest downloading the TapMedia Ltd QR Reader for iPhone app or search the app store for a “QR scanner“ for a list of other options). Scan the image of the QR Code and you will be directed to more information. Try it. This is just one way our college is reaching out to a broader audience.


CMDA

From the Dean As you read this issue of re•imagine, you can see many of the accomplishments of our faculty, students and alumni.When you learn of this success (or hear/see them at a live or at a recorded performance/event) you must also recognize the contributions of our community partners. That term “community partner,” in my mind, has a broad definition and application. In the recent economic downturn, our community partners have stepped forward and helped us out in many ways. This ranges from individuals who supported the Band Hall construction, to the Swine Palace Board, the Patrons of LSU Opera, numerous corporate entities and other educational institutions and performing arts organizations. This past year, I met with all versions of community partners, alumni and friends in Mexico City, Seoul, New York City, Asheville, Houston, Minneapolis/St. Paul,Allentown, Dallas, Orlando, Memphis, San Diego,Washington, D.C., New Orleans, Lafayette, Lake Charles, and other locales. I was thrilled to be with the Department of Theatre in Seoul as they presented Michael Tick’s punk rock version of Antigone (as the only U.S. group invited to the Young Theatre Festival), Tiger Band in Orlando at the Capitol One Bowl, at the Metropolitan Opera to hear Lisette Oropesa sing Susannah in Marriage of Figaro, to welcome Christopher O’Riley to LSU as a distinguished visiting artist, to meet with Senator Robert Adley, his wife Claudia and Senator Willie Mount in the Louisiana State Capitol Building, to make presentations in the offices of Senator Landrieu and Senator Vitter in their Washington, DC offices, to hear our A Cappella Choir sing with the Memphis Symphony, to see the Actors Theatre of Louisville in their residency at LSU, to be at the opening play (The Royal Family) y in the newly restored Shaver Theatre, and many other events that make me proud to be a part of the LSU family. So in this first year I have felt the pulse of excitement at the creative capital and intellectual assets that we have in our College of Music & Dramatic Arts. But I need to caution that the suddenness of diminishing support from the government of the State of Louisiana leaves us very vulnerable. As these words are written in August of 2010, a 23% budget cut in state support is a storm cloud on the horizon. We are going to need everyone in Tiger Nation who values artistry, education, scholarship, culture and creativity to support us in this difficult time. I am confident that we will continue to unleash human potential in difficult times as we create an intended future ure that we can all be proud of—and that will be a shining light to the citizens of the State of Louisiana, the United ited ed SStates and the World. Thank you for your continued support.

Laurence Kaptain Dean, College of Music & Dramatic Arts Penniman Professor of Music


CMDA News

Musician turned Emmy-winning journalist David Pogue set to speak at Convocation When David Pogue heard about the janice h. pellar Creative Arts entrepreneurship project, he took interest. Pogue is an esteemed New York Times personal-technology columnist and entrepreneur. Dean Laurence Kaptain spoke some exciting words about Pogue. “With a rich professional background in music and theatre, David Pogue is a brilliant example of someone who has taken a performing artist’s transferable skills and parlayed them into a distinctive, highly visible and notable career. The message he is bringing to our students, faculty, staff and community partners is a rich one. It’s a vision of hope for applying the performing artists’ skill set—without giving up one’s art,” Kaptain said. Pogue is also an Emmy award-winning tech correspondent for CBS News and has over three million books in print, making him one of the world’s bestselling how-to authors. Dean Kaptain also presented him with an honorary doctorate in music from Shenandoah Conservatory in 2007.

David Pogue sat down for an interview about his career. Have you ever been to LSU or Louisiana before? Yes to Louisiana—no to LSU! Can’t wait! Did receiving an honorary doctorate shape your career? It didn’t affect my career much—but of course, that was the whole point of my visit. It was to point out how not every music student goes on to become a professional musician—but every music student is perfectly capable of making music part of his or her career, much as I did.You probably wouldn’t think that music would play a big part in a tech writer’s career—but it definitely does! The degree didn’t boost my professional music career much because I don’t have a professional music career--but it did wonders for my self-esteem and my résumé! Now and then, I even consider making my kids call me “Dr. Dad.” Where did your mixture of technology and music come from? You know I’ve always believed that music and computers are similar, in a way. Both are creative arts, but based on a rigid set of rules. Something about that freedom, within strict guidelines, appeals to me! When did your mind stick to the idea of being a technology whiz and a writer? The tech thing really has more to do with my interest in magic. Since I was a tiny kid, I’ve always wanted to be magic! I gave hundreds of magic shows as a kid, I wrote “Magic for Dummies,” I do magic over dinner...but tech is the closest thing we’ve got to experiencing real magic. Press a button, something happens at your command...

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You are an entrepreneur of music and technology. What would be some Pogue words of wisdom for the younger generation struggling to decide what to do? Well, I’m not a very scientific survey. But I went out into the world after college having no clue what I wanted to do. I started out by doing something I loved—musical theater (playing piano, doing arrangements, conducting shows)—while waiting to figure out what I really wanted to do. I recommend that. Take a couple years after college to play. It should be a law. The other weirdness about my own career is that I never really sought any of it; I just answered the phone and said, “yes” to everything! I think that’s great advice, too. Try everything, because you never know what will lead where, or what fellow unemployed graduate will hire you for something great six years from now. Did you ever imagine your career being what it is today? No, never. I can remember, as a kid, dreaming of conducting a Broadway musical, dreaming of writing an actual book someday. I never imagined that I’d actually wind up doing both those things! And, of course, I never ever imagined writing about technology. That one came out of the blue. What do you enjoy most about your career? I think it’s the performance aspect. When I write a column, or post a blog, or create a video, the audience feedback is immediate. I hear from people by email, on Twitter, in the comments sections. It’s terrific feedback. I don’t think I’d have gotten nearly as much joy from doing these things in the pre-Internet days. Article and Interview by Rachel Larson


CMDA News

Moving Forward at CMDA

This issue of re•imagine marks the beginning of my second year as Dean of the College of Music & Dramatic Arts. It also marks the most challenging time for higher education in Louisiana. With the potential of huge budget cuts on the horizon, I feel the need to mobilize our faculty, students, staff, alumni and community partners to generate income and assure the survival of the CMDA. My first initiative at LSU came before I assumed the position of Dean. On May 13, 2009, 113 faculty, students, staff, alumni and community partners assembled for a workshop with communications specialist Jeanne Schwartz of Kansas City. The result of that effort was a mission statement generated and accepted by consensus of the group. The mission statement for our unit still inspires and guides my work: We train, cultivate, prepare and reward excellent performing artists, scholars, educators, and creators, fostering passion for the arts, collaboration, and the creation of new works. We engage with our community, heightening our collective ability to communicate with expressive power and purpose. Based on the direction that I have been provided and the value of the creative capital and intellectual assets that we hold, here are the initiatives I bring to improve student learning/creativity, support faculty, develop our staff, connect with our alumni and engage our community. My intent is to leverage opportunities through four “signature programs” that will capture the imaginations of a strategic and broad range of leaders in business, technology, and the performing arts.

DEAN'S 4 INITIATIVES I

Louisiana: State of the Arts featuring worldrenowned pianist and media personality Christopher O’Riley and his popular show “From the Top.” II Interactive Distance Learning III Performing Arts Academy IV janice h. pellar Creative Arts entrepreneur ship project

Let me explain how each of these programs will further the CMDA and LSU in the State of Louisiana, our nation and the world.

Louisiana: State of the Arts

Christophe er O’Riley y has been named the first Distinguished Visitin Visiting Artist for the LSU College of Music & Dramatic Arts. He’ll te each, coach, mentor and perform at LSU through 2013. 2013 Beginning this fall, O’Riley will make four annual trips to Baton Rouge for colllaborations with LSU faculty and students, concert performances and music education events. He will also host live episodes of th he NPR series "From The Top,"" which will be taped at LSU and in n other Louisiana locations. O’Riley says this type of partnership was one he had in mind for years. Fortunately, at LSU and the CMDA—we are able to make this happen. Because of the CMDA’s efforts "From the Top" airs Thursdays at 10 a.m. And Sundays at 7 p.m. on WRKF 89.3 FM. You can also catch the show at wrkf.org. Additionally, Louisiana Public Broadcasting will continue to air a video version of the series, and WWNO radio in New Orleans now airs the show. fall 2010

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CMDA News

The arts can help students become tenacious, team-oriented problemsolvers who are confident and able to think creatively. These qualities can be especially important in improving learning among students from economically disadvantaged circumstances.

— Arne Duncan U.S. Secretary of Education

Interactive Distance Learning Research from educational ducational specialists and neurologists neurologis reveals an undeniable e correlation between arts sttudy and school attainme ent/high school g raduation ratess. Few Louisiana public schools are able to offe offer an arts curriculum thatt provides students with uniqu unique learning/creative opportunities portunities that: that • Open doors of opportunity through the development developme of conceptual, analytical, and problem-solving skills that are indispensable ind in the 21st century workforce • Foster an understanding standing of person personal identity, appreciation for culture, and connection ection with comm community

students (see below) may be realized in Louisiana through the manifold benefits of an interactive performing arts video distance-learning program based at LSU. Every child in every school has the right to the fundamental components of a quality arts education, including: • Instruction by qualified teachers, enriched and strengthened by dedicated teaching artists and cultural institutions • Facilities and classrooms that are adequately equipped for learning in and through the arts • Access to appropriate materials, supplies, equipment, and instruments • The requisite instructional time to deliver standards-based instruction in all art forms

• Contribute to students' udents' overall heal health and developmen n as global citizens

The College of Music & Dramatic Arts at LSU has the resources and assets to meet Louisiana’s needs:

• Help transform schools into places of inquiry and an wonder where excitement,, possibility, discovery, and imagination imaginati thrive

• The high-speed optical cable for fast connections and Internet2.

• Encourage expression, ression, creativity, innovative thinking, thin and cooperative learni learning experiences • Increase students’ aptitude for learning and motivate them to stay in school and strive for greater success • Engage multiple learning styles in ways not achievable through traditional instructional methods The clear benefits of performing arts education for K-12

• A cadre of world-class performing arts faculty, researchers, professional staff and students to provide first rate needs assessment, high quality and meaningful content, follow-up outcomes metrics and assessment. • Major infrastructure already in place for technical production We are in the process of seeking corporate and foundation funding to support this worthy project that will improve education and creativity in Louisiana and beyond—while providing our students with transferable skills in education and digital communication.

ARTS IN THE CLASSROOM • Those who were highly involved in the arts performed better on standardized achievement tests than those with little or no involvement in the arts. Other positive indicators included more community service involvement, fewer hours of TV, and they reported less boredom in school.1 • Research has shown that increases in graduation rates and student academic attainment are documented and affirmed. In the Louisiana public schools—lack of support for arts programs is contrary to these findings. • Schools ranked in the top third by graduation rates offered students the most access to arts education and resources, while schools in the bottom third offered the least access and fewest resources.2 • Among other findings, schools in the top third typically hired 40 percent more certified arts teachers and offered 40 percent more classrooms dedicated to coursework in the arts than bottom-ranked schools.

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1 According to a U.S. Department of Education study that gathered data from 25,000 middle and high school students According to a recent survey conducted by New York City’s Center for Arts Education, data collected by the city’s Education Department from more than 200 schools over two years

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CMDA News LSU Performing Arts Academy In Louisiana, it’s widely recognized that few public schools offer a bona-fide arts curriculum taught by a certified teacher. Because of this, many, if not most Louisiana students are deprived of opportuni opportunities offered by instruction ction in the performing arts. Missed opportunities by students include development of conceptual, analytical, and problem-solving skills; fostering an appreciation for culture and one’s place in the community and world; and, most important, increasing students’ aptitude for learning while motivating them to stay in school.

janice h. pellar Creative Arts entrepreneurship project (2010-12) Creative arts entrepreneurship is an innovative approach to teaching transferable skills to performing arts students. As society has moved from the Information Age to the Conceptual Age, the demand for employees with creative skills such as multi-tasking, high attention to detail, collaborative working and non-linear thinking seems to be an affirming niche in an uncertain economic future.

Here is a solution: • An after-school/weekend community resource, serving ages 2-102 (and older) • Furnishing parents with solutions for student advancement/ development • Providing instruction in the transferable skills that are essential for success in the 21st Century • Certified teachers/staff selected and developed by LSU professors • Bringing vital early childhood developmental classes/opportunities to Baton Rouge • Supplying programs for seniors on-site and off-site • Offering scholarships for disadvantaged students • Not just traditional/classical training—but ethnic, jazz, and regional performing arts Baton Rouge is among the largest population centers in the nation without a comprehensive performing arts academy. LSU will fill that void by offering high quality, affordable instruction in virtually all areas of the performing arts: music, theatre, dance and digital technology. Using faculty, student, and technological resources largely at the ready, LSU can offer students educational opportunities in the arts that many, if not most, public schools in Louisiana currently cannot provide. LSU will address these needs by providing high-quality performing arts education through a broad-based academy. This can be done using a model that has proven successful at several other forward-thinking performing arts institutes in the United States, including the Levine School and Washington Conservatory, the Settlement Schools in Philadelphia and Cleveland, and NOCCA in New Orleans. Indeed, the fundamental resources needed to accomplish this already exist at LSU, including: 1 Facilities already in place 2 World-class performing arts faculty and students to teach 3 A philanthropic community to provide scholarships for students who may not have the financial means. At press time a national search is underway to hire a visionary and experienced professional to serve as the founding Executive Director.

On a lager scale, the Kauffman Foundation of Kansas City has started a movement to o better understand the phe phenomenon of entrepreneurship. In recent years the term entrepre entrepreneurism has expanded beyond a sole identification with business busines ventures (risk) and has begun to encompass social, cultural and creative endeavors (opportunity). y). This transition from risk to opportunity provides individuals in the performing arts with a platform to us use their creative aptitudess as enabling mechanisms to improve their th own lives while bringing ng meaning to others. As Dean of the CMDA DA I clearly state that the only on sure thing about the vocational and economic futures of our students is uncertainty. With thatt in mind, we need to continue providing high-level artistic and scholarly training, but also assure that our students can identify and de develop elop the transferable skills that will il sustain them for a lifetime of contributions to society and selffulfillment. Janice Pellar is a role model for our community, students and faculty. She has taken her LSU degree and experience in music education and applied the skills she gained here to build a very successful communication technologies firm, EMCO. We are proud of Janice Pellar. We appreciate her generosity, and the permission to use her name to launch this original and valuable two-year project for our students. Assisting us with the formation of this project are Professors Kristin Sosnowsky (Interim Chair of the Department of Theatre and Managing Director of Swine Palace) and Joseph Skillen (Professor of Music). To help move this project forward, I contacted former LSU Dean of the School of Music Daniel Sher who is now Dean of the College of Music at the University of Colorafall 2010

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About Janice H. Pellar Janice Harvey Pellar earned her BME in1973 from the LSU School of Music. Prior to graduation, she worked part time at EMCO, a business founded by her late father, Jim Harvey. During her years with EMCO, she developed a unique and thorough understanding of the company by working in various positions from billing clerk to service supervisor. In 1987, she was named vice president and general manager. Upon retirement of her father in 1988, she was named president, and continues that position today as the chief operating officer of EMCO. Pellar attributes her LSU education in music and her strict, disciplined regimen as a skilled artist to her success as a businesswoman.

do-Boulder. ulder. The College of Music at the University of Colorado at Boulder opened the Entrepreneurship trepreneurship Center for Music with a grant from the Louis and Harold Price Foundation ation in 1998. The ECM has a unique program that enha enhances the College of Music'ss already exceptional performance-based curriculum. Dean Sher is “loaning” us Dr. Jeffrey frey Nytch as a consultant to work with our faculty to shape this two-year project., and told d us, "Jeffrey Nytch brings a range of experience as a composer, c producer and arts presenter esenter that will serve as a rich resource for your students." studen The ja anice h. pellar Cre reative Arts entrepreneurship epreneurship p project t is off to an exciting start and nd we believe that it will be another step on the ladder lad that is helping us to raise the level el of offerings to our stu students. All of these projects underscore our place as Louisiana’s Louisia resource for the performing arts with th a national presence and international reach. reac Article by Laurence Kaptain, Dean

For more information about Jeffery Nytch and the janice h. pellar Creative Arts entrepreneurship project, read our interview with Nytch on page 57.

Legislative Spouses Day at CMDA Each year the Louisiana Legislative Spouses’ Auxiliary visit an entity of LSU during the regular legislative session.This year the group spent the day touring the newly renovated CMDA building. pictured at right front row (left to right) Jan Martin, Pam Little, Ina Smiley, Diane Richardson, Charlotte LeBas, Tanya Foil back row Dean Laurence Kaptain, Rose Long, Ann Nevers, Guest, Marcia Chandler, Rhonda Connick, Pat Rector, Karen Hazel, Pat Pope, Sandy Buford, Linda Brignac, Marilyn Thompson, Laurie Kleckly, Guest, Donna Erdey, Tanya Foil, Linda Crowe, Mary Ann Shaw pictured far right The legislative spouses watch a presentation by Dr. Stephen Beck’s Laptop Orchestra in the Claude L. Shaver Theatre.

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CMDA News

Last year, I toured the halls in New York, California and Japan, listening to examples of a sound system being considered for the Union Theater. That was pretty awesome! —Bill Kelley CMDA Recording Engineer

LSU Union Theatre Re-Opens As the Union Theatre sets to re-open, the College of Music & Dramatic Arts is ready to explore this renovated space. The Union Theatre will be the School of Music's main performance venue. LSU Union Theatre Director, Michael Derr has been with the theatre since 1987. Derr expressed how the acoustical quality of the theatre has been the renovation team’s biggest point of interest, resulting in the hiring of acoustic and sound engineers specifically for this renovation. “We want the audience to have the most enjoyable experience and the acoustics in this hall create the perfect theatrical atmosphere,” Derr said. LSU Associate Director of Bands, Roy King spoke about the impact the Union Theatre will have on the musical ensembles. “We are looking forward to the theatre being back from its two-year hiatus. It is a superb facility and now that it has been renovated it will be able to showcase our ensembles in a wonderful way,” King said. The completion and reopening of the Union Theatre will open numerous doors for the CMDA. CMDA Director of Operations, Mike Bellinger has been a member of the theatre’s renovation team. “The College of Music & Dramatic Arts sports facilities that supplement the artistic and scholarly potency of our faculty and students. Our largest performance venue, the 1,200-seat LSU Union Theatre, will also reopen in Fall 2010 after a two year, $7 million renovation.” Bellinger adds, “Every area of the space has been expanded and updated. An exciting new feature is a custom designed sound reinforcement system.” Other features include a completely new box office location, wheel-chair access on every level of the theatre, expanded dressing rooms and bathrooms, and a secluded back stage area. Article by Rachel Larson, Intern

fall 2010

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CMDA News

CMDA Around the World for a detailed listing of CMDA's summer travels please visit cmda.lsu.edu/media/MapUs.html or scan the QR code below CMDA LSU Music

Bloomington, Il George Judy performs with Illinois Shakespeare Festival.

Wooster, OH Geoffrey Kannenberg with the Ohio Light Opera

Indianola, IA Danielle Greiner, Matt Moeller and Maria Thomas with the Des Moines Metro Opera Shakespeare Festival. San Francisco, CA Ariana Wehr with Bay Area Summer Opera Theater Institute

LSU Opera LSU Theatre

Arkansas Ken White designs lights for the Arkansas Shakespeare Festival.

Tucson, AZ The LSU Tuba Euphonium Ensemble to perform at the 2010 International Tuba and Euphonium Conference. Joseph Skillen selected to serve as the Chief Adjudicator of the 2010 International Solo Tuba Artist Competition.

STAFF SPOTLIGHT

Oxford, MS Symphonic Winds performed at the 2010 CBDNA/NBA Southern Division Conference.

Mexico Dean Laurence Kaptain performed as a featured artist with the Orquesta Sinfonica Nacional de Mexico (Mexico's National Symphony) in June, 2010.

Have you seen the CMDA website? If you haven’t, take a look after you read this spotlight. Our webmaster, Sydney Nakashima, is the woman behind the website noted as the best among LSU. And, our site was noted as the best for good reason. Sydney is a bright and talented young woman with a creative side that allows each area of our college to communicate their web needs through the vision and help of our amazing graphic artist. year and have been at CMDA since August 2009. What did you do when you found out your website(s) were the best at LSU? Called my mom! Haha. Really, it’s such a huge compliment and genuinely rewarding to be commended for excellent work. After working on something for a while, I tend to lose the ability to look at it objectively, so it was nice to be informed that people from all over campus are finding my sites both easy to navigate and pleasurable to view.

Sydney Nakashima Webmaster Why are you a webmaster/graphic artist? I’ve always had an interest in art and was fortunate enough to have parents that fostered my creativity and supported art as my career. I originally got into graphic design as a path to animation, but as I went through undergrad here at LSU I started to embrace the design world and its impact on society. I was especially drawn to the challenge of blending utility and creativity to yield a product that is not only interesting and surprising, but functional as well. How long have you been at LSU? CMDA? I graduated from LSU with a BFA (graphic design) in ‘08. During undergrad I did a lot of print for Art+Design, so when I was offered the CoAD Webmaster position after graduation I figured it would be a good transition from print to web. I worked there for a

Where do you see yourself in ten years? This is always a tough question, because I think ‘where,’ as an actual location, changes every month! But ultimately what I love to do is publication design. I was fearful that print was on the decline and I may have chosen my ambitions poorly, but with the expanding information world and the unfortunate budgetary constraints, I believe print publications will adapt and have no where to go but forward with new ideas and new media. So now more than ever that is the industry that I want to be a part of. What does it take to be a Webmaster at CMDA?? My primary objective when building a site is to create a structure that’s easy to navigate with a distinct hierarchy for users, so that takes a lot of organization and planning. As with any technology based field, the tools are constantly evolving, so it’s also a lot of learning about things, which can require a good deal of patience to figure out and implement. Lastly, as any designer can tell you, it’s important to listen to wants and needs and while it’s impossible to deliver everything, , the end result needs to reflect the priorities, principles and character of the institution.


CMDA News

Schroon Lake, NY Jeff Byrnes with the Seagle Music Colony New York, NY Dean Kaptain performs with the NY Philharmonic.

Edinburgh, Scotland The Theatre Department in conjunction with the Academics Study Abroad program took another production to the 2010 Edinburgh Fringe Festival. read about the trip on page 37

Ireland Joseph Skillen lead the LSU in Ireland program. London, UK Les Wade taught in the LSU in London program.

Novafeltria, Italy Johnnie Bankens, Mary Griffith, Sean Matassa and Jin Hin Yap with La Musica Lirica Perigord Region, France Ashley Duplechien with the Franco-American Vocal Academy Theater Institute Memphis, TN A Cappella Choir performs at ACDA convention.

Switzerland & Rome Andreas Giger conducted research.

Seoul, Korea The Theatre Dept. performed Antigone at the Young Theatre Festival. read about their trip on page 34

Madrid, Spain Carlos Riazuelo, conducted a major performance. scan code for a video of Carlos' performance

Brazil Gabriel Beavers and Jim Ryon taught and performed.

What is the best and worst thing about your job? The best thing about my job, besides continuing to be a part of the rich tradition that is LSU (geaux tigers!), would have to be the dynamic nature of the position. I am always expected to explore new ways to convey a message, so that keeps me on my toes. I have the opportunity to meet with like minds (and not so like minds) from all around campus, which I really enjoy. I also design our bi-annual magazine and am helping to brand the College, C ll so th thatt kkeeps thi things iinteresting. t ti I would ld hhave tto say th the worst thing would be the pressure to please everyone. In such a large unit it’s really difficult to give everyone their due face time and with each specialization being so diverse it’s a task to convey the individuality that each merits while still unifying them under the umbrella of CMDA. What is your favorite part of the CMDA website? I like how easy it is to navigate. I think the tabs worked really well for our purposes. The information is never more than a few clicks away and you can also access information multiple ways, which I think is important, especially for a site that houses so much information. What do you do when you are not working? Typical Good-Louisianan activities: cook, eat, drink, spend time with friends and family, play with Bruce (our pup), and watch sports. I also love to work out, do crosswords and read. I’m a really laid back person and my extracurriculars reflect that attitude.

How did you land at CMDA? When the budgetary hammer dropped last summer on Art+Design, my position was one of the casualties, but the former (CoAD) Dean, David Cronrath, was really great. Literally, on the 30th day of my 30 day notice, after 30 days of frantically applying to organizations that were facing the same monetary challenges, he came to me and said I think we may have something. Cronrath was on the selection committee for the new dean of CMDA and took notice of Kaptain’s K t i ’ vision i i and d priorities. i iti Th They needed d d a new website b it and d he was also very interested in branding and using new technology to increase enrollment and visibility. I was very pleased when I met with Dean Kaptain about the position to find out how progressive and design oriented he is. Are you a musician/performer? Haha, not at all. I sometimes feel like a fish out of water here surrounded by such knowledgeable and talented musicians/performers. I’m more the soft-spoken type, I get nervous and am happy to give the spotlight up. But, I’m both a music lover and a film buff and have a huge respect for the performing arts, I’m just glad it’s not me that has to do it. What do you do to keep yourself on the cutting edge of creativity? Read and observe. Those are the two most important things. I’m constantly reading magazines/books on the creative process, new developments in the field, branding and marketing, really anything that has to do with the design field. It keeps me interested and inspired. Observation is really the most important, and the easiest, because design is everywhere, it may not be good design, but it’s still design. I’m constantly taking in everything around me and filing it away as raw materials that may be repurposed and used in a project later down the road.

Interview by Pamela Matassa

fall 2010

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CXC comes to CMDA As an inter-disciplinary program at LSU, Communication across the Curriculum (often referred to as “CxC”) works with LSU faculty to train, guide, and recognize students who demonstrate exceptional communication skills. CxC is focused on enhancing learning experiences for students and improving their written, spoken, visual presentation, and technological communication skills. While there has been a small CxC presence in CMDA before, it is now being integrated as a major educational initiative. With the hiring of Joey Watson, the CMDA now has a full-time, devoted CxC coordinator. As a first step in building the program, Watson accompanied several faculty members from both the Department of Theatre and the School of Music to the annual CxC Summer Institute. Each summer, LSU’s Communication across the Curriculum program hosts a three-day faculty workshop dedicated to providing hands-on activities and resources to enhance courses. During the Summer Institute, consultants from LSU and other top-tier institutions come together to share best practices for integrating formal and informal written, spoken, visual, and technological communication into the LSU curriculum. Above all else, the Summer Institute is designed to energize faculty, provide interdisciplinary networking and learning opportunities, and give faculty effective and innovative ideas for improving their students’ discipline-specific communication skills. Faculty participants leave the CxC Summer Institute with fresh, new teaching methods, well-designed assignments and assessment Faculty seminar on CXC. plans, and all the tools needed to turn their courses into what is known as “communication-intensive.” Many faculty members have also used this time to develop more comprehensive communication-based curricular plans for their departments/colleges. Jospeh Watson lectures on CXC. This year’s representatives from the School of Music were Dr. Brett Boutwell, Dr. Sarah Bartolome, Dr. James Byo, and Dr. Joseph Skillen and from the Department of Theatre Associate Professor Nick Erickson. And their experiences at the institute seemed to make a lasting impact. “I am convinced that the tools and strategies I learned will both strengthen my teaching and enhance student learning,” commented Dr. Sarah Bartolome, “I have been able to make significant, positive changes to my course syllabi based on the outstanding ideas offered by the CxC staff, invited guest speakers, and creative colleagues from across the LSU campus. I am truly excited to see how my students will benefit from their involvement in my CxC certified courses.” Dr. James Byo shared her enthusiasm by adding “three full days of exposure to a way of thinking about course design that has the potential to engage students more deeply in the subject matter was really amazing. Before the summer is out, I will have re-designed all of my courses. There will be real benefits for our students.” Article by Joseph Watson

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School of Music The LSU School of Music is On the Geaux! Our students continue to shine on a national level with important and highly acclaimed ensemble performances such as the A Cappella Choir with the Memphis Symphony, Hamiruge at the Percussive Arts Society International Convention in Indianapolis, Symphonic Winds at the CBDNA/ NBA southern division conference in Oxford, Mississippi, and the Tuba/Euphonium Ensemble at the International Tuba and Euphonium Conference in Tucson,Arizona. Individual students won national awards, presented papers at national conferences,were selected for participation in national and international workshops and summer programs,and served the Baton Rouge community through service-learning opportunities. Our faculty performed or presented research in Brazil, Canada, Cayman Islands, China, Costa Rica, England, Ireland, Italy, Greece, Korea, Malaysia, Mexico,Taiwan, and Venezuela, not to mention in cities across the United States. Back on the home front we are enjoying our new state-of the-art classrooms, readying ourselves for the move back into an elegantly renovated performance space in the LSU Union, and anticipating construction of a new Band Hall to be opened in August of 2011.The retirement celebrations of two esteemed colleagues after decades of service to LSU and the 2009-2010 arrival of seven outstanding new faculty members demonstrate our commitment to attracting and keeping world class faculty.We embrace a shared collaborative spirit with the Department of Theatre and, with a new visionary Dean, we are improving efficiency and finding ways to continue to move forward in spite of tough financial circumstances. These are exciting times at LSU!

Jane Cassidy Associate Dean and Director of the School of Music Gianelloni Alumni Professor of Music Education *At press time, Jane Cassidy accepted the position of Vice-Provost for Human Resources and Facilities at LSU.Willis Delony has been named Interim Director of the School of Music.There is complete information at cmda.lsu.edu and the next issue of Reimagine will cover this change in leadership.

McFarland explores Secret Vatican Archives From October through December 2009, LSU Associate Professor of Musicology Alison McFarland (pictured left) was in Rome engaged in sabbatical research. Her primary focus was the “secret archives” (Archivio segreto) in the Vatican. The documents found in the Vatican Secret Archives arouse universal interest, both for those documents regarding the history of the Christian civilization from the Middle Ages and for those concerning the history of single nations. For some countries, the Vatican documents mark the beginning of their national history. The records are in Humanistic Latin with frequent scribal abbreviations. Alison learned to read this script while living in Rome and working in these archives for her doctoral dissertation.

The Secret Vatican Archives are vast, equivalent to o 53 linear miles of shelves, and cover an almost continuous period riod of over 800 years of history. The oldest document dates ates back back to the end of the Eighth Century, while the archives es havee an almost alm uninterrupted documentation starting from 1198. The Secret Vatican Archives are one the most important centers of h historical research in the world.

The documents found in the Vatican Secret Archives arouse universal interest... McFarland has been researching the 16th centuryy Spanish composer, Cristobal de Morales, who was employed in the Sistine Chapel Choir. Even though he was considered an important composer at the time, today very little about him. McFarland said, “Previous research allowed me to significantly revise Morales’ biography but there are many questions still to be answered. I was able to find several important documents with which I shall be working in the coming months.” Article by Michael Bellinger

fall 2010

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Music News

LSU School of Music Partners with UCLA for Remote Piano Teaching Demonstration Distance learning took on an entirely new meaning for students in both the LSU and UCLA schools of music on April 21, as professors, undergraduate and graduate students took part in a groundbreaking remote teaching demonstration using technologically enhanced pianos created by Yamaha. During the demonstration, LSU connected a Yamaha Disklavier IV piano, donated by local music store O’Neill’s Music House for use by the university, over the Internet with another Disklavier at UCLA. The demonstration featured a mini master class with LSU School of Music professor Michael Gurt teaching a UCLA piano student, UCLA visiting associate piano professor Jennifer Snow interacting with an LSU piano student and LSU graduate students in piano pedagogy teaching a UCLA undergraduate student. “While Yamaha experts have demonstrated this long-distance teaching at professional conferences, this is the first time that faculty at a university have engaged in this type of long-distance teaching,” said Pamela Pike, assistant professor of piano pedagogy at LSU. “This has big potential for us at the university level. We’ve wanted to do this for a few years. I’m very intrigued by it.” Nationally recognized music educator, clinician, author, performer and music software developer George Litterst traveled to LSU from Massachusetts to lead the demonstration. He showed that while the Disklavier looks like an ordinary piano, it is digitally enhanced. It uses a musical instrument digital interface program, or MIDI, to communicate with another Disklavier. The pianos’ audio signals are transferred through the connection. Also, through the use of optical sensors, keys played on one piano show up as being played on the other, as well as pedals being depressed. “It is an acoustic piano. It has hammers and strings and must be tuned, just like a regular piano,” Litterst said. “But, it has something regular pianos don’t – the ability to record and playback and to be connected to other Disklaviers.” Litterst and Snow have been part of a multi-national team working on behalf of Yamaha to help develop the remote learning program. Other members of the program are located in Texas, Minnesota and Colorado, as well as in Toronto, Ontario, Canada. “There are many ways the piano can connect,” Litterst said. “For this demonstration, we used a built-in program called Remote Lesson. The program has been evolving over the past few years. We’re still working on some aspects of the software and hardware, such as microphone audio cancelation.” Litterst said that a telephone-based internet connection was used during the demonstration to link the two pianos. The connection 16

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was operated through the use of a personal digital assistant device, or PDA, that calls the IP address of the other piano to connect. “Basically, we’re making a piano-to-piano telephone call,” he said. Video cameras at each location, connected through the Apple iChat program for this demonstration, also allowed participants to communicate as well as to see hand positions, arm movements and musical gestures during performances. Litterst said popular video conferencing programs such as Skype or iChat can be used to provide visuals for Disklavier connections. "The idea to hold a demonstration came several months ago," Pike said, as she and LSU School of Music & Dramatic Arts

This has big potential for us at the university level. We’ve wanted to do this for a few years. I’m very intrigued by it.

— Pamela Pike Assistant Professor of Piano Pedagogy Dean Laurence Kaptain attended a conference that featured Yamaha representatives, including Litterst. “He (Kaptain) really encouraged us to go for this and have a demo here at LSU,” Pike said. “Rafe (O’Neill, of O’Neill’s Music House) and George came on board, and they just made it happen.”

“We could have professors here like Michael Gurt teach others across the area and state, including potential students, which makes it a great recruiting tool,” Pike said. “This also offers good teaching opportunities for our students interested in music education, who can use this for internship teaching. LSU can also


Music News

LSU Piano Pedagogy Program LSU offers a comprehensive major in piano pedagogy at both the undergraduate and graduate level. Many performance majors at LSU complete a minor in piano pedagogy. LSU’s piano pedagogy program boasts a new state-of-the-art Yamaha digital piano lab with Smartboard technology. In the Music & Dramatic Arts Building pedagogy students have access to an extensive piano pedagogy library with teaching print materials, supplementary teaching aids, and a full compliment of digital resources to assist with teaching and evaluation. Through graduate assistantships and teaching internships, our pedagogy students have numerous opportunities to teach private and group piano to students of all ages.

pictured left George Litterst leading demostration pictured above Assistant Professor Pamela Pike interacting with piano students at UCLA

collaborate with other universities to teach and share and create a much richer experience with benefits that reach throughout Louisiana and beyond.” From her classroom in Los Angeles, Snow expressed her excitement about the program and being able to connect with LSU as part of the demonstration. “I’m thrilled that we’re able to do this,” Snow said. “I spoke with Dean Kaptain, who showed great interest in such a program. It’s a terrific way for us to share knowledge, whether it’s through practice, teaching or reflecting back and forth, even though we’re thousands of miles apart.” Article by Aaron Looney, LSU Office of Communications and University Relations

In April of 2010, LSU piano professors Michael Gurt and Dr. Pamela Pike became the first college faculty in the United States to teach piano to students thousands of miles away via Yamaha’s long-distance teaching program. Gurt and Pike taught students at UCLA over the internet, using acoustic Disklavier grand pianos. LSU graduate piano pedagogy students will be engaging in experimental long-distance teaching during the 2010-2011 academic year. Piano pedagogy majors and minors are actively involved with the LSU Music Teachers National Association (MTNA) Collegiate Chapter, where they participate in teaching service projects and hone teaching skills. Recent pedagogy graduates are teaching at the college level and in private studios across the United States. During the 2009-2010 academic year, piano pedagogy students Robin Bertucci and Rebecca Bellelo presented researcher posters at the MTNA National Conference in Albuquerque, MN. Dr. Pike and Rebecca Bellelo presented a research poster at the National Conference on Keyboard Pedagogy in Chicago, IL and they presented sessions at the Louisiana State Music Teachers Association's annual convention. Pamela Pike also presented sessions and papers at the College Music Society Annual Conference in Portland, OR, at the MTNA National Conference in Albuquerque, NM, and at the ISME international conference in Beijing, China. Her articles have recently been published in the International Journal of Music Education: Research and in American Music Teacher. For more information on the remote piano teaching project and the piano pedagogy program, contact Pamela Pike at 225-578-3270 or e-mail pdpike@lsu.edu.

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Music News

Dinos Constantinides Receives Another International Award The University of Macedonia at Thessaloniki, Greece awarded LSU Boyd Professor Dinos Constantinides an Honorary Doctorate. The University of Macedonia was inaugurated in 1948 and is a member of the European University Association. The award from Macedonia is another high award presented to Constantinides. Of this award Constantinides said, “My 44 years of work in music at Louisiana State University has been instrumental in the University of Macedonia’s decision to award me the Honorary Doctorate.” A Boyd Professorship is the highest and most prestigious academic rank LSU can confer on a professor. Since the Boyd Professorships were initiated in1953, there have been only 60 individuals from all LSU campuses who have achieved that rank. Twentysix are still active, 13 are on the Baton Rouge campus. “A Boyd Professorship is not something you get at the beginning of your career. It comes at the culmination of your career,” said Marilyn Zimny, interim vice president for academic affairs in the LSU System and chair of the Boyd Review Committee. Festivities were held from May 18-22 at the “Amphitheater of Ceremonies” of the University. The Rector (Chancellor) of the University, Ilias Kouskouvelis, opened the awards ceremony. The Music Department presented a portrait concert of works by Constantinides and was moderated by faculty member of the Department of Music, Science & Art, Dr. Athanasios Zervas. President (Dean) of the Department of Music, Science & Art, Dimitrios Patras presented the award followed by the Regalia ceremony.

Dinos Constantinides (second from left) receiving honorary doctorate.

Constantinides addressed the Faculty of University of Macedonia with the subject: “The Music Art of Yesterday and Today.” The Music Department presented two works of the recipient of the Honorary Doctorate. Sappho Songss for Voice and Piano was performed by mezzo-soprano soloist Aggeliki Kathariou and pianist Christina Sidiropoulou. Homage to Macedonia for Chamber Ensemble was composed for this occasion Dr. Constantinides.” I was extremely impressed with the performers of the University of Macedonia in their presentation of my music during the ceremonies,” said Constantinides at the conclusion of the festivities. The final event of the celebration was a University presentation of papers and performances of musical works including three works of Dinos Constantinides. Trio No. 2b was premiered by the New Hellenic Trio. Olga’s Songss was performed by mezzo-soprano Aggeliki Kathariou and piano Christina Sidiropoulou. Fantasia for Stelios and Yianniss for Violin and Viola by violinist Dimitrios Chandrakis and violist Chara Sira. Said Dinos of the honor, “I consider the Honorary Doctorate that I received from my compatriots of the University of Macedonia as one of the most important achievements of my career.” Article by Michael Bellinger

Did you know that the LSU School of Music has its own recording studio? Using state-of-the-art ProTools HD3 recording system, you can have your work recorded and edited in a top studio right here on the LSU campus. We have both vintage and modern microphones. The Recital Hall, where we do most of our recordings, has excellent acoustics and when combined with proper microphone placement, results in very rich recordings. Plus, if you need a saxophone or some strings to step in for a session, we’ve got more than 300 musicians walking in our halls. In addition to recording, we also transfer reel-to-reel, cassette, DAT and LP’s to CD and clean them up. Recording, editing and mastering costs $24/hour for LSU students and $50/hour for anyone else. To schedule a session, call 225-578-2654 and leave a message.

I have so many varying parts to my job, it would be hard to pick just one aspect. Just the same, I do enjoy calling my mom and she’ll hear music in the background and ask, “What are you listening to?” I’ll respond nonchalantly, “Oh, that’s a vocalist on stage with a chamber orchestra.”

Occasionally, I’ll get a call from someone that wants me to come record their terminally ill mother or brother to play the piano or guitar, etc.These are very sacred and special times for me and all involved. Another cool opportunity I’ve seized is the production of a music series. I have a strong interest in free improvisation. I have an ensemble called the Incense Merchants that plays in venues in Louisiana and Texas. The series I’ve created is called SPONTANEOUS MUSIC SERIES. I’ve really enjoyed presenting world class musicians to our

audiences here in Baton Rouge.

— Bill Kelley on his job as Recording Engineer


Support the next leaders in music and theatre by donating an Endowed Graduate Fellowship: $200,000 The national reputation of the College of Music & Dramatic Arts is shaped not only by its faculty, but also by the graduate students who pursue original research, scholarship, and artistic creativity as part of their education. Endowed Graduate Fellowships will provide stipends to help attract top quality graduate students to study at LSU. These stipends may be awarded in addition to other assistantships and scholarships the student may have been awarded. A fund may be named in honor of you or a special person.

Annual graduate studies contribution Make a donation of any amount to the College of Music & Dramatic Arts in support of graduate students.The funds will be applied as soon as possible to the greatest need our students have in our graduate programs. For more information on supporting grad students, contact Steven Covington at scov@lsu.edu or 225-578-9268.

LSU Doctoral Student records CD On June 20, 2010, LSU Doctoral student and double bassist, John Madere, held a recording session for his upcoming CD entitled “Chemistry.” The album contains seven original jazz compositions written by Madere and features both LSU School of Music students and faculty. Performers who took part in the recording session were School of Music professors Willis Delony, piano; and Brian Shaw, trumpet and flügelhorn; along with students Brad Walker, tenor saxophone; Jeff Albert, trombone; John Bishop, guitar; and Brandon Hays, drums. The recording took place in Dr. Bill Grimes’ make shift studio, his living room to be more exact. Dr. Brian Shaw performed on the recording and also guided Madere as he composed each tune. “It was a great musical experience to be part of John’s recording. As his writing teacher, it has been fun to watch his music mature from the fragment of an idea into a set of strong, fully-fledged compositions. John’s musical voice has clearly emerged over the past couple of years. It was a joy to have the opportunity play on his debut record and help bring the notes on paper to life!” The album will be released on the Fora Sound Label.

Everrett Parker’s Choirs are the Soul of Gospel Music Gospel Choir.What . do those two words mean when put together? More importantly, what do those two words mean to a university, especially one as prestigious as LSU? Since 1978, the LSU Gospel Choir has been inspiring audiences and is known as the “Soul of Louisiana.” Director of the Gospel Choir and the Ebony Renaissance Chorale, Everrett Parker (pictured left), has been performing and teaching gospel and spiritual music for more than 36 years. He was one of the founders of the LSU Gospel Choir and created the Ebony Renaissance Chorale in 1991. He expressed how things have changed over the years and how he has been involved with making music at LSU. “When I came back to teach the Gospel Choir in 1990, their were risers in front of me, beside me, and behind me. There must have been 300 people in that room,” Parker said. Since then he has cut the enrollment limit down and formed the Ebony Renaissance Chorale. Parker explained how the students were the drive for him to create the select choir. “I do not take credit for the formation of the Ebony Renaissance Chorale, that was the students. A group of them expressed to me that they wanted a more in depth experience with gospel music, so I decided to create an smaller, auditioned ensemble for further gospel experience,” Parker said. The LSU Gospel Choir is constantly giving back to the community, and not just by giving concerts. Once a semester the LSU Gospel Choir holds a benefit concert for YouthTruth Inc., a nonprofit organization that provides substance abuse and mental health services to adolescents and adults in Slidell, a town about an hour-and-a-half East from the LSU campus. In addition, the Gospel Choir members volunteer annually at a camp held at the University Terrace Elementary School around Christmas time. The Gospel Choir has also performed in Bluegrass festivals, sang for senior citizen events, toured internationally, and responds to many requests to sing in the Baton Rouge community.

Being a part of the community is really important to the Gospel Choir. Gospel choirs are not too common especially at the collegiate level, so we like to take complete advantage of our uniqueness.

—Everrett Parker

Article by Rachel Larson

fall 2010

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Music News

Graduate Student Sara McCall Travels to West Africa for Thesis Study

The majority of LSU students study their chosen subject at the picturesque LSU campus in Baton Rouge, Louisiana. There are also many abroad opportunities involved with the master’s program. Sara McCall chose to take full advantage of this and consequently landed on the other side of the globe. For six weeks, McCall set out on a solo, life-changing journey to Ghana, West Africa to study her master’s thesis; “A case study of music-making in a Ghanaian village: Applications for the elementary music classroom.” Sara studied at the Dagbe Cultural Center in Kopeyia, Ghana where every day she participated in a two-hour drum class followed by a two-hour dance class both held under an outside canopy called a summer hut. Over her six-week stay, she learned to drum and dance two traditional Ghanaian pieces called Gahu and Tokoe. Additionally, she learned two other dances, Atsigbekor and Bambaya. McCall wasn’t the first member of the LSU community to attend the Dagbe Cultural Center. Assistant Professor of Music Education, Dr. Sarah Bartolome traveled to the center in 2004 for three weeks to study the drumming and traditional dancing practices. “When I heard about Sara’s interest in traveling to Africa, I immediately contacted the Dagbe Cultural Center to facilitate her visit. Sara and I worked closely together last fall as she prepared a research proposal and got ready for the trip. She is one of the first music students to conduct their graduate research abroad and we are all extremely proud of the work she has done,” Bartolome said. Working on a master’s thesis abroad definitely has advantages. McCall was exposed to a traditional Ghanaian funeral during her first week abroad. “I was lying in bed for the first night and

there were loud drums being played for the entire night. Confused, I asked my professor what it was exactly, and discovered that someone in the village had died the night before. He then decided that my drumming lesson would be me attending the funeral,” McCall said.

She is one of the first music students to conduct their graduate research abroad and we are all extremely proud of the work she has done

— Sara Bartolome Assistant Professor of Music Education Her funeral experience was an eye-opening one. McCall explained the differences between Ghanaian and traditional American funerals. “The Ghanaian funeral is more of a gathering of the whole village to celebrate the life of the deceased. There are numerous groups of four or five people drumming different rhythms throughout the entire event,” McCall said. She also explained the change in mood whenever the family members move through the crowd. “It is almost as if it becomes more similar to our version of the funeral when the family arrives. Everyone pays their respects as the family marches through the crowd of villagers. It was quite unlike anything I had ever witnessed before,” McCall said. One of the questions that McCall is used to hearing is, Why Ghana, West Africa? “I have always had an interest in drumming since my initial training. A Nigerian Prince came to a drumming workshop I attended, and that kind of piqued my interest,” McCall said. The College of Music & Dramatic Arts at LSU would answer, Why not Ghana, West Africa? Article by Rachel Larson

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Music News

Music Forum Series at LSU

Music Forum Spring 2010 Recap

In Spring 2010, the music theory, y musicology, y and January “Music and the Agents of Obsession” Lecture followed music education areas at LSU introduced a Music Forum by Q & A Blake Howe, doctoral candidate, City University of NY series for the presentation of new scholarly research. Lecture analyzed “obsessive” musical motives in compositions ranging from The series was coordinated by LSU Assistant Professor Mozart’s Quintet for Clarinet and Strings to Bernard Herrman’s score for Alfred Hitchcock’s Vertigo of Music Theory, Dr. Inessa Bazayev. Its goal is to foster interdisciplinary dialogue between the students and February faculty of the three areas.The Forum allows graduate South-Central Society for Music Theory conference students to interact, learn more about the research paper preview Dr. Inessa Bazayev, Dr. Jeffery Perry, and grad students Mathew Steinborn, Rob Keller and Jeff Yunek of guest lecturers and LSU professors, and preview Topics Form in Mozart and Bartok, Motivic projection in Mahler, Multiple key structures in selected Schubert, and Harmonic structure of the early works their own conference papers. of Soviet composer Nicolai Roslavets

The series began in January 2010 with a presentation by Blake Howe (doctoral candidate at the City University of New York), who gave a lecture entitled “Music and the Agents of Obsession.” The overwhelming attendance of faculty and students was double original projections. The event was vibrant and very well-received. Because of the unprecedented success of the series in the spring semester, there are plans to expand the Music Forum in future semesters. We urge all professors to encourage their graduate students to attend the events to learn more about the research of faculty and to meet their peers in other music departments. Article by Inessa Bazayev and Michael Bellinger

March/April Lectures Dr. Bazayev symmetry and diatonicism in Stravinsky’s Three Songs from William Shakespeare Dr. Andreas Giger “Mario’s Vocal Score of Verdi’s I due Foscari” Dr. Robert Peck “Imaginary Transformations and Extraspecial Groups,” a lecture on math and music.

Music Forum 9 (conclusion of spring series) Guest Lecture-Recital Dr. James McKay, Loyola University “Beethoven’s Spiritual Journey: Sonata No. 31 in A-flat Major, Op. 110.”

Music Forum Fall Preview Music Forum is open to music faculty from all departments. Contact Dr. Bazayev at ibazayev@lsu.edu to schedule a presentation or lecture-recital, or to solicit or suggest events to the series.

Workshops for graduate students on CV preparation and job interviews Dr. Inessa Bazayev and Asst. Prof. Sarah Bartolome Guest Lecture Dr Janna Saslaw, Loyola University

LOL's: The Future of Orchestral Performances The Laptop Orchestra of Louisiana (LOLs) is a research and performance ensemble that explores real-time computation technologies and digital media for the intention of making group music. The LOLs held its debut concert this past April at the Shaver Theatre. It was a success from both the technical as well as musical sense. The Laptop Orchestra of Louisiana was founded by Dr. Stephen Beck and was inspired by the Princeton (PLOrk) and Stanford (SLork) ensembles. However, the LOLs bring an exciting dynamic with a Gulf South-flare as unique as the music of this region. LOL research is focused on developing new tools for managing orchestral software, time synchronization, tangible interactions and composing new works for laptop ensembles. It is also exploring the adaptation of distributed computing technologies for the management and control of a scalable ensemble, from 5 to as many as we can envision. The group is writing original code using ChucK, Max 5, and C++. The LOLs are a project of the CCT Lab for Creative Arts & Technologies, the AVATAR Initiative in Digital Media and the LSU School of Music, at Louisiana State University in Baton Rouge. The LOLs also are host to the Laptop Orchestra Network, a Ning social network for laptop orchestras to share ideas, concert information and scores. Article by Pamela Matassa


Music News

LSU Symphony Orchestra conducted by Carlos Riazuelo in the Claude L. Shaver Theatre.

Transforming Individual Artists into an Award-Winning Symphony One would find it hard to consciously define the unique and remarkable character of a university orchestra. Youth, diversity, education: all good things involved. But what makes the process of directing a school orchestra an incomparable adventure is the amount of transition it goes through. Every year students graduate, leaving seats of the orchestra vacant for entering students to occupy. Every once in a while, a new faculty member joins the process, or as it recently happened, the student orchestra gets the chance to work under the stick of a new conductor and orchestra professor. Playing the role of conducting the orchestra and its activities is a privileged but difficult endeavor. The orchestra functions as the center for every area within the School of Music. The performances throughout the year serve the opera department, the composition studio, and all the instrument studios, among other divisions of the College. It’s a tricky task programming and structuring the symphony’s schedule, and the orchestra functions as the point of convergence for everything that is learned in each individual studio: strings, woodwinds, brass, percussion, etc. The pivotal position of the Symphony as a public example of LSU’s excellence standards makes the conductor the ambassador of the university to the community. In the past, this title was exercised by figures like Michael Butterman, nowadays conducting the Shreveport Symphony and Boulder Symphony, and Timothy Muffitt, current conductor of the Baton Rouge Symphony Orchestra and Music Director of the Chautauqua Institution’s Music School Festival Orchestra. Dennis Parker, cello professor for 23 years and current head of the Strings Department, remembers: “Tim Muffitt, Baton 22

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Rouge Symphony’s conductor, was hired as LSU’s conductor in 1988, the same year I began my own work here in Baton Rouge. I believe he stayed for 5-6 years, after which time he moved on to UT Austin, TX. He was followed by several others. There was also Michael Butterman, who I recall with fond memories. He decidedly left academia for professional orchestra and is now the conductor in Shreveport” He also recalls the hard work of the committee that chose the new conductor Carlos Riazuelo, among 80 candidates: “The conductor who was here prior to Carlos’ arrival left rather suddenly to accept a job in his native China. This announcement came in late during a summer 2 years ago, leaving little notice for the upcoming year. Sara Lynn Baird, Dean of the College of Music & Dramatic Arts at the time put together a committee from the Music School to begin a search for our next Music Director. We, as a faculty created an ad-hoc season of guest appearances, soloists, and went about the business of advertising the open position. From the large pool of respondents, we invited five people to be guests rehearse and perform and reside with the orchestra for a period


Music News of a week each, as opposed to the usual, conventional 1-2 day interview process. For this position particularly, we felt it critical to spend enough time with the candidates to get to know as much as possible about them professionally, personally, psychologically, etc. This way we were better able to observe the relationship maturing between the orchestra and the candidates over a more comfortable and reasonable amount of time, as well as witness the results of the work that culminated in an actual performance. Fortunately we had the salary line from the previous conductor to permit this ‘luxurious’ process.” And from that lengthy process, Maestro Carlos Riazuelo was invited to be the new orchestra professor. The fact that Mr. Rizauelo knew the repertoire and process of a symphony orchestra from the inside out was a great influence on the decision. He was concertmaster of a Symphony orchestra in Caracas, Venezuela for many years. By coincidence, Raul Gomez, a Master in violin at the School of Music decided to follow the steps of an orchestral conducting career. Changing his major from a doctorate in violin performance to orchestral conducting was in his plans for some time, but the arrival of Maestro Carlos made him take the final step: “I have been interested in orchestral conducting for many years, and last year was presented with the opportunity to work with Maestro Carlos Riazuelo, who is a very well known and highly respected conductor in Latin America, Europe and USA. He’s one of the newest additions to the LSU CMDA faculty. Having him as my major professor has been extremely rewarding.”

I do believe that the orchestra at LSU is a top-notch outfit and can, or should act even more as an ambassador between the university and the BR community. The talent in this group is enormous. — Dennis Parker

Last semester, Raul conducted the orchestra, making a successful debut, which he also attributes to the trust and competency of Riazuelo’s background in education: ” I’m honored that LSU School of Music faculty members have trusted me with positions of leadership in the orchestra. I do think that especially during the last year, when we started our work with Maestro Riazuelo, the orchestra has been going through a process of growing and maturing that really showed as our concert season progressed.” The changes that started to take place in the symphony with the arrival of Maestro Carlos have been greatly noticed. He’s building a strong relationship with the students and the faculty and his unique, energetic way of drawing the orchestra’s attention is strongly reflected in the performances. When asked, he said: “At college level, I think it is important to relate to the orchestra as if it was a fully professional group, not a ‘student orchestra,’ preparing them for their near future, demanding as if they were professionals, and preparing them for the style of work of a professional orchestra. Actually, many of them either are already or

The LSU Jazz Ensemble Jazz is a genuine American art form. The LSU Jazz Ensemble makes this truth sound loud and clear. Since 1980, the group is the showcase of the Jazz area studies program at the School of Music. All three professors of the jazz area faculty have directed the ensemble. Recently, conducted by Professor Bill Grimes, the Ensemble performed at the 50th Annual Notre Dame Collegiate Jazz Festival in South Bend, Indiana. Last year, under the orientation of Professor Willis Delony, the group worked with jazz legend and pedagogue David Baker, who rehearsed and directed the band for one of the concerts. Today, Professor Brian Shaw is in front of the ensemble. He is a crossover artist and a first-class trumpet player that brings his experience both in jazz and classical music to a new breed of music student, a type of young musician who has to be able to learn how to interpret all kinds of styles: "I don’t see jazz as being a completely separate genre. All the great musicians in jazz history hated the term 'Jazz' - it had such negative connotations for them. Duke Ellington especially despised that word. I see this music as just as crucial for a student to be proficient in - fluent in- as Baroque music, Classical period music, Romantic music, 20th century music, etc. We wouldn’t want our students to graduate without having a basic understanding of how to approach all these different periods and repertoires.” The Jazz Ensemble has been offering a high level of concerts featuring a varied myriad of repertoire and arrangements, from classic jazz tunes to contemporary composers. The programs frequently feature guest artists and compositions and arrangements by the faculty and students. Participation is assigned by audition in the beginning of each semester.

Projects for the near future include collaborations with the Symphony Carlos and I have been in conversation about some sort of “Studio Orchestra” (Jazz Ensemble with Strings and Woodwinds), says Brian. This collaboration and the will to bring guest artists to perform with a Studio Orchestra is part of a plan to better reach audiences outside the School of Music and integrate the community to the best the School of Music has to offer.

The LSU Jazz Ensemble is a lively and unique representation of the gift of jazz music to LSU and the Baton Rouge community. Article by Marcelo Riviera

fall 2010

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Music News Maestro Riazuelo, a Venezuelan, adds to the diversity found among the orchestra members. There are more than 10 different nationalities between the students in the orchestra. But being a Venezuelan is not what matters when it comes to making music. LSU Symphony is an international community that pursues a quality of music-making that does not answer to a specific nationality. Chancellor Michael Martin also thinks that music has no boundaries: “The Symphony shows the diversity we have on campus. LSU is a multicultural community. It reflects this diverse talent. As in the symphony, at LSU people can gather in a community that goes beyond different nationalities. I believe this is true in music too.”

Baton Rouge Symphony Orchestra (BRSO).

The Symphony shows the diversity we have on campus. LSU is a multicultural community. It reflects this diverse talent.

LSU campus and the Baton Rouge community. In the words of Dennis Parker : “I do believe that the orchestra at LSU is a topnotch outfit and can, or should act even more as an ambassador between the university and the BR community. The talent in this group is enormous. Our conductor is absolutely first-rate. The music performed is the same as you would hear at the NY Philharmonic or Chicago Symphony.”

Both the Chancellor and Riazuelo share the vision that the orchestra also has the mission of showcasing LSU’s excellence beyond the boundaries of campus. Plans are in the works to take the Symphony to Houston with guest artist Christopher O’Reilly. The orchestra also plans to expand its audience within

This is what defines the University orchestra. Coming to a LSU Symphony concert is without a doubt not only a chance for listening to good music. It’s an opportunity to perceive the passion and energy that resides in the heart of one of LSU’s greatest gifts.

— Michael Martin Chancellor

Article by Marcelo Riviera

Left Kathryn Drake in rehearsal with Kenneth Fulton. Middle Performance of Brahms' Ein Deutsches Requiem. Right Terrence Brown in rehearsal.

A Cappella Choir Performs in Final Concert at ACDA During the spring 2010 semester, the LSU A Cappella Choir travelled to Memphis Tennessee to perform at the American Choral Directors Association Southern Division Convention. The 50 plus choir members from within the College of Music & Dramatic Arts joined the University of Mississippi Choir, the Loyola University Choir and the Memphis Symphony Orchestra to perform the Brahms’ Ein Deutsches Requiem (German Requiem) in the final concert. This was the seventh time in the last 25 years that the LSU A Cappella Choir was invited to perform at ACDA.

Dr. Kenneth Fulton, now in his 26th year in directing the internationally acclaimed choirs at LSU, prepared the joint choirs and conducted the “Requiem.” Soloists were CMDA graduate students Kathryn Drake (soprano) and Terrence Brown (baritone). The LSU A Cappella Choir helps fund these tours with their Annual Christmas Candlelight Concert–a night of traditional singing and dramatic readings, highlighting the greatest themes of the season. Article by Timothy E. Little

For additional information about choirs at LSU, please visit the web at music.lsu.edu/choir. 24

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STAFF SPOTLIGHT

Carol W. Larsen Assistant Dean, School of Music Hometown Milwa ilwaukee, WI How long have you been at LSU? On staff at LSU and CMDA since January, 2000 00 Describe your typical workday I arrive at 8 a.m. And begin the daylong process of responding to a large volume of email and telephone requests for information and assistance from faculty and staff all over campus as well as current and prospective students of all majors. Open-door advising office hours begin at 9:30 a.m. And continue to 3:00 p.m. daily. Students who need any kind of academic assistance or approvals from the College of Music & Dramatic Arts are referred to me. Consultation with regard to personal issues frequently comes up during these visits as well. Throughout the day, I complete academic reports required by LSU, edit all sources

of curriculum listings as changes are made, determine student qualifications for honors, and schedule performers for the weekly Recital Hour class. Depending on the time of year, I may meet with prospective students and their parents, conduct one of fifteen annual new student orientation sessions, attend academically oriented meetings on campus representing the College, certify and prepare our students for graduation ceremonies, or meet with every undergraduate to approve course selection for upcoming semesters. After the end of the workday at 4:30 p.m., I can often be found attending recitals, concerts, and productions all over Baton Rouge in support of our music and theatre students. Tell me about one of your favorite memories about LSU or CMDA. My own four years as a music education major at LSU and in Tiger Band, including two years as the first captain of Tiger Band’s Flag Corps (predecessor of the Color Guard). What have you been up to this summer? Enjoying meeting all of the incoming music and theatre students at orientations! Anything happening in the fall? Effective fall 2010, CMDA undergraduate academic advising will be centralized through my office. All music and

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theatre majors will be required to see me for advising and course approval prior to scheduling classes every semester. Any advice to students in CMDA? Success as music or theatre major at LSU requires a dedicated commitment to studying, practicing and/or rehearsal, and strong time management skills in order to juggle the academic and performing aspects of our curriculums. Take advantage of the intimate performing arts atmosphere of the College of Music & Dramatic Arts by reaching out to faculty, staff, and fellow students for support and encouragement. What else is there to know about you? In my spare time I enjoy spending time with family, landscaping and travelling. Upon completion of my music education degree from LSU, I moved to New Orleans and worked in corporate banking and law as a Human Resource manager. After returning to Baton Rouge, I worked as a teacher and educational specialist while raising my family. Since my return to LSU in 2000, I’ve earned a Master’s degree in Adult Education with a minor in Counseling and count myself very fortunate to be “back home� serving students and faculty in the College of Music & Dramatic Arts! Interview by Curtis E. Adamson Jr.

Dean’s Concerto Competition Winners Each year students compete for the coveted chance to perform as soloists with the LSU Symphony Orchestra. — First — Christopher Hoefer doctor of musical arts • percussion — Second —

Michael Brook bachelor of music • vilolin — Third —

Michelle Sellers master of music • flute — Fourth —

Claire Mashburn bachelor of music • flute

fall 2010

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Music News

Sarah Bartolome Brings Appreciation for Cajun and Zydeco Music The Music Education Department at the College of Music & Dramatic Arts is exposing students to Louisiana’s unique musical heritage. Cajun and Zydeco music are culturally significantt in Louisiana, but has not been a significant part of the music curriculum at the CMDA. That is, until now. Assistant Professor of Music Education, Dr. Sarah Bartolome has been reconstructing the study of world music in education at the CMDA. In her graduate classroom, she introduces global perspectives in music education, incorporating a focus on Cajun music as a means of linking local cultures to the university setting. One of the highlights of the semester was a series of guest lectures and workshops by local Cajun culture bearers. “A culture bearer is someone who is involved with the music on a more native level and has been immersed in the culture and tradition primarily as a musician,” Bartolome said. Bartolome brings in these “culture bearers” so they can create authentic musical experiences for students and simultaneously serve as a resource for students wishing to learn about the culture from an insider’s perspective. “These musicians have a deeper understanding of everything I am trying to portray to my students in the classroom, in this case the importance of Cajun and Zydeco music and keeping it alive,” Bartalome said. In the first of a series of culture bearer lectures, Bartolome brought in Larry Miller and Steve Bing who are both local Cajun musicians. The lecture was held on the stage of the School of Music Recital Hall where the students sat around the two musicians in a semi-circle listening intently as they lectured on Cajun history and culture playing music throughout to illustrate

their points. “Zydeco music is revolutionized Creole music that has a been passed down through generations throughout French history. Most of the songs we play have a sad melody because the French wrote and sang about their hardships they faced throughout their history,” Miller said. They performed an array of Cajun tunes focusing specifically on the fiddler inspired songs recorded by Cajun legend Dennis McGee. “As we mentioned before, Cajun music is generational. Dennis McGee learned Cajun music from a man that was 100 years old, naturally learning all the songs from his generation. He then went on to play Cajun music until he was near 100 years old,” Steve Bing said. The second visit was more of a workshop, and the students had the opportunity to be a part of a Cajun band, playing spoons, washboard, and triangle along with Steve and Larry on fiddle and accordion. The class also took a field trip to one of the Baton Rouge Cajun French Music Association’s bi-monthly dances. The students had a dance lesson and spent the evening dancing and interacting with regular attendees. Keeping culture alive, especially in Louisiana, is extremely important. Sarah Bartolome and her students are contributing to this effort by infusing the music education curriculum with local Louisiana flavors. Article by Rachel Larson

Musical Theatre Raises Money for Local Charity For the first time, the LSU Musical Theatre Class (under the direction of Terry Patrick-Harris, pictured left), decided to forgo the admissions fee to their popular Singo de Mayo concert. Instead, the group solicited donations for the Baton Rouge AIDS Society (BRASS). Recognizing that BRASS, like so many other charities, lost a significant amount of funding this past year, the class decided to donate funds to the local organization dedicated to raising awareness and promoting prevention of this devastating disease. BRASS C.E.O. AJ Johnson was delighted that the class chose his group to support saying, “As budgets are cut and funding is limited, every dollar helps us do good. It costs about twenty dollars to test someone for HIV. Our mobile units reach hundreds of college-aged students each year. This money will make a difference at a crucial time.” According to the Centers for Disease Control, Baton Rouge continues to rank as one of the places with the highest number of AIDS cases per capita on an ongoing basis. Special thanks to each of the students in Patrick-Harris’ class for using their talents to help our community at-large. Article by Pamela Matassa

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Department of Theatre It has been an exciting year for the LSU Department of Theatre. As we settled back into our home in the MDA building, our faculty, staff and students continued to excel in both scholarly research and artistic enterprise. On a bittersweet note, Department of Theatre Chair Michael Tick has left LSU to become the Dean of the College of Fine Arts at the University of Kentucky. Faculty, staff and students have benefitted tremendously from his fine leadership and because of his hard work and dedication, we are proud to be among the finest theatre departments in the country. Before departing to Lexington, Michael collaborated with Assistant Professor E.J. Cho to lead a tour of 38 students, faculty and friends to Seoul, South Korea where we performed a punk-rock version of Antigone at the Young Theatre Festival (read more about our trip on page 34). Of course, this was not the only example of LSU’s national and international reach, as always our distinguished faculty and fine students spent the summer presenting papers, attending conferences and workshops, filming feature films and television shows, and working with theatres, festivals and dance companies around the globe including the Edinburgh Fringe Festival, Illinois Shakespeare Festival and the Roundabout Theatre Company. As we look ahead to the coming year, we are pleased to welcome four new faculty and staff members; fourteen new graduate students and a host of new undergraduates to the Department of Theatre family. As always, we have an ambitious season of theatre and dance and are pleased to present some exciting guest artists among them the internationally renowned creative genius Robert Wilson. We are also committed to creating stronger bonds with you our alumni and supporters. So whether you visit our dynamic new website, follow us on Twitter, become a Facebook fan or just drop by the MDA building, please keep in touch. Our accomplishments are yours and we want to share them with you! Sincerely,

Kristin Sosnowsky Interim Chair of Theatre

Dr. Michael Tick leaves CMDA After eleven years at the helm of the Department of Theatre, chair Michael Tick has left to become Dean of the University of Kentucky College of Fine Arts. During his tenure at LSU, Dr. Tick has overseen the continued growth of the Department of Theatre and a rising national al prominence. “When I joined LSU in 1999, I was fortunate to inherit a Department of Theatre with an international reputation. In retrospect, I have been privileged to be associated with an outstanding academic unit that consistently achieves excellence.” Dr. Tick’s many accomplishments include spearheading the renovation of the Music and Dramatic Arts Building; increasing enrollment; introducing new curricula including three M.F.A. technology/design specializations and a B.A. concentration in Arts Administration and touring two productions to Asia. In 2001, Dr. Tick assumed the role of Swine Palace Artistic Director. Since then, the company was awarded the YWCA Greater Baton Rouge Racial Justice Award as well as the 2006 Louisianaa Governor’s Arts Award for Outstanding Large Arts Organization. Following Dr. Tick’s departure in July 2010, Swine Palace Managing Director Kristin Sosnowsky, was appointed the Interim Chair of the Department of Theatre. Also, the Swine Palace Board of Directors named LSU Associate Professor George Judy the Interim Artistic Director of the professional theatre company. Article by Michele Guidry


Theatre News

Josephine Hall M.F.A. Professional Actor Training Program Josephine Hall is a third-year M.F.A. student in LSU’s Professional Actor Training Program. She appeared in LSU’s Lab production of The Last Days of Judas Iscariot, and in Swine Palace’s The Royal Familyy and Self Defense. In Fall 2010, she will be directing 9 Parts of Desire as part of the Department of Theatre’s Lab season. She will also be teaching Stage Voice: Basic Technique. Originally from England, Jo is a member of both British and American Actors' Equity Associations. Prior to attending LSU, she worked as an actor throughout the United States, Great Britain, and Sweden. Hall spent four seasons as a resident company member at the Barter Theatre in Virginia. Other theatre companies with whom she has worked include Illinois Shakespeare Festival; The American Shakespeare Center,VA; The Arvada Center, CO; New Stage Theatre, MS; B Street Theatre, CA; Riverside Theatre, FL; Playhouse on the Square, TN; Kentucky Shakespeare Festival; Cincinnati Shakespeare Festival; and Shakespeare in the Park, TX, where she was named Best Actress by the Fort Worth Star Telegram for her roles as Viola in Twelfth Nightt and Emilia in Othello. Having worked as a professional actor for about 18 years, Jo was inspired to pursue an M.F.A. After teaching in the Theatre Department at Northwestern State University as an adjunct instructor in Voice, Auditions, Acting, and Performing Shakespeare classes. Working with the faculty and other M.F.A. candidates has reinvigorated her own love of performing, and following graduation she looks forward to pursuing a career that includes both performing and teaching. She is delighted to welcome a new group of M.F.A.s into the program and looks forward to working with them. She is very grateful to the theatre faculty at LSU for all their hard work and is thrilled to be embarking on the final leg of this exciting journey.

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The first LSU Mainstage show of the season will be Tartuffe: Born Again by Freyda Thomas, directed by Assistant Professor Rick Holden, Co-Head of Undergraduate Performance. This hilarious updating of the Moliere classic is set in a televangelist studio in the 1980s right here in Baton Rouge. Originally produced in 1996 by Circle in the Square on Broadway, with John Glover in the starring role, this production will take place in the Reilly Theatre, and feature a cast of talented undergraduate students. The original play tells the story of the charlatan Tartuffe, who passes himself off as a religious zealot in order to swindle a trusting man, Oregon, out of his family and his fortune. Freyda Thomas has altered the occupations of several characters, making Tartuffe a larger than life defrocked TV evangelist along the lines of a Jimmy Swaggart or a Jim Baker, and introducing new characters such as Tammy Fae De Salle, a real estate agent. Thomas has, however, maintained the rhyming couplet verse of the original, updating the dialogue with humorous contemporary references. Tartuffe spouts lines like, “Take out the largest bill you’ve got/And watch the devil shrivel on the spot.” Thomas has a gift for the French language, according to Holden. “It’s a brilliant redux of the original Moliere. She doesn’t lose any of the original intent or nuance, and has a way with biting sarcasm and satire. The challenge for the students will be mastering the verse, while understanding and conveying the meaning to the audience. I believe our students are up to the challenge.” The production will be big on design quality, with exaggerated sets, costuming and big hair. “It is a comedy set in the 80s, after all.” Holden feels the play stresses that con-men are con-men, whether swindling people for a dollar on the street or steeped in false religiosity on TV. “We are all capable of being ridiculous on some level. Tartuffe: Born Again is about the innate hilarity that ensues when flawed human beings operate in a way that betrays the rest of humanity. I hope the audience will walk away with the ability to see more sincere believers in contrast…and maybe think twice about who they send their money to.” Tartuffe: Born Again runs November 10-21 in the Reilly Theatre. For ticket information, please call the box office at 225-578-3527 or online at theatre.lsu.edu.


Theatre News

The Outworks Theatre Festival Enters its Fifth Season

I think it is the most important consistently running theatrical event of the year, and really provides a voice that needs to be heard.

— Robert E. Lee

The Outworks Theatre Festival, now in its fifth season, is a highly anticipated event not only among the students at Louisiana State University, but among the larger community of Baton Rouge as well. A weeklong festival of new lesbian, gay, bi-sexual, transgendered, and queer (LGBTQ) themed plays, Outworks was started in the spring of 2006, by Theatre Ph.D. student Christopher J Krejci, when he realized the lack of new plays being produced in Baton Rouge. “During my second semester of course work (Spring 2006), I began collaborating with LSU Department of Theatre Chair, Michael Tick and Associate Chair, Kristin Sosnowsky to create Outworks. After several discussions with friends, colleagues, and mentors, I proposed what has since become a much-anticipated, annual event, now in its fifth season. Realizing that a large portion of the undergraduate student body at LSU self identifies as politically and socially conservative, I anticipated a few, possibly homophobic objections to an LGBTQ themed new play festival. While no blatant protests have interrupted production to date, this is not to say that responses haven’t been passionate.”

In 2009, many of the playwrights flew in to Baton Rouge to see their pieces performed for the first time - and their excitement really spilled over into the production. John Mabry, who headed up Outworks in 2009 claims the Festival is one of the most popular among the undergraduate student actors. “They really throw themselves into it full-force, perhaps because the material is brand new and the anticipation of performing before the writer is so potent. Or, maybe it’s the chance to do something that’s still a little edgy. Also, many of the one-acts are directed by students - so it’s another chance for them to work together in an entirely different way.”

Krejci curated Outworks 2006 and Outworks 2007 and co-curated Outworks 2008. He passed the torch on to Ph.D. student John Mabry and undergraduate student Robert E. Lee for Outworks 2009 and Outworks 2010. When he oversaw the Festival, it included, depending on the year, six to seven original plays, each directed by a different faculty member, undergraduate or graduate student and chosen by a committee composed of undergraduate Theatre majors, M.F.A. students, Ph.D. students and Theatre faculty members. “We distributed a nation-wide call for plays six to eight months prior to production and received more than 250 submissions the first year.” For Outworks 2006, LSU Theatre provided the playwrights of the chosen pieces with funding for travel to Baton Rouge. In subsequent years, playwrights have received monetary rewards in lieu of travel.

Robert E. Lee, who coordinated the 2010 installment, has been involved with Outworks for the last four years, as a lighting designer, director, and playwright. He had this to say about the festival, “I think it is the most important consistently running theatrical event of the year, and really provides a voice that needs to be heard. The format also allows very innovative and challenging views and styles. What I tried to do for the fifth annual Outworks Festival was to make it a real celebration of sexuality and show how we are all the same in our differences. I love the Festival and hope to be involved with it again.” Articles by Michele Guidry

fall 2010

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Theatre News

Students Take to the Skies With Aerial Silks Aerial silk performance can be a captivating method of theatrical presentation that incorporates athleticism, coordination and flexibility while defying gravity at the same time. Under the guidance and supervision of Nick Erickson, an associate professor in the LSU College of Music & Dramatic Arts’ Department of Theatre and the associate head of the college’s Master of Fine Arts acting program, students from various concentrations can gather in the Music and Dramatic Arts Building’s movement studio to try their hand at the art.

Because the style is so physically demanding, it is not currently offered as a credited course, Erickson said. He devotes regular time outside of his class schedule to supervise anyone who wants to come and try the art, and also works with students in an independent study program. Many of the people who take part are in other disciplines.

“The students love the possibilities,” Erickson said. “They feel like when they can do this, they can do anything. This is physical and mental work all put together.”

Erickson first brought aerial silks to LSU in 2003. Prior to arriving at the university in 2001, he was a founding member of the world renowned acrobatic dance company Diavolo. After “having withdrawals,” he returned to California in the summer of

Aerial silk is a type of performance in which one or more artists perform aerial acrobatics while suspended by a special flexible fabric hanging from the ceiling. “It forces a person to deal with real risk,” Erickson said. The studio offers gymnastics floor mats for safety, and a larger crash pad that is used for more demanding moves. There are also safety protocols in place that include spotters. 30

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The students love the possibilities, they feel like when they can do this, they can do anything. This is physical and mental work all put together.

— Nick Erickson Associate Professor of Movement and Acting


Theatre News The 2010-2011 LSU Theatre Season

Moments of Joy directed by Joanna Battles September 9–19 Studio Theatre

by Freyda Thomas directed by Richard Holden November 10–21 Reilly Theatre

by Stephen Adly Guirgis directed by Femi Euba Left and Above Factulty member, Nick Erickson, works with students.

April 27–May 8 Claude L. Shaver Theatre

2003 to work with a new theater company. While there, he studied aerial silks under aerialist and choreographer Dreya Weber. Upon returning in the fall, he purchased his own aerial silks, offering students in his movement classes the chance to learn the form. “We’re trying to keep students here in Louisiana, whether it’s undergrad or graduate students, to counter the historic talent drain in the state,” Erickson said. “Having an aerial silks practice studio like this here is great because it keeps students here, instead of them having to go elsewhere to find a facility that offers silks.”

Dance Concert directed by Molly Buchmann April 30–May 1 Reilly Theatre

Article by Aaron Looney

PURCHASE TICKETS p 225-578-5128 w cmda.lsu.edu


Theatre News

Holden preparing LSU Students for work in the Professional Film World Rick Holden wears many hats in the LSU Department of Theatre. This year he will continue to be Co-Head of Undergraduate Performance and an Assistant Professor of Acting and Directing, as he has been since the Fall of 2008. He will also direct the first LSU Mainstage show of the season, Tartuffe: Born Again. And perhaps most importantly, as the film industry continues to boom here in Louisiana, he will be teaching Acting for the Camera for undergraduate and graduate students. Rick brings a strong theatrical background to the program, having received his B.A. in Theatre from Xavier University and an M.F.A. in Acting and Directing from Cal State University Long Beach. In addition, he has performed in numerous regional theatres and Broadway tours over the last thirty years. But he also brings extensive film and television experience, having appeared in such films and TV shows as The Grifters, Cider House Rules, Almost Perfect, The Practice, Jag, Boston Legall and 24, and winning a Best Director Award from the Southern California Motion Picture Association for the 1984 Olympics Festival production of The Trip Back Down. He brings this exclusive knowledge to his courses for acting on film.

We serve as our own crew. This gives the students an appreciation of what others do in the industry besides appearing on camera.

Rick Holden appears with Michele Guidry in Swine Palace's 2009 production of The Royal Family.

In film class, students learn through scene work and monologues how to act across real space as opposed to the exaggerated space of the stage. “They use the same basic instincts and principals as they would onstage, but they learn to trust that their uniqueness and quality will carry across the more intimate space to the camera-much like a real conversation. They don’t need to get their message out to the back row,” said Holden. In addition, students learn the language used on set, what will be expected of them in a film audition, and the basics of operating the camera and sound equipment. “We serve as our own crew. This gives the students an appreciation of what others do in the industry besides appearing on camera.” Students can view a rough edit of their work online through a YouTube account set up specifically for the class.

— Rick Holden Assistant Professor of Acting and Directing “Starting this year, we are offering two courses for undergraduate students to take before they graduate. The first is an introduction to acting for the camera, and the second is an intermediate course to solidify the techniques learned in the first course. Any student can take the first course. And in fact, many broadcast journalism majors sign up for it. The second is mainly for theatre majors, and entry is by interview only,” notes Holden. In addition, Holden teaches two classes for the first and third-year M.F.A. Acting students, with the help of Associate Professor of Movement, Nick Erickson.

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Holden sees the class as beneficial on many levels, and encourages students in the media arts who want to pursue filmmaking to sign up for the introductory course. “As the film industry continues to grow here in Louisiana, we hope these classes will help prepare students to work in the field. There’s always a gap between students who want to act in film, but have little on camera experience, and students who want to direct film, but don’t know how to talk to actors. I hope as we continue to solidify these courses, we can bridge that gap for both groups in making the transition to the professional world.” Article by Michele Guidry


Theatre News Alumni Spotlight

Student Spotlight

Bradley Sanchez

Christine Baniewicz

Bradley Sanchez graduated in May 2010 with a B.A. in Theatre with a concentration in Arts Administration and a Business minor. He is currently the Marketing Intern for the Roundabout Theatre Company, one of the nation’s leading not-for-profit theatre companies producing six Broadway productions annually. While at LSU, he served as Stage Manager and Assistant Stage Manager for LSU’s Broken Eggs and Swine Palace’s Satellites, and was seen onstage in Swine Palace’s Disney’s High School Musical and Love’s Labour’s Lostt and in LSU’s A Cry of Players. He also assisted in the administrative offices for Swine Palace, working with the Managing, Marketing, and Development Directors and was involved with various organizations on campus, including the Union Program Council’s Lively Arts Committee and the Undergraduate Theatre Alliance. Outside of LSU, Bradley has served as the Marketing Coordinator for Center Stage Performing Arts Academy, Marketing Intern with the Big Buddy Program’s WordPlay ALL-CITY Teen Poetry Slam Festival, Senate Page under Senator Jody Amedee in the Louisiana Senate, and Production Committee member for Ascension Community Theatre. During the summer of 2009, Bradley served as administrative intern for the New York City based offBroadway theatre, The Pearl Theatre Company. During his senior year he also served as Artistic Director of the Renegade Shakespeare Company, where he produced and directed My Name is Rachel Corrie.

Christine Baniewicz is a senior Theatre major with a concentration in theatre studies and a minor in music composition. She has performed in several LSU Lab Theatre productions, including Outworks 2009, The Sleeper, and Lonestarr and Laundry & Bourbon. Last year her original one-act, Friends, premiered as a part of LSU’s Lab Show w Horrorfest! Baniewicz has composed original music for several productions at LSU, most recently LSU's Mainstage production of A Cry of Players. She has also premiered several works for solo woodwinds and small chamber ensembles, most notably at the Festival of Contemporary Music 2009. Her music was also featured in a production of Shakespeare’s Twelfth Nightt in Huntersville, NC. Baniewicz plans to pursue graduate studies in playwriting after graduation. Her recent trip to Austin, TX for the annual Pedagogy and Theatre of the Oppressed (PTO) conference has also renewed her interest in theatre as a tool for education and political activism.

Bradley is currently a member of the American Theatre Wing’s Theatre Intern Group and the National Society of Collegiate Scholars.

Fall I’m going to start work on my honors thesis as well as completing applications for graduate schools and fellowships. I’ll also be putting finishing touches on the original one-act play I’m writing; with any luck, I'll have it produced next spring in Lafayette, Baton Rouge or New Orleans! After I graduate, I plan to pursue a career in playwriting. I may also spend time before grad school volunteering with some of the theatre-in-education or theatre-astherapy groups I got acquainted with at the PTO conference this summer.” Christine had this to say about her time spent at LSU, “I think LSU is a great place to be an artist. Not only do I have access to the kind of resources that a big state school offers, I’ve been treated to a very personal education by professors within CMDA. I’m thankful for the instructors, both in the School of Music and the Department of Theatre, that have shared my frustrations and victories over the past three years as I have (and continue to) discover who I am and how I write.

Underwrite top faculty leadership by donating an Endowed Chair: $1.2 Million Endowed Chairs ensure superb faculty leadership in areas that are deemed critical to maintaining the College’s excellence. The Endowment allows the College to supplement the Chair holder’s salary, and thereby attract and retain outstanding professors.The Endowment also provides funds for graduate assistants’ stipends, clerical assistance, equipment, performance support, recruitment of students, etc. The State of Louisiana’s Board of Regents provide a unique incentive for private philanthropists interested in creating an Endowed Chair. The Regents will match 40% of the necessary funds, when an individual donates the first 60%.

A Named Endowed Chair requires $2 million in total funding: Donation required $1,200,000 Regents’ match $800,000 Total for Named Chair $2,000,000

To learn more about the core areas in which Endowed Chairs are needed within the College, and to discuss funding possibilities, contact Steven Covington at scov@lsu.edu or 225.578.9268.


Theatre News

Left LSU students and their Korean hosts. Right Visiting a Korean folk vIllage. Below Cast of Antigone performs at Young Theatre Festival opening ceremony.

LSU Theatre takes Antigone Overseas The LSU Department of Theatre was honored as the only American university invited to perform in the renownedYoung Theater Festival in Seoul, South Korea. LSU presented their 2009 production of Antigone by Sophocles in three performances on the 23rd and 24th of June at the NaeMo Theatre. In total 38 members of the LSU family, y including faculty, staff, and student cast members and crew traveled to South Korea from the 16th through the 27th of June, 2010. It was a homecoming trip for Associate Professor of Sound, EunJin Cho, whose help was pivotal to coordinating the experience. Director Michael Tick says, “By having the opportunity to produce Antigonee in Korea, we continue to strengthen our international outreach which is crucial to the recruitment and training of our students, especially now that universities such as LSU are dedicated to developing global citizens.” LSU received a warm welcome from our festival hosts at Kookmin University. With TV reporters, politicians, civic officials, academic leaders and over 1,000 flag waving, chanting, enthusiastic theatre students present, the opening ceremony for the Young Theater Festival took place on Saturday, June 19th on an open stage near Seoul’s vibrant theatre district, Daehangno. Michael Tick gave a speech on behalf of LSU Theatre, and EunJin Cho introduced the LSU faculty in Korean for the audience. Then the cast from Antigone did the opening scene of their punk-rock 34

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version of this Greek classic with evocative and exciting choreography by Molly Buchmann, Head of LSU’s Dance Program.

We’re all pretty psyched about performing before a Korean Audience... we don’t know what to expect, and we’re pretty sure they don’t either

The actual production took place several days later, after a relatively quick load-in to the NaeMo Theatre. The set for the show was constructed overseas by Kookmin University, and had to be loaded in to the fourth floor performance space from the street by crane. Director Michael Tick noted, “It was an incredible two days teching the show. Due to the number of schools participating in the festival, we had limited time in the actual theatre space. With a lot of help from faculty and student volunteers from the Korean Universities, our students essentially did a week’s worth of work in 14 hours, including rehearsal time.” Strike for the show was just as quick and efficient, with approximately 75 students and faculty members working to clear the space in about two hours after the final performance.


Theatre News Alex Galick, third-year M.F.A. student and cast member, had this to say in anticipation of the performance, “We’re all pretty psyched about performing before a Korean audience because we don’t know what to expect, and we’re pretty sure they don’t either.” The production was well received by audiences, with the house close to full for all three performances. Translation into Korean was provided for the audience by a computer generated projection onto the actual set of the show. Members of the audience included LSU alum and Press Attaché to the U.S. Embassy in Seoul, Aaron Tarver. He had this to say about the show: “Congratulations to you and to your team - the play was great! I hope you and all the LSU faculty and students give yourselves a most deserved pat on the back, and take one more bow. Kudos all around.”

remarked, “It’s pretty cool how they’ve chosen to turn the DMZ into something peaceful, trying to maintain it as a wildlife preserve because it’s remained untouched for so many years-plant and animal life has flourished there.”

Above Kaitlyn Stockwell as Antigone. Below Hanging lights at the NaeMo Theatre.

Students and faculty not only performed in Seoul, but toured many sites of the city, including The National Theater of Korea, The National Center for Korean Performing Arts & Museum, the Kimchi Museum, the Bongeunsa Temple, The Korean National War Museum, and the National Museum of Korea. Particularly memorable were visits to the Korean Folk Village and the DMZ, as well as partaking in a traditional tea ceremony. The visit to the DMZ seemed to particularly resonant with the students. “It’s a very strange place,” commented cast member Chris Silva. “It’s very interesting to see landmarks and spots of military importance turned into tourist attractions while the war of concern is still ongoing.” Kaitlyn Stockwell, who played Antigone and is a recent graduate,

The students were also treated to performances of Cooking with Nantaa and Jump, two internationally renowned theatre shows developed in Korea, and local cuisine from many area restaurants, including traditional Korean food at the Hankook restaurant atop the North Seoul Tower, with a full view of the city. Students were particularly amazed by the combination of cooking, drumming and martial arts in Nanta, a show that features a comically gifted cast portraying chefs frantically trying to prepare a wedding feast. “It was such a rhythmically challenging show-the actors drummed and juggled with knives, kitchen utensils, and traditional instruments, all the while actually preparing food onstage,” said cast member Emiliano Kaptain. “Two of our students were pulled up onstage from the audience and were so good, they seemed like part of the show. As audience members responding to a question from one of the Nantaa actors, we were actually able to make him laugh so hard he broke character.”

HanDong University, another school participating in the festival, provided student hosts who served as translators and took LSU students to parts of Seoul outside of the trip itinerary. Students were able to visit a variety of shopping districts and restaurants, go tandem biking, take a paddle

...One of the most fascinating aspects of this trip is to witness the transformation of our students as they discover how modern, how warm and welcoming, and how technologically advanced this country truly is.

— Rick Holden Assistant Professor of Acting and Directing

Left Mercedes Wilson and Daniel Mathews at Korean Market Right Garrett Guilbeau, Assistant Professor EJ Cho and Alex Galick

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Theatre News boat ride on the Han River, and see another production in the festival of The Glass Menagerie performed in Korean. Cast member Wil Thomas exclaimed, “Meeting the guides was a glorious experience. Having someone our own age to show us around was great. One of our guides had been to New York, Japan, and various countries in Europe because of his mandatory service with the Korean Army and spoke English very well. He brought us to a noodle shop for a traditional meal. My face almost melted from the spices, but it was tasty!” While the students explored various parts of the city, the LSU faculty got to know their Korean counterparts as well. Dean Laurence Kaptain remarked, “The Department of Theatre faculty and I had a wonderful dinner with Dean P.K. Chun, Professor Sang Sik Nam, Choreographer K. Professor Kim from Kookmin Lee and several students from University with Associate Professor James Murphy. Kyonggi University. The prospects of collaboration and exchange are very exciting.” LSU hopes to host students and faculty from Korea in the coming year, and provide them with as rich an experience as LSU had at The Young Theater Festival. Richard Holden, Assistant Professor of Acting and Directing and Co-Head Undergraduate Performance, served as assistant director for the production. He sums up the experience as such, “I have admittedly fallen in love with Korea but one of the most fascinating aspects of this trip is to witness the transformation of our students as they discover how modern, how warm and

welcoming, and how technologically advanced this country truly is. Our students’ lives will be forever changed. Hopefully their curiosity about fellow humans and societies beyond their homeland may forever flourish!” Article by Michele Guidry

To get a full recount of the trip, please visit theatre.lsu.edu/Antigone.html or scan the QR code below, to see pictures, video, blogs and podcasts from this amazing experience in Seoul, South Korea!

Congratulations to you and to your team — the play was great! I hope you and all the LSU faculty and students give yourselves a most deserved pat on the back, and take one more bow. Kudos all — Aaron Tarver

Above Former Theatre Chair, Michael Tick with Aaron Tarver, Press Attaché to the U.S. Embassy in Seoul, and Dean Laurence Kaptain.

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Theatre News

Theatre Students Return to Edinburgh Fringe Festival This summer, the LSU Study Abroad Program’s “LSU at The Edinburgh Fringe Festival” and the LSU Department of Theatre produced M:Purged-Ritualistic, a movement-based theatre piece at the famed Edinburgh Festival Fringe in Scotland. Associate Professor of Movement Nick Erickson traveled with a group of students to Scotland from July 23-August 20th, with performances in Augustine’s Sanctuary from August 7-15th. Development of the piece began in the “Special Topics in Stage Movement” class in the Fall and over the course of the year has been expanded to a full-length show this summer. The students rehearsed for six weeks to prepare for a weeklong run in the MDA’s Studio Theatre in preparation for the festival.

Edinburgh Fringe Festival (2008).

This is the second time the LSU Department of Theatre has been involved with the Edinburgh Fringe Festival. In the summer of 2008, Professor Erickson brought Love Still Unrequitedd to Scotland, a piece he developed and directed based loosely on Shakespeare’s Twelfth Night. This time, Erickson has stepped into the role as full-time producer. Directing M is a student, Robert E. Lee. The show is loosely based on the Greek myth of Medea but introduces other characters such as Marie Laveau, Blaze Starr and Andrea Yates. Erickson says of Lee, who will graduate as a theatre major in August, “I’ve known Robert since 2001, and I’ve seen him grow into one of the most talented student directors to come out of our program. He spent time in Serbia learning with the Dah Teater in Belgrade, and came back with a real passion to develop the techniques he learned there. I saw this as a great opportunity for not only Robert, but for my movement students as well, to work together with a new process and create a show that will afford them the opportunity to perform professionally on an international stage. Most of my students have never been in a professional production. This is also a great way for Robert to finish his academic career at LSU.” Erickson is also excited that the Scotland trip will expose the students to emerging and developing theatre from around the world. As part of their course requirement for the study abroad program, they will attend ten performances from other theatre groups, and put together a five-minute video documentary about a particular group that interested them, including research about the artists’ method and interviews with the performers. Erickson says the study abroad program is a win-win situation for everyone involved, and he’s glad to provide the opportunity for students to broaden their skills and horizons.

Make sure to follow us in Scotland on facebook at Medea Euripides and Twitter at MedeaNow and visit medeanow.com or scan the QR code for short videos, blogs and photo albums from students.

Donations to Endowed Professorships attract state matching dollars: $180,000 Endowed professorships provide critical faculty support, primarily by enhancing the salaries LSU can offer to attract and retain outstanding professors. Professorships are eligible to receive a generous matching contribution from the State of Louisiana Board of Regents. The Regents will match 40% of the necessary funds, when an individual donates the first 60%. A Named Endowed Professorship requires $300,000 in total funding: Donation required $180,000 Regents’ match $120,000 Total for Named Professor $300,000 The College of Music & Dramatic Arts needs professorships across the disciplines. For more information on establishing an endowed professorship, contact Steven Covington at scov@lsu.edu orr 225-578-9268.

Article by Michele Guidry

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Theatre News

Creative Life Inspires M.F.A. Support through Bequest Elizabeth Rhodes Holloway’s career has taken her far from her roots on Kenmore Plantation in Pointe Coupee Parish near Maringouin, Louisiana. An M.F.A. graduate of the Yale School of Drama in design and production with a B.A. in acting from Newcomb College, Holloway has travelled the U.S., extensively working in theatre, opera, and ballet. Holloway is one of the founding members of the Missouri Repertory Theatre (now known as the Kansas City Repertory Theatre) at the University of Missouri—Kansas City (UMKC), where she served as the first professional production stage manager. Under Holloway’s professorial leadership, the first stage management course in the country was developed at UMKC. Her lifetime achievements include work at many of the great artistic venues in the world, including The Festival of Two Worlds in Italy, The Center Theatre Group in Los Angeles, American Ballet Theatre in New York, American National Opera, Lyric Opera of Chicago, the New York Shakespeare Festival, the Metropolitan Opera, and Broadway. She has collaborated with creative intellects that include Joseph Papp, John Houseman, Tony—award winning designer Oliver Smith, James Earl Jones, Edward Albee, Estelle Parsons, Rudolf Nureyev, and Franco Zeffirelli, to whom she was a special assistant for lighting for the opening of the new Met. Although Holloway maintains residences in Manhattan and France, she has never forgotten her home state and has settled down in Baton Rouge, where she has served for several years as a prominent member of the Swine Palace Board of Directors. Through a generous bequest in her will, Holloway will be endowing a support fund for M.F.A. students in the Department of Theatre. “We theatre people are interpreters–of the playwright, the composer–and as such, we establish a special relationship with each audience, for them and for the performer. ‘Live theatre’ is a moment in time, unique, ephemeral, exacting, then gone– each performance different, distinct. LSU Theatre’s program is taking a noteworthy place among universities with professional Equity theatre companies. Establishing these support funds for M.F.A. students will give more our young people their moments,’ lengthening for them–and ultimately for us–that brief, yet so special, experience that is captivating live theatre,” notes Holloway on the significance of her gift to LSU Theatre. “This is ‘giving back’–to my parents, James Madison and Elizabeth Mandell Holloway, and to my home state.” Since her return to Baton Rouge, Holloway has established yet another career for herself–professional beekeeper. She raises 38

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Upper Left Elizabeth R. Holloway on LSU Theatre’s set of A Cry of Players (Spring 2010). Above Kristin Sosnowsky, Interim Chair of LSU Theatre and Managing Director of Swine Palace, Elizabeth R. Holloway, and Michael Tick, former Chair of LSU Theatre.

bees, produces honey which goes to some of Louisiana’s finest dining establishments, makes beeswax candles, and has developed a caramelized honey which has the Food Network buzzing. Article by Jacquelyn Craddock

To join Elizabeth Holloway in supporting the performing arts at the LSU College of Music & Dramatic Arts through a named gift or donation, please contact Jacquelyn Schulz Craddock at 225.578.9277 or jcraddock@lsu.edu.

A charitable bequest in your Will is among the easiest ways to make a generous donation to the College of Music & Dramatic Arts. You may find it the most appropriate way to establish an endowed chair, professorship, fellowship, or scholarship. Or, your bequest may be used to underwrite the most critical needs of the College. In your bequest, you can (a) identify a specific amount you wish to leave to LSU, (b) state a percentage of your estate, or (c) note that the remainder of your estate is to benefit LSU.

For more information on creating your charitable bequest for LSU, contact Steven Covington at scov@lsu.edu orr 225.578.9268. * Please be sure to consult your attorney and financial advisor on your estate planning needs.


LSU Opera Greetings Opera Lovers! Welcome to the 80th Anniversary of LSU Opera! As the oldest continually operating performing arts group in Louisiana, our organization is proud to celebrate a glorious past and an exciting present and future! Through its superb productions, outstanding training, and positive relationship with the university and greater Gulf Coast communities, LSU Opera and the School of Music’s Voice/Opera Division are proudly recognized as one of the top university opera programs in the entire U.S.! Beginning with its first-ever production in 1930, LSU Opera has striven to maintain an enviable quality on stage, in the teaching studio, and in the classroom. Guided in its early years by noted Metropolitan Opera baritone Pasquale Amato and nurtured throughout subsequent decades by such notables as Peter Paul Fuchs and Robert Grayson, the ensemble has enjoyed a rich tradition of successes with both operatic classics and more contemporary, particularly American, works. Our 2009-2010 season, performed in the beautifully renovated Claude L. Shaver Theatre, reinforced this vision with Stephen Sondheim’s A Little Night Music and Gounod’s Roméo et Juliette. And the upcoming 2010-2011 repertoire follows suit with Samuel Barber’s Vanessa (celebrating the 100th anniversary of the composer’s birth) and the timeless Le nozze di Figaro by Mozart. Recently, LSU Opera entered the exciting world of commercial video, both with its 2008 DVD release of Carlisle Floyd’s Willie Stark and its 2010 recording of David Amram’s Twelfth Night, filmed in honor of the composer’s 80th birthday. These two projects garnered wonderful reviews from the national press and the composers, and they served to alert the nation to LSU Opera’s professional-level quality. This coming season, another new adventure awaits a select group of singers as our production of Vanessa will travel out-of-state to the Nevada Opera for two performances. This event is the brainchild of our Music Director Michael Borowitz, who also serves as Artistic Director of the Nevada company, and it will provide members of the LSU cast with invaluable professional experience and exposure. Also spreading the good word about us are the numerous successful professional singers who have called LSU home and who are now applauded on the world’s stages. Notable names such as tenor Paul Groves, bass Jeffrey Wells, and soprano Jane Redding continue to enjoy national and international successes, along with younger contemporaries like soprano Lisette Oropesa, mezzo-soprano Daniela Mack, and tenors Chad Shelton and Chauncey Packer, to name just a few. With our present leadership of Dean Laurence Kaptain of the College of Music & Dramatic Arts, Director of the School of Music Dr. Jane Cassidy, and the tireless efforts of our Board of Patrons of LSU Opera, the future, even in these challenging times, seems indeed positive and exciting! Throughout America, opera is being heralded as more popular than ever, as young and old alike flock to this most dramatic, beautiful, and moving art form. With ongoing backing from the university and the public, we of LSU Opera pledge to continue our great tradition of fresh, young performances that highlight our own stars of the future! During this year’s 80th celebration, both Maestro Borowitz and I thank you for your past, present, and future attendance and support! See you at the opera!!

Dugg McDonough Mary Barrett Fruehan Associate Professor of Opera and Artistic Director of LSU Opera

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LSU Opera to be featured in Documentary Film David Amram:The First 80 Years, a documentary about the composer and renaissance man, will contain footage from LSU Opera’s recent performance of The Twelfth Night Project.The documentary is slated for its first screening in the Fall of 2010 as part of a year-long celebration of Amram’s 80th birthday. David Amram is known for his diverse musical and cultural experiences, ranging from selection by Leonard Bernstein for The New York Philharmonic’s first composer-in-residence position in 1966 to his classic film score compositions for Splendor in the Grasss and The Manchurian Candidate. Amram’s list of collaborators reads as a Who’s Who of American culture: Langston Hughes, Dizzy Gilespie, Dustin Hoffman, Willie Nelson, Thelonious Monk, Odetta, Elia Kazan, and Arthur Miller, to name a few. Amram is also the author of three books, Vibrations, an autobiography; Offbeat: Collaborating With Kerouac; and Upbeat: Nine Lives of a Musical Cat. In April, David Amram, witnessed two performances of highlights from his opera based on Shakespeare’s Twelfth Night. The work was conceived by Amram and Shakespeare in the Park creator Joseph Papp in 1958. The duo aspired to see the work performed as part of the outdoor park performances. LSU Opera has previous experience in video opera, having filmed Carlisle Floyd’s Willie Starkk for commercial release in 2007 (available from Amazon.com). It was that collaboration with classical music and video producer Larry Kraman that led Kraman to return to LSU's Artistic Staff, Dugg McDonough and Michael Borowitz, with the idea to produce Amram’s seldom-produced gem. Mr. Amram had high words of praise for the innovative LSU production, performed in the College of Music & Dramatic Arts’ intimate Studio Theatre: “The opera began and after three minutes...I was completely blown away!!! The staging by the company’s Artistic Director Dugg McDonough was so brilliant and so delightful, and the acting was so convincing, and the singing so flawless and

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flowing that I became totally engrossed in what I was seeing as well as hearing! These young singers and musicians were so good that I FORGOT that I had written it!!!”

CAST Jin Hin Yap, Feste; Geoffrey Kannenberg, Orsino; Jennifer Crippen,Viola; Jeff Byrnes, Sir Toby Belch; Jacqueline Coale, Maria; Khary Wilson, Sir Andrew Aguecheek; Amy Porter, Olivia; Sean Matassa, Malvolio; Matt Moeller, Antonio; Briley Floyd, Sebastian; Bryan Saxon, First Officer; Matthew Aguilera, Second Officer; Sarah Brown, Rachel Clark, Molly Dahlberg, Bryan DePan,Anthony Puskus, Frances Rabalais, Jane Soong, Jessica Wax, Ariana Wehr, Ryan Wilson, Jennifer Wobser, Cameron Young, Ensemble ORCHESTRA Chen-Yin Lin, Violin 1; Chung-Hui Hsu,Violin 2; Morgan Bartholick,Viola; Mayara Velasquez,Cello;Mintzu Chao,Bass;Emily Zirlin,Flute;Chip Zoller,Oboe;Sean Crawford,Clarinet;KirstieVicknair, Bassoon; Matt Taylor, Linda Elliot, Horn;William Gibson,Trumpet;Chris Green,Trombone;Brian Bell,Scott Branson; Percussion ARTISTIC STAFF Michael Borowitz, Conductor/Principal Coach; Dugg McDonough, Stage Director; Sara Harris Baker, Production Manager/ Stage Manager; Natalie Dixon, Assistant Director; Michael Burton, Lighting Designer; Robin L. McGee, Josie MacMurdo, Stefanie Ramirez, Elizabeth Texada, Nicolas Comeaux, Jessie Cannon, Costume Designers; Robin L. McGee, Groundcloth Designer; New Orleans Opera Association, Groundcloth Construction; Patrick Acampora, Facilities Manager

The students were both enthused and intimidated by the opportunity to perform a work live for the composer. Doctoral candidate Jennifer Crippen described her experience, “Performing “Viola” in his Twelfth Nightt was a unique experience that any musician will agree is an opportunity of a lifetime.” Master’s candidate

The opera began and after three minutes I was completely blown away! ... These young singers and musicians were so good that I FORGOT that I had written it!!! — David Amram Jacqueline Coale, who played Maria, said of the collaboration, “Mr. Amram’s excitement for not only Twelfth Night, but for life, music, drama and education was contagious. He is one of the most generous and supportive men I know and I feel honored to have worked with him.” Mr. Amram’s trip to the South included speaking and performing engagements both in Baton Rouge and New Orleans and he was encouraged by his visit. “So I now know that when we are told that opera, ballet, jazz, theater, sculpture, poetry and all the visual arts are no longer necessary or relevant, Baton Rouge made me realize once again that there is, as the old saying goes....hope in them there hills!” Article by Sara Baker, LSU Opera Production Manager


The 2010-2011 LSU Opera Season Vanessa by Samuel Barber directed by Dugg McDonough conducted by Michael Borowitz

October 28-31 Shaver Theatre

Le nozze di Figaro by W.A. Mozart directed by Dugg McDonough conducted by Michael Borowitz

March 31-April 3 Shaver Theatre

Fall L’Opera Lagniappe November 21-22, 2010 Claude L. Shaver Theatre

Spring L’Opera Lagniappe April 29 & May 1, 2011 Reilly Theatre

PURCHASE TICKETS p 225-578-5128 • w cmda.lsu.edu

LSU Singers Take Europe by Storm Each summer, LSU singers disperse around the globe to hone their musical craft. This year, nine LSU College of Music & Dramatic Arts students and one faculty member spent their summer in Novafeltria, Italy, y where they participated in La Musica Lirica, an operatic training program, June 21-July 23. LSU Assistant Professor of Voice, baritone Dennis Jesse served on the faculty of the institute, while LSU student singers who participated were Johnnie Bankens, Nancy Carey, Kristi Corie, Mary Griffith, Sean Matassa, Daniel Robbins, Ellen Sturgill, Jennifer Wobser, and Jin Hin Yap. The Opera division of the program is designed for emerging professionals and mounted fully staged productions with orchestra. LSU Opera stars stood out in leading roles in Verdi’s La Traviata, featuring LSU’s Jin Hin Yap as Alfredo and Nancy Carey as Flora, and Mozart’s Don Giovanni, featuring LSU’s Johnnie Bankens as Don Giovanni and Kristi Corie as Donna Anna. Soprano Kristi Corie returned to La Musica Lirica for her second season, and was one of two recipients of the Patrons of LSU Opera Foreign Study Scholarship. She praises the program for its high quality faculty and valuable training, especially in learning Italian. “You’re in Italy, taking classes, and fully immersed in the language.” The friendships she has made and professional contacts will serve her well in her emerging professional career. “It’s the chance of a lifetime for a young singer to get to do something like this…a dream come true.”

Ashley Duplechien

Kristi Corie

Ashley Duplechien, another recipient of the Patrons of LSU Opera Foreign Study Scholarship had the opportunity to attend the Franco-American Vocal Academy in Périgord-Limousin, France. Her program included intensive study of French and French vocal repertoire, as well as stage movement and acting. She was also selected to sing the role of Diane in Orphee aux Enferss with orchestra. Other LSU student singers performing this summer include: Ariana Wehr with the Bay Area Summer Opera Theater Institute; Danielle Greiner, Matt Moeller, and Maria Thomas with Des Moines Metro Opera; Geoffrey Kannenberg with Ohio Light Opera; and Jeff Byrnes with Seagle Music Colony. Article by Sara Baker

L-R Ed and Linda Green, Isabel and Marcel Dupre

Patrons of the Opera Malcolm Richardson President Ed Green Vice President Adrienne Aronstein Secretary Jay Aronstein Tommy Beard Ned Borie Russ Chapman Peter Grant Linda Green Sarah Lou Hill Mariano Hinojosa John Hu Carole M. Marshall Tony Ragusa Linda Schneider Annette Seng Jan Silver Edith K. Kirkpatrick Emeritus Dan Bivins Emeritus Jim Heaslip Emeritus Tony Kurlas Emeritus Marcia and Roger Moser Emeritus Leon Rachal Emeritus Laurence Kaptain Dean Dawn Arevalo Ex-Officio Sara Baker Ex-Officio Michael Borowitz Ex-Officio Steve Covington Ex-Officio Robert Grayson Ex-Officio Dugg McDonough Ex-Officio Carol Newman Ex-Officio fall 2010

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Opera News

LSU Opera Production of One of the most difficult things about becoming an operatic performer is making the transition from a student to a professional musician. This year, a collaboration between Nevada Opera and LSU Opera will help a few deserving students bridge that gap. Five selected students, along with Artistic Director of LSU Opera, Dugg McDonough, and LSU Opera Musical Director, Michael Borowitz, will tourr to Reno, Nevada to reprise their leading roles in Vanessa on February 11 and 13, 2011. Vanessa, composed by Samuel Barber, with a libretto by Gian Carlo Menotti, premiered at the Metropolitan Opera in 1958. The choice of including this piece on the LSU Opera season commemorates what would have been the composer’s 100th birthday. Vanessaa is a beautiful, haunting tale of love and betrayal with a lush, lyrical score. Michael Borowitz

Assistant Professor and LSU Opera Musical Director Michael Borowitz is very knowledgeable about working in both the academic and professional worlds. He is currently serving as Artistic Director for Nevada Opera as well as Musical Director for Ohio Light Opera. Borowitz sees a wealth of practical educational experiences for students involved in this

to Hit the Road project. “One of the facets of this collaboration that I’m looking forward to the most is having Nevada Opera’s wig and makeup designer, Alison Mizerski, working with our LSU singers. As one of the finest designers in the opera business, Alison will be sharing her invaluable wig and makeup expertise not only once, but twice, reinforcing for our singers just how high the standards are in American regional opera.” Borowitz also praises the project for its potential in building careers of these young singers: “This project will also give not only professional credit to our LSU singers’ resumés, but will also teach them that while vocal beauty and artistic expression will land them the job, being a good colleague to their fellow singers and to the production team will most likely assure their being re-hired, and in many cases recommended to fellow Artistic Directors throughout the country and beyond.” Article by Sara Baker

Don’t miss your opportunity to see the elegant Vanessa here in Baton Rouge at the Shaver Theatre on October 28-30, 7:30 p.m. or October 31, 3:00 p.m. Ticket information is available at cmda.lsu.edu or 578-5128.

75 Voices Mr. and Mrs. Ben Alford Mrs. G. M. Anderson Mr. and Mrs. Reuel L. Anderson, Jr. Mr. and Mrs. Julius Aronstein Dr. Thomas R. Beard Dr. and Mrs. Eugene Berry Mr. and Mrs. Daniel E. Bivins, III Mr. and Mrs. Edward J. Blasi Mr. and Mrs. Sidney Blitzer Bone & Joint Clinic Mr. and Mrs. Ned Borie Mrs. Elizabeth S. Bruser Mr. and Mrs. Russell Chapman Mr. Steven Covington Mrs. Susan Dawson Mr. and Mrs. John Douthat Mrs. Mary B. Fruehan Prof. and Mrs. Robert Grayson Drs. Ed and Linda Green Mrs. Liz Hampton Mrs. Margaret C. Hart Mr. and Mrs. James P. Heaslip 42

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Ms. Sarah Lou Hill Mr. and Mrs. Mariano G. Hinojosa Mr. John N. Hu Mr. Michael Jimenez Dr. and Mrs. George Jones Mrs. Louise Kinney Mrs. Edith Killgore Kirkpatrick Mr. and Mrs. Anthony Kurlas Mrs. Lillian N. Landrum Mr. and Mrs. Richard A. Lipsey Mr. and Mrs. J.D. Lyle Mrs. Carole M. Marshall Mr. and Mrs. Camp Matens Mr. and Mrs. Roger Moser Mr. and Mrs. Ken E. Nelson Dr. Henry Olinde Dr. Margaret Parker Mr. Leon H. Rachal Mr. and Mrs. Gene F. Rak Reilly Family Foundation Dr. and Mrs. Malcolm Richardson Mr. Roland R. Saurage and Mr. Dean Bordelon

Mrs. Linda B. Schneider Mr. and Mrs. Harvey J. Schwartzberg Ms. Annette R. Seng Mrs. Janice C. Silver Ms. Deborah D. Todd Ms. Nancy Turkmen Mr. John G. Turner and Mr. Jerry G. Fischer Mrs. Kay Wagner Dr. Harold Young Mrs. Nedra G. Zartman

Back row L-R John Turner, Dean Laurence Kaptain, Robert Grayson, Malcolm Richardson Front Row L-R Sue Turner, Kay Heath


Swine Palace Swine Palace looks forward to an exciting season that takes a powerful and provocative look at “family values.” Opening our season is Sir Noel Coward’s sexy and explosive romantic comedy Design for Living. Filled with the wit and sophistication that are Coward hallmarks, this 1930s hit, still remarkably relevant, was banned in Britain for years after its American premiere as it redefined the “modern woman” and the notion of the traditional “family unit.” Like The Royal Family, this Art Deco era exploration of the cult of celebrity and the role of the artist in society is the perfect fit for our newly refurbished Shaver Theatre. The winter season brings Shakespeare’s King Lear, arguably the greatest tragedy in the English language and certainly one of the most remarkable investigations of family relationships in all literature. I will appear in the title role under the direction of Deb Alley, Artistic Director of the Illinois Shakespeare Festival, one of the nation’s highly respected Shakespeare theatres. Bursting with remarkable language, sensuality and surprising humor, King Lear, will also provide the foundation for our Swine Palace educational outreach program with special matinees, study guides and workshops for regional school and community audiences. The spring will see the close to our Swine Palace season with a play fresh off the New York City stage. We are currently seeking rights to The Metal Children by Pulitzer prize nominee Adam Rapp, which closed a successful engagement at the Vineyard Theatre in June, 2010. This darkly comic drama follows a writer of young adult novels whose work has been banned in small town America into one of the communities which rejected his work. The volcanic collision between the artist and his ‘family value” censors erupts with surprising and terrifying consequences which offer no easy answers for anyone, including the audience. In addition to our mainstage productions, Swine Palace is embarking on two collaborations with Actors Theatre of Louisville including the second installment of our First Look program featuring a workshop performance of a new play that will premiere in ATL’s prestigious Humana Festival of New American Plays in Spring 2011. We began our First Look series last year with Dan O’Brien’s The Cherry Sisters Revisited and look forward to this becoming an annual event. In addition, ATL Associate Artistic Director Sean Daniels will direct our incoming M.F.A. actors in a collaborative on-site performance at the LSU Museum of Art. As always the Swine Palace season promises a great line-up of professional theatre experiences.

George Judy Interim Artistic Director of Swine Palace

The 2010-2011 Swine Palace Season Premiere

New Play by Noel Coward directed by Goerge Judy September 22–October 10, 2010 Claude L. Shaver Theatre

by William Shakespeare directed by Deb Alley February 2–20, 2011 Claude L. Shaver Theatre

directed by Joanna Battles March 23–April 10 Reilly Theatre

PURCHASE TICKETS p 225-578-5128 • w cmda.lsu.edu


Swine Palace News

Alley and Judy continue collaboration with King Lear It seems like fate that Deb Alley from the Illinois Shakespeare in 2008 at LSU was really enjoyable. And working this summer Festival will direct King Learr for Swine Palace this upcoming as an actor, after teaching and directing for so long, really put season, or as Artistic Director George me back in touch with what my students Judy puts it, “Serendipity”. Deb Alley is go through.” the Artistic Director for the Festival, and Alley looks forward to being a guest direc“was fortunate enough to cast two actors tor. “It’s a chance to meet and work with from the LSU M.F.A. program for the different people and to experience firsthand summer 2009 season. I really had a great the way other theatres and schools work. I time with Jo (Hall) and Alex (Galick) and always take home a lot of good information consequently was thinking that the actthat will affect my own way of doing things ing program at LSU must be very good. in the future. I also love traveling so it’s a Sometime around mid—summer, George wonderful way to get to see another part of Judy came to see his students’ work, and King Lear will be performed the country and to really live in a new culture I was able to meet him and talk with him February 2-20th at the Shaver for a time.” about the training students were getting Theatre in the MDA Building. at LSU. That eventually led to an offer to When it comes to the challenge of proguest direct—an offer that I was delighted For tickets and more inforducing King Lear, the influence of family to take.” mation please call the box ofresonates with both director and actor as fice at 225-578-3527 or look being central to the concept of the play. From George Judy’s perspective, as Head of online at swinepalace.org. Judy will be playing Lear for the third time the M.F.A. Acting program at LSU, he took in his career. “Each time is so different. the opportunity to see his students perform The joy of the role is that you know you to help build a professional bridge becan’t succeed in playing him—he’s an iconic role. The challenge tween the Theatre Department and the Illinois Shakespeare Fesis to stretch yourself as far as you can—learn as much as you can tival. “I found Deb’s work as a director to be smart, funny and each time. The fi rst time I was not a father, the second time my engaging, and I was taken with the festival overall. People there wife and I had just had Ethan, my son. Ethan’s quite a bit older really care about the work.” Judy goes on to say, “I really want now, and I am truly beginning to understand what it means to be to expand hiring outside professional directors to help give our a father. This will defi nitely have an impact on how I choose to students experience and connections. Deb is a fantastic choice, play Lear in this production.” and I think it will be valuable to have a female director for Lear.” Alley sees Learr as a magnifiJudy was so taken with the Festival he auditioned for them I really want to expand hiring outside cent and complex play full of political intrigue, families and spent the summer of 2010 professional directors to help give our in turmoil, the downfall of a performing with them as Cardinal Richelieu in The Three students experience and connections. powerful king, and the classic — George Judy struggle between good and evil Musketeers, Falstaff in The Merry — all couched in some of the Wives of Windsor, and Prospero in The Tempest. “Working with Deb as a director has really so- most brilliant poetry in the English language. “Learr is in a class lidified my choice to invite her to LSU. The Tempest, under her of its own and there’s much that I find intriguing about the title direction, was truly an ensemble piece. She gave equal balance character. In particular, I’m interested in the idea of growing old to all the story lines.” Judy will have the chance to work with and having to let go of so much that defines how we see ourselves her again—he will be playing the title role in Learr with a sup- — including our control over things around us. Lear is at that porting cast made up of professional Equity actors and graduate frightening moment when he sees his once active and productive life moving towards nothingness. He imagines that he can let students. go — pass his power and his legacy on to his children — but he Alley and Judy both agree that working with a mix of students can’t. The play, in many ways, is about the struggle to accept our and professionals is a rewarding experience. “We have much the own inevitable impotency and death.” Like Judy, personal influsame situation at the Illinois Shakespeare Festival, with Equity ence from Alley’s family life plays a part in her concept of Lear, actors, young professionals, and students working side-by-side. I “I saw my own father struggle with that acceptance before his find it to be the source of a lot of wonderful creative energy. The death, so it really resonates with me. I’d like to give the audience young actors are challenged and inspired by the more experi- a chance to explore this very human moment. That’s the power enced actors, but the mature actors get to reconnect with that of Shakespeare really — he lets us know that we’re not alone — wonderful buzz of youthful enthusiasm.” Judy echoes this senti- that our struggles are those of all people of all times." Article by Michele Guidry ment, “Performing in The Last Days of Judas Iscariott with students 44

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Swine Palace News

Swine Palace's Cocktail to Represent the US at International Theatre Design Exhibition.

Cocktail 2007

Swine Palace’s 2007 world premiere production of Cocktaill was chosen to represent the United States at the 2011 Prague Quadrennial of Performance Design and Space, the world’s largest theatre design exhibition and competition. Original designs by LSU Department of Theatre faculty E.J. Cho (Sound Design) and James Murphy (Set Design) as well as LSU alumna Polly Boersig (Costume Design) will be on display at the exhibit. The USITT/ USA national exhibit will feature 35 productions chosen from entries spanning from Broadway to one-person devised works all centered around the exhibit’s theme “On the Edge.” Co-written by LSU Professor of Biochemistry Vince LiCata and internationally-acclaimed avant-garde theatre artist Ping Chong, Cocktaill chronicles the work of Thai pharmaceutical scientist and HIV/AIDS activist Dr. Krisana Kraisintu, who developed the first one-pill AIDS cocktail saving thousands of lives in her homeland. The Prague Quadrennial is the largest theatre design exhibition and competition in the world, featuring national exhibits from more than 60 countries- presenting contemporary work in a variety of performance design disciplines and genres - costume, stage, light, sound design, and theatre architecture for dance, opera, drama, site specific, multi-media performances, and performance art. Organized by the Ministry of Culture of the Czech Republic and realized by the Arts and Theatre Institute Prague, the Quadrennial, happening every four years since 1967, will take place at the Veletrzni Palace (the building of the Czech National Gallery) in Prague from June 16 to 26, 2011. Article by Michele Guidry

Swine Palace Board of Directors Christel C. Slaughter Chair James McIlwain Vice Chair Elise Kaufman Secretary Marvin Borgmeyer Treasurer Bettsie Baker Miller Immediate Past Chair Marilyn Barbier Jeanne Davis Norman Deumite Kara Dunham Jason El Koubi Michael Garrard Juli Miller Hart Elizabeth Holloway Suzanne Horton Charles Landry H.N. “Hank” Saurage IV Michael Tipton Felix Weill

Bring the best students to LSU by donating an Endowed Scholarship: $40,000+ Among the most compelling needs at LSU is that for student scholarships. The College of Music & Dramatic Arts in particular recruits the best students from across the world, and must provide the financial resources needed to attract them to LSU. While scholarships may be restricted to any particular area of the Music or Theatre, the most valuable scholarships are those simply designated to the College of Music & Dramatic Arts . These provide the Dean with the flexibility to apply scholarship support to the area of greatest need from year to year. For more information on creating a scholarship, contact Steven Covington at scov@lsu.edu or 225-578-9268.

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Swine Palace News

Former Swine Palace Director returns to perform her one-woman show at LSU Joy Vandervort-Cobb, Associate Professor of African American Theatre and Performance at the College of Charleston, South Carolina will be bringing her solo, autobiographical work Moments of Joy to the Studio Theatre this fall in a much anticipated special guest performance. Vandervort-Cobb returns to LSU after directing King Hedley II, I Fencess and Ma’ Rainey’s Black Bottom for Swine Palace. Moments of Joy, written and performed by Vandervort-Cobb and directed by Maida Libk, takes us on a journey from Joy’s radiant childhood, to L.A. As a teenager in the 1970s, to her first big tour, and finally to marriage, motherhood, separation, and reconciliation. It’s a beautiful, and sometimes ridiculous, exploration about acceptance and forgiveness, told in the best of storytelling tradition, filled with song, slapstick, and laughter.

Vandervort-Cobb recently talked to 3rd year M.F.A. Acting student, Michele Guidry, to discuss returning to LSU and her production. You have a past history with LSU, directing Fences, Ma Rainey, and King Hedley. What kind of connection do you feel to LSU, and how do you feel returning as a performer this time? I have missed LSU soooo much! It’s like my second theatre home and feels as if I’ve not been there in forever. Am I concerned about coming back as an actor? Ummm... Well - you know how it is when you go home... you don’t want to disappoint anyone! Moments of Joy has been in development for some time. How has the show progressed since it was last performed? Well, life goes on, huh? The show changes with me quite often - and quite often unintentionally. Often the audience changes the show by what they bring to it; I’ve done an hour and a half show and some nights, same script essentially, it’s a two hour show. Some nights I just forget to get off the stage! I’m making small adjustments as it moves from Charleston to Baton Rouge - little changes. I’ve been making myself nuts with rewrites but I’ve been reminded I need to keep the basic shape and just update or expand a couple of the stories. Who knows what I’ll have done by the time I arrive?!? What are some of the challenges of doing a onewoman show, versus being a part of a full cast, or being at the helm as the director? The biggest challenge is not having anyone else to blame mistakes on! And there have been nights onstage when I’m up on lines (forgetting) that I can’t look to anyone for a bail out! In terms of the difference between acting and directing - how much time do you have? And acting in a piece you’ve written that is being directed by another person brings up a whole host of other issues. Oy. BUT - I love to act so I’m thrilled to be doing this.

What do you hope audiences here at LSU will experience? What message or impression would you like them to walk away with after your show? Shoot. I always find this the most difficult question.You’d think by now I’d have a pat answer. When I started this project, the real question for me was whether I could make an audience of strangers laugh OR was it like I suspected - I’m only funny to people who know and love me (or at least tolerate me for long periods of time). That question was answered rather handily on my first opening night... what followed that first weekend of shows was a question of whether it was JUST funny or was I moving people with these stories, as well. I’ve been really blessed with audience responses. I’ve gotten laughter, tears, grunts of recognition... And that’s the point, I guess. The stories of my own life I share are not so far away from the stories of other people. It’s that wonderful thing about the theatre; audiences respond to the unique but universal quality of our stories. So, essentially, what I want the audience to walk away with is recognition that our worlds are similar - we love, we lose, we fall, we get back up again. Jeez - sooo cheesy but so very true. I really look forward to seeing your show in the fall-I’m a grad student here and got to see King Hedley the year before I joined the M.F.A. program. I’m excited to see your solo work. So funny. As I hear this, I started getting nervous all over again! Just like here in Charleston, where I teach and direct and occasionally act in shows other than this one (smile), my initial response to your statement was, “Oh, boy... I’d better not suck!” I’m thrilled about this opportunity and I know it’s not a normal thing for a project to be brought into the black box so screwing up would be truly problematic. Kristin (Sosnowsky, Interim Chair of the Theatre Department) is taking a big chance and I most definitely wouldn’t want to let her down. Oy. I’m gonna take a nap. I know how to face my fears - take a nap!

Moments of Joy runs in the Studio Theatre September 9-19th. For tickets, please call the box office at 225-578-3527, or look it up online at theatre.lsu.edu. 46

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Tiger Band Hello Tiger Fans, My name is Roy King and I am the Associate Director of Bands at Louisiana State University. This will be my fourteenth year as a member of the LSU Band Department staff. It is my pleasure and a great honor to direct the “Golden Band from Tigerland” for the 2010 – 2011 season. The Tiger Marching Band is the largest and most visible single organization on the LSU campus. Recognized nationally for its outstanding achievements by the John Philip Sousa Foundation in 2002, the Tiger Band is comprised of students from all over the LSU campus. In 2008, the LSU Tiger Band won the “Battle of the Bands” contest sponsored by ESPN, Paramount Pictures and Lucasfilm. Most recently in the fall of 2009, the Tiger Marching Band was honored by its induction into the prestigious Louisiana Music Hall of Fame. The 2010 - 2011 edition of the Tiger Band promises to be very exciting. Our schedule is packed with many nationally televised performances, local appearances along with the entertaining halftime shows our fans have come to expect. Our first performance this year will be in Atlanta, Georgia at the Chick-fil-A College Kickoff featuring LSU versus the University of North Carolina. The 325 member Tiger Band will depart Baton Rouge for the Georgia Dome on Friday September 3rd. Once in Atlanta, the Tiger Band will make several appearances for our inspired fans as well as participate in a joint pregame performance with the UNC Marching Band. The 2010 Tiger Band will also perform in the Louisiana Superdome for the New Orleans Saints versus Carolina Panthers football game on October 3rd. This performance marks Tiger Bands first return to the Superdome since the exciting 2007 BCS National Championship victory against Ohio State. I want all of our devoted fans to know that our staff will work very hard to preserve our rich history and dedication to a legacy of excellence and musical preeminence that are the hallmarks of the marching band experience at LSU. In the words of legendary baseball great Willie Mays, “It isn’t hard to be good from time to time. What’s tough is being good every day.” GEAUX TIGERS

Roy King Associate Director of Bands

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Tiger Band Announces New Drum Major

The new Tiger Band drum major Chase Howard

As the fall semester begins, the Tiger Band will welcome senior Chase Howard,, as the new drum major. Howard is a music education majorr who has been involved in band for most of his life. He was the drum major of his high school band for three years; this being his main inspiration for striving for the position at a collegiate level at LSU.

Howard is following in the footsteps of Rob Dowie, who has led the Tiger Band as drum major for the past three years. “Rob has been the only drum major that I have seen while being at LSU and it’s an intimidating feeling knowing that I have to pick up where he left off,” Howard expressed. Howard also got some input from Dowie on the position. “I had a talk with him in general about the position and what I should expect for next year, and he ended giving me some great advice, and that was to make the position my own,” Howard said. Nervousness is always a prevalent emotion when beginning a new leadership position. “There is definitely nervousness about next year, but at the same time I could not be more excited and ready to get the season started. It’s a huge responsibility that I have not experienced yet while being at LSU and can’t wait to get to work,” Howard said. Howard expressed that this position is not focused on personal satisfaction, but on the satisfaction of working together. “I expect myself to lead by example next year, and I constantly need to be on my ‘A’ game. In a way, that’s nerve-racking, but I am definitely ready for a challenge,” Howard said. The College of Music & Dramatic Arts and the Tiger Band welcomes Chase Howard as the new drum major for 2010! Article by Rachel Larson

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Tiger Band News

The Annual LSU Tiger Band alumni performance, honoring the 50th anniversary of the Golden Girls.

Left Charlie Roberts, president and CEO of the LSU Alumni Association

4;=)\PTM\QK[IVL+5,) 6I\QWVIT)V\PMU)]LQ\QWV[ 6DWXUGD\$XJXVWDWDP 6FKRRORI0XVLF5HFLWDO+DOO 9LVLWFPGDOVXHGXIRUGHWDLOV

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Faculty and Staff Laurence Kaptain Dean, Penniman Family Professor of Music 225-578-9959 kaptain@lsu.edu

Jane Cassidy Associate Dean, Interim Director of the School of Music 225-578-2567 jcassid@lsu.edu

Kristin Sosnowsky Interim Chair of the Department of Theatre 225-578-9274 ksosno1@lsu.edu

Ruth Alise Secretary to the Dean 225-578-9959 ralise@lsu.edu

Kellie Crowder Performing Arts Academy 225-578-3230 performingarts@lsu.edu

Sydney Nakashima Webmaster & Graphic Designer 225-578-3925 snakas1@lsu.edu

Dawn Arevalo Assistant to the Dean for Personnel & Production 225-578-3325 phuert1@lsu.edu

Casandra Jackson Admissions & Graduate Coordinator 225-578-4517 cmjacks@lsu.edu

Carol Newman Associate Director of Development 225-578-8594 caroln@lsu.edu

Lori Bade Director of Graduate Studies 225-578-2571 lbade1@lsu.edu

Bill Kelley Recording Technician 225-578-2654 wdkelley@lsu.edu

David Rodriguez Department of Theatre Administrative Coordinator 225-578-3532 drod@lsu.edu

Sara Baker Opera Production Manager 225-578-4068 sarabaker@lsu.edu

Carol Larsen Assistant Dean of Undergraduate Studies 225-578-2652 clarse1@lsu.edu

Linda Saucier Department of Bands Administrative Coordinator 225-578-2384 lsauci2@lsu.edu

Michael Bassford Business Manager 225-578-3530 mbassf1@lsu.edu

Josh Ledet School of Music Adminsitrative Coordinator 225-578-2567 jgledet@lsu.edu

Mark Vandermark Instrument Repair Technician 225-578-2300 msc@lsu.edu

Colleen Clark Department of Bands Administrative Coordinator 225-578-2384 cclark@lsu.edu

Timothy Little Graphic Designer & Photographer 225-578-3925 tlittle@lsu.edu

Joey Watson CxC Representative 225-578-3515 jwats32@lsu.edu

Steven Covington Director of Development 225-578-9268 scov@lsu.edu

Pamela Matassa Communications Director 225-578-3925 pamm@lsu.edu

Jacquelyn Craddock Director of Development for Swine Palace & LSU Theatre 225-578-9277 jcraddock@lsu.edu

Patrica McGrew Accounting Technician 225-578-2563 pmcgrew@lsu.edu

Administrative Staff

Chip Zoller Information Technology 225-578-7094 musicit@lsu.edu


Faculty & Staff Music Faculty Jesse Allison Assistant Professor of Composition 225-578-3261 jtallison@lsu.edu

Jane Cassidy Roy & Margaret Gianelloni Alumni Professor of Music Education 225-578-2567 jcassid@lsu.edu

Jan Grimes Professional in Residence, Collaborative Piano 225-578-2643 jgrimes1@lsu.edu

Lori Bade Neil S. & Boyd H. McMullan Distinguished Professor of Voice 225-578-2571 lbade1@lsu.edu

Dinos Constantinides Boyd Professor of Composition 225-578-4010 cconsta@lsu.edu

William Grimes E. & D. White Alumni Professor of Music, Jazz Studies 225-578-2560 bgrimes@lsu.edu

Sarah Bartolome Assistant Professor of Music Education 225-578-2481 sbartolome@lsu.edu

Matthew Daline Assistant Professor of Viola 225-578-2675 mdaline@lsu.edu

Michael Gurt Paula G. Manship Distinguished Professor in Piano, Area Coordinator for Keyboard 225-578-2651 mugurt@lsu.edu

Inessa Bazayev Assistant Professor of Music Theory 225-578-6896 ibazayev@lsu.edu

Willis Delony Aloysia Landry Barineau Professor of Jazz Studies, Manship Professor of Music 225-578-2568 wdelony@lsu.edu

Terry Patrick Harris Professional-in-Residence, Voice 225-578-2644 tharr11@lsu.edu

Gabriel Beavers Assistant Professor of Bassoon 225-578-2584 gbeavers@lsu.edu

Brett Dietz Associate Professor of Percussion 225-578-2455 bdietz1@lsu.edu

Lin He Assistant Professor of Violin 225-578-2650 linhe@lsu.edu

Stephen David Beck Derryl & Helen Haymon Professor of Composition & Computer Music, Interim Director of CCT 225-578-2594 sdbeck@lsu.edu

Robert DiLutis Associate Professor of Clarinet 225-578-2588 rdilutis@lsu.edu

Kimberly Houser Professional in Residence, Harp 225-578-0521 khouser@lsu.edu

Michael Borowitz Assistant Professor, Opera Coach 225-578-2572 mborowitz@lsu.edu

Dianne Frazer Professional-in-Residence, Collaborative Piano 225-578-7092 diannefrazer@lsu.edu

Blake Howe Instructor of Musicology 225-578-9269 bhowe@lsu.edu

Brett Boutwell Assistant Professor of Musicology 225-578-0499 boutwell@lsu.edu

Kenneth Fulton Earleene Noland Sanders Alumni Professor, Director of Choral Activities 225-578-2569 wfulton@lsu.edu

Dennis Jesse Assistant Professor of Voice 225-578-2642 djesse@lsu.edu

James Byo Carl Prince Matthies Professor of Music Education, Chair of Music Education Division 225-578-2593 jbyo@lsu.edu

Andreas Giger Associate Professor of Musicology, Area Coordinator of Music History 225-578-3688 agiger1@lsu.edu

Katherine Kemler Charles & Mary Barre Alumni Professor of Flute 225-578-2578 kkemler@lsu.edu

Griffin Campbell Julian R. & Sidney Nicolle Carruth Professor of Saxophone, Chair of Instrumental Division 225-578-2586 gcampbe@lsu.edu

Robert Grayson Edith Kilgore Kirkpatrick Professor of Voice, Chair of Voice & Opera Division 225-578-2648 rgrayson@lsu.edu

Roy King Associate Director of Bands 225-578-2384 rking3@lsu.edu

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Faculty & Staff Hometown Brusly, LA How long have you been at LSU? LSU: 15 yrs and with CMDA, by the time the article prints, 5 months

Cassandra M. Jackson Graduate Admissions Coordinator

Professional Philosophy I am available to assist, answer questions and guide students in the graduate process from the beginning of Graduate enrollment to the point of graduation. I strongly believe in the concept that if it were not for the students we the staff and faculty would not have such a rewarding job. I take the philosophy that we as a university and more specifically as faculty and staff should always make decisions and choices that will benefit and contribute to the flagship agenda and the overall success of the student.

Cassandra comes to CMDA with several years of experiences in Admissions. Her colleagues value her for a winning personality, and Describe your typical workday an ability to build a rapport My typical work day varies from day to day but on any given day you can find me with faculty, staff and students. assisting students, faculty and staff with day to day administrative requests and

questions. I also assist with the internal orientation and scheduling for students arriving during the semester. Tell us one of your favorite memories about LSU or CMDA My first favorite memory about LSU is more of a personal testimony- Attending classes for years as a non-traditional student and finally walking across the th stage to receive my degree. I also admire dmire the delightful campus environment,sstriking clock tower, magnificent parade ground, lovely oak trees, beautiful Mike the tiger, and awesome tiger stadium- which all comes together to make the campus an exquisite and relaxing place to work. What have you been up to this summer? I am working with several aspects of the CMDA-SOM department. I will be representing CMDA at DEBUT

Music Faculty continued...

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Espen Lilleslatten Associate Professor of Violin 225-578-2591 espen@lsu.edu

Eric Melley Assistant Director of Bands 225-578-2384 emelle1@lsu.edu

Evelyn Orman Associate Professor of Music Education 225-578-9270 eorman1@lsu.edu

Jeannie Little Assistant Professor of Trombone 225-578-2583 jltrbn1@lsu.edu

Brad Olesen Assistant Professor of Music Education 225-578-8854 bolesen@lsu.edu

Dennis Parker Professor of Cello, Area Coordinator of Strings 225-578-2590 dparke5@lsu.edu

Dugg McDonough Mary Barrett Fruehan Professor of Opera, Director of LSU Opera 225-578-3593 mcdugg@lsu.edu

Patricia O’Neill Louise & Kenneth L. Kinney Professor of Voice 225-578-8807 poneil4@lsu.edu

Everett Parker Director of Gospel Choirs 225-578-9266 eparker@lsu.edu

Alison McFarland Associate Professor of Musicology 225-578-2235 amcfar@lsu.edu

Seth Orgel Associate Professor of Horn 225-578-1409 sorgel1@lsu.edu

Robert Peck Associate Professor of Music Theory 225-578-6830 rpeck@lsu.edu

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Faculty & Staff LSU to be held on Friday-July 16 & FridayJuly 30th. Debut LSU is a recruiting event catered to high achieving sstudents from both in and out of state w with a 26 or above on the ACT. I look fo orward to being a vital part of this recruitinng event. Anything happening in the fall? In the fall semester I alongg with additional staff members will bbe representing CMDA at the New Orleanns Center for Creative Arts (NOCCA) ccollege fair to be held in October. This evvent serves as a complete resource center for students as they make decisions on their next steps towards education and po post-secondary opportunities in the arts and academics. I look forward to my participation in this informative and enlightening event! Any advice to students in CMDA? Take advantage of all opportunities offered. CMDA offers a very nurturing environment and encourages all their students to “Spread their Wings” and continue to be the best. This concept

creates an open door for each student to take advantage of all opportunities offered. What else is there to know about you? In my spare time I enjoy reading, traveling and spending quality time with family and friends. I am the proud mother of one son Dexter N. Jackson. I am a strong believer in the power of prayer and also believe that we make a living by what we get but we make a life by what we give. I feel as though I have a great sense of humor and enjoy being able to communicate, chat, laugh and just have fun.

Interview by Curtis E. Adamson Jr.

Cassandra is very collegial. She has great integrity and is a joy to work wit — Dr. Lori Bade Director of Graduate Studies School of Music

STAFF SPOTLIGHT

Jeffery Perry Professor of Music Theory 225-578-3556 jperry@lsu.edu

Brian Shaw Assistant Professor of Trumpet & Jazz Studies 225-578-2653 bshaw1@lsu.edu

David Smyth The Galante/Derryl & Helen Haymon Professorr of Music Theory, Chair of Music Theory Division 225-578-6446 dsmyth@lsu.edu

Pamela Pike Assistant Professor of Piano Pedagogy 225-578-3270 pdpike@lsu.edu

Loraine Sims Associate Professor of Voice, Area Coordinator of Voice 225-578-2641 lsims@lsu.edu

Herndon Spillman Carolyn Botkin Mattax/Herndon Spillman Professor of Organ Studies 225-578-3269 hspill1@lsu.edu

Carlos Riazuelo Associate Professor, Director of Orchestral Studies 225-578-2649 criazuelo@lsu.edu

Gregory Sioles Assistant Professor of Piano 225-578-2580 gsioles@lsu.edu

Yung-chiao Wei Associate Professor of Double Bass 225-578-2678 ywei1@lsu.edu

James Ryon Professor of Oboe 225-578-2589 jryon@lsu.edu

Joseph Skillen Professor of Tuba & Euphonium, Area Coordinator of Brass 225-578-2646 jskille@lsu.edu

James West Associate Professor of Trumpet 225-578-2587 jwest@lsu.edu

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Faculty & Staff Theatre Faculty Patrick Acampora Associate Professor of Technology, Facilities Manager 225-578-3535 thacam@lsu.edu

EunJin Cho Assistant Professor of Sound, Associate Head of M.F.A. Design & Technology 225-578-3864 ejcho@lsu.edu

Ken George Assistant Professor of Set Design 225-578-3542 kgeorg8@lsu.edu

Joanna Battles Assistant Professor of Voice, Speech & Acting; Co-Head of Undergraduate Performance 225-578-7093 jbattl3@lsu.edu

Leigh Clemons Gresdna A. Doty Associate Professor of Theatre History, Literature,Theory, & Criticism; Head of Ph.D. Program 225-578-9273 clemons@lsu.edu

Corey Globke Assistant Professor of Costume Design 225-578-3799 cglobke@lsu.edu

Andrea Washington-Brown Assistant Professor of Costume Technology 225-578-6081 abrown25@lsu.edu

Nick Erickson Associate Professor of Movement & Acting; Associate Head of M.F.A. Acting 225-578-4331 nickwe@lsu.edu

Richard Holden Assistant Professor of Acting & Directing, Co-Head of Undergraduate Performance 225-578-3534 rholbe2@lsu.edu

Molly Buchmann Professional-in-Residence, Dance 225-578-4974 mbuchm1@lsu.edu

Femi Euba Louise & Kenneth L. Kinney Professor of Black Drama & Playwriting 225-578-3537 theuba@lsu.edu

George Judy Associate Professor of Acting & Directing, Head of M.F.A. Acting, Interim Artistic Director of Swine Palace 225-578-3540 gjudy@lsu.edu

Jim Bussolati Professional-in-Residence, Props Master 225-578-4979 ebusso1@lsu.edu

John Fletcher Assistant Professor of Theatre History 225-578-3544 jfletch@lsu.edu

James L. Murphy Associate Professor of Technology, Production Manager, Head of M.F.A. Design & Technology 225-578-3543 jlmurphy@lsu.edu

STAFF SPOTLIGHT Hometown I was born in Germany. My father was in the Army and we moved every 2 to 4 years. In 1985, we made our last move to Baton Rouge, LA, and have called it home ever since. How long have you been at LSU? Since 1989 so this past May made it 21 years and CMDA: 6yrs.

David N. Rodriguez Jr. Administrative Coordinator 4

Describe your typical workday There is no such thing as a typical workday. In my position, needs change on a daily basis and therefore, so does my role within the department.

What do you like to do in your spare time? Cooking, Gardening and a big fan of playing Wii. Any advice to students here at CMDA Get involved, don’t be afraid to get out and have fun and enjoy life.

David interacts well with the faculty, staff, and students. He is a — Kristin Sosnowsky Interim Chair of the Department of Theatre fun person to have in the office 54

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Charitable Gift Annuity Rates are up! Susan Perlis Instructor of Dance 225-578-4174 sperli1@lsu.edu

Kristin Sosnowsky Associate Professor of Arts Administration, Managing Director of Swine Palace 225-578-9274 ksosno1@lsu.edu Les Wade Billy J. Harbin Professor of Theatre History, Literature, Theory, & Criticism 225-578-3536 thwade@lsu.edu Ken White Associate Professor of Lighting Design 225-578-3538 kwhite@lsu.edu

Charitable gift annuity rates rose July 1, which will yield greater payouts for annuitants. The LSU Foundation can help you meet charitable goals and guarantee that you receive income for life. Once you establish a charitable gift annuity with the LSU Foundation, you receive an income for the rest of your life. Upon your death, the College of Music & Dramatic Arts will receive any funds remaining in your annuity. Charitable gift annuities offer, for up to two annuitants, lifetime annuity rates that are unaffected by inflation.You may enjoy tax advantages (income, capital gains and estate) and will eliminate the impacts of stock market fluctuations.

Current Sample Annuity Rates Age 68 77 85 90+

Rate 5.7 % 6.7 % 8.1 % 9.5 %

To learn more about charitable gift annuities and other incomeproducing planned giving options, please contact Steven Covington at scov@lsu.edu or 225-578-9268.

One of your favorite memories about working here at LSU or CMDA I have many fond memories of my time so far here in the Theatre Department. I have worked on sets, been used as props for students acting scenes and also took part in this past season production of “Outworks Festival.” David on CMDA Commencement Planning of the CMDA Commencement couldn’t be done without the help of all the great staff we have in the College of Music & Dramatic Arts. I make sure that all elements needed are pulled together so that we have a successful ceremony. These elements are: location, time, programs, script, diplomas, helpers, stage setup, musicians, singers, and the

reception. Throughout the semester, I’m the contact person for any questions from students, faculty, or staff concerning commencement. What else is there to know about you? I am a successful business owner (At Your Service Staffing), have a job that I love (how many can say that?), and I live for a good adventure, I have sky dived, been certified in scuba diving, traveled all over the world. At the age of 42, don’t have any plans of stopping. I know my adventures are just starting.

David also received a Staff Outstanding Service Award last November.

Interview by Curtis E. Adamson Jr.

David has been described as “Energetic” and “Friendly” by his colleagues. falll 2 20 010 01

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Development Our College's reputation for excellence in education and service to the community y has been propelled by visionary and generous philanthropists. Endowed chairs and professorships help us recruit and retain world-class faculty, while scholarships draw equally gifted students. Large commitments from donors and underwriters ensure that highly-regarded productions by Swine Palace, LSU Opera, and the Tiger Band delight audiences year after year. Frankly, most of these performances never would make it to the stage without your charitable support. The College of Music & Dramatic Arts now is moving forward with an ambitious agenda to further expand the scope of our service, both to the students on our campus and to people throughout Louisiana. Soon we'll provide live, on-demand learning experiences in the performing arts for students in classrooms across the state using interactive Internet technology. We'll also launch a Performing Arts Academy to provide instruction in theatre, dance, and music in the Baton Rouge region as well as hosting summer camps in various disciplines. Our reach beyond LSU's campus will be enhanced greatly when celebrated pianist Christopher O'Riley, our first Visiting Distinguished Artist performs under the auspices of LSU in New Orleans and Shreveport. And, we’re looking at opportunities to take LSU Opera into major metroplitan areas in the Gulf South. These initiatives are bold and necessary, but they’ll only meet their potential if underwritten by the philanthropic support of visionary donors. I encourage you to consider how it is that you can invest in the College of Music & Dramatic Arts’ future with a donation to support one of our exciting initiatives. Here in this edition of Re-Imagine you’ll have the opportunity to read about philanthropists who in the last year joined us to underwrite some of our most important work. At the same time, I’m pleased to share with you the ways in which you can make a donation that is reflective of your values and your passion for the performing arts, one that will have a lasting effect in our College, in the lives of our faculty, students, and entire community. These may include outright contributions to support your favorite Music and Dramatic Arts performances, or substantial endowment contributions to provide the financial vitality we’ll need to maintain excellence in years to come. I greatly value your friendship and support of our College, and I look forward to collaborating with you as we move toward a bold and vibrant future. tow

Steven Covington Director of Development

Make a gift to the College of Music & Dramatic Arts ! Visit the “Giving” section of LSUFoundation.org to make your contribution online. Or call Carol Newman at 225.578.8594 to learn more.


Development News janice h. pellar Creative Arts entrepreneurship project consultant, Jeff Nytch, on student

opportunities Dr. Jeff Nytch is Director of the Entrepreneurship Center for Music at the University of Colorado at Boulder and is a contributing dynamic to the forthcoming Janice Pellar Entrepreneurship Project for the College of Music & Dramatic Arts at LSU. Nytch’s outstanding career is a vital factor for the development and structure of the Pellar Entrepreneurship Project.

Nytch sat down for a one-on-one interview regarding the upcoming entrepreneurship events arising at the College of Music & Dramatic Arts at LSU.

What tactics and public relations strategies did you use to inform students and put the Entrepreneurship Center for Music on the college radar? Public Relations work for the center (in Colorado) is an ongoing process that requires work on as many fronts as possible. In terms of a visual presence, I speak to freshman and graduate student orientations as well as during the Dean’s Convocation, which is a required weekly meeting for all first semester undergraduates. I also speak at studio classes and anywhere else students can put a face with the program. Why is public relations important in the entrepreneurship awareness at the University of Colorado at Boulder? You have to do everything you can to keep the program in front of the students on an ongoing basis. Eventually it starts to register that they could/should be availing themselves of what you’re offering. Why is entrepreneurship training and knowledge, especially in music and theatre, so imperative and valuable to college students? There are two reasons, and the first would be supply and demand. The supply of music graduates produced every year exceeds the number of conventional music jobs available. There are lots of other ways to apply one’s music degree, but somebody has to be teaching students what those options are and how to pursue them. Another aspect is the changing marketplace. Between demographic shifts, the digital revolution, and changing social and political attitudes towards public funding of the arts, artists are facing a marketplace undergoing enormous changes. Those who think they’re going to build the same careers as their teachers, or build them in the same ways, will be left behind.

Article by Rachel Larson

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CMDA Annual Report Revenues 17% Public Grants 0% 17% Private Gifts 44% 1% Special Events 4% 0% Endowment Income 15% 9% Foundation/Corporate Support 9% 43% Ticket Sales 15% 13% Student Fees 13%

Theatre

Music

Expenses 74% Faculty/Staff Salaries & Benefits 67% 4% Guest Artists & Scholars 0% 7% Production Expenses 0% 0% Undergraduate Scholarships 17% 1% Operating Expenses 1% 14% Graduate Scholarships 14% 0% Faculty & Student Travel 3%

Theatre

58

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Music


Ethnic Breakdown of Students 6% African American 4% 4% Hispanic 7% 85% Caucasian 73% 3% Asian 6% 0% American Indian 1% 2% Other 9%

Theatre

Music

Degrees Awarded 81% Bachelor’s 57% 19% Masters 35% 0% Doctoral 8% Please Note: The Department of Theatre offers a Ph.D. in Theatre, however we did not have any students graduate in ‘08-’09

Theatre

Music

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SAVE THE DATE FOR

LSU DAY SATURDAY, NOVEMBER 13, 2010 9 a.m. — 1 p.m. Come visit us in the LSU Union Theater for CMDA LSU Day Activities visit homecoming.lsu.edu for more information

Robert Grayson 25th Anniversary Concert Featuring Paul Groves, Chad Shelton, and Matt Morgan September 23, 2010 7:30 p.m. LSU Union Theater

Above clockwise from upper left Robert Grayson, Paul Groves, Matt Morgan, Chad Shelton

Robert Grayson, chair of CMDA's voice and opera division, will mark his 25th anniversary with a concert featuring three of his former students, Paul Groves of the Metropolitan Opera, Chad Shelton of the San Francisco Opera and Matt Morgan of the New York City Opera. Each of these alums, all tenors, have distinguished themselves on the stages of opera houses across the country and around world. They will join Grayson along with pianist Michael Borowitz of the LSU Opera in a program that will include arias by Verdi and Puccini, songs by Duparc and R. Strauss, and beloved Italian songs. PURCHASE TICKETS

w cmda.lsu.edu p 225-578-5128

Where Are You Now? We are always interested in what our alumni are doing. Email us at cmdapr@lsu.edu and let us know of your achievements, current projects and future events.

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Please join music and theatre alumni in a fun-filled weekend as we tailgate and cheer on LSU Tigers as they play West Virginia, watch the Tiger Band march down Victory Hill, and attend Swine Palace’s first production of the season, Design for Living. For complete details, a schedule of events, and to secure your alumni reunion tickets today, visit cmda.lsu.edu/alumni. Advanced reservations are advised as Alumni Reunion Weekend packages are limited to 350 persons. For more information, contact Jacquelyn Craddock at 225.578.9277 or jcraddock@lsu.edu.

The College of Music & Dramatic Arts trains, cultivates, prepares and rewards excellent artists, scholars, educators, and performers—fostering passion for the arts, collaboration, and the creation of new works. The music and drama units at LSU are a Louisiana resource with a national presence and international reach.

Degree Offerings BACHELOR OF MUSIC Concentrations Brass Composition Harp Organ Strings Percussion Piano Piano Pedagogy Voice Woodwinds BACHELOR OF MUSIC EDUCATION Concentrations Instrumental Vocal

MASTER OF FINE ARTS Specializations Acting Costume Technology & Design Properties Technology Scenic Technology & Design MASTER OF MUSIC Specializations Collaborative Keyboard Composition Conducting Jazz Studies Music Education Music Theory Musicology Performance Piano Pedagogy

DOCTOR OF MUSICAL ARTS Specializations Conducting Performance DOCTOR OF PHILOSOPHY IN THEATRE Specializations Theatre History, Dramatic Literature, and Dramatic Theory & Criticism DOCTOR OF PHILOSOPHY IN MUSIC Specializations Composition Experimental Music & Digital Media Music Education Music Theory Musicology

BACHELOR OF ARTS MUSIC BACHELOR OF ARTS THEATRE Concentrations Arts Administration Literature, History & Theory Performance Technology and Design Theatre Studies

For More Information, Contact Cassandra Jackson 225.578.2664 cmjacks@lsu.edu or visit cmda.lsu.edu


College of Music & Dramatic Arts Louisiana State University 102 New Music Building • Baton Rouge, LA 70803-2504

Non-Profit Org US Postage PAID Permit No 733 Baton Rouge, LA 70803

Every Gift Counts. Every Year. Each year, thousands of alumni, parents and friends invest in Louisiana State University, helping the university fulfill its mission to educate, inspire, create and teach. Their gifts come in all sizes and make big differences. Your generosity will help LSU College of Music & Dramatic Arts provide financial aid to talented students. You’ll help create theatrical productions, concerts, research opportunities, and new initiatives that benefit every student. You’ll support great teaching. And, you’ll be part of the College of Music & Dramatic Arts’ mission to educate a new generation of actors, musicians, technicians, administrators, scholars, and designers. Just know that your gift – in any amount – makes a vital difference in the College of Music & Dramatic Arts’ continued success, every year. Your gift will be included in the Forever LSU campaign, which will position LSU as one of the leading public institutions in the nation. To make a difference today, please give online at lsufoundation.org/contribute


Re Imagine: Fall 2010  

The LSU College of Music & Dramatic Arts Newsletter for Spring 2010

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