WEBVTT 00:00:11.266 --> 00:00:17.168 - Hi, good afternoon. Happy Palm Sunday. Pass over any other seasonal holidays that are going on. 00:00:17.168 --> 00:00:23.439 - And welcome, of course, to the 48th Annual Showcase of the Arts, presented by the Bloomington Chapter 00:00:23.439 --> 00:00:29.834 - of the National Society of Arts and Letters. My name is Eric Anderson, Jr., and it has been, of course, 00:00:29.834 --> 00:00:31.678 - my honor and pleasure to host 00:00:31.778 --> 00:00:37.566 - and MC this event for the last two years. It's wonderful to be invited back to do it for a third year. 00:00:37.566 --> 00:00:43.299 - And as some of you might know, it will probably be my final year since I am moving to Boston later on 00:00:43.299 --> 00:00:48.919 - this year. But as I understand it, Boston does not have an NSAL chapter. So I assume I will have my 00:00:48.919 --> 00:00:53.246 - work cut out for me and my NSAL affiliation will continue. Speaking of NSAL, 00:00:54.242 --> 00:01:00.290 - It is the mission of the organization to identify, encourage, and assist young people talented in art, 00:01:00.290 --> 00:01:06.162 - dance, drama, literature, music, and musical theater. And the Bloomington chapter does that through 00:01:06.162 --> 00:01:12.034 - a series of eight competitions each spring. More than $27,000 in combined awards is bestowed to the 00:01:12.034 --> 00:01:17.906 - winners in each category, 13 of whom are with us here today to share their talents. And we're going 00:01:17.906 --> 00:01:19.198 - to kick it right off. 00:01:19.554 --> 00:01:25.332 - We begin this year's showcase with Todd Allworm, an IU sophomore pursuing a bachelor of fine arts in 00:01:25.332 --> 00:01:31.567 - musical theater. In the past year alone, he has appeared in Sunday in the Park with George, IU's orientation 00:01:31.567 --> 00:01:37.402 - musical, Welcome to College, Lord of the Flies, Chicago, Catch and Release, and Lacey and Ashley live 00:01:37.402 --> 00:01:43.408 - in a trailer now. Todd, who is from Crown Point, also plays the cello and, we are told, loves to whistle 00:01:43.408 --> 00:01:47.870 - while walking around Bloomington. And as often, well, often but occasionally, 00:01:48.002 --> 00:01:54.362 - is the case when a musical theater accompanist is not to be found. I'm going to make my way over to 00:01:54.362 --> 00:02:00.850 - the piano and accompany Todd as he sings, Isn't This a Lovely Day from Top Hat. Good thing going from 00:02:00.850 --> 00:02:04.094 - Merrily We Roll Along. Please welcome Todd Alworm. 00:02:59.234 --> 00:03:05.711 - talk about this, sir, if you don't mind me by saying, I don't think it's too late. The way I see it, 00:03:05.711 --> 00:03:12.124 - two reasons why it makes sense to give me back my job. I'm a hard worker, yes, but that's only one. 00:03:12.124 --> 00:03:18.922 - And yes, I am a hard worker. But the other, sir, is that I think this is all just a big misunderstanding. 00:03:18.922 --> 00:03:25.591 - And I really do believe that we could put this morning's ugliness and pain behind us. God, it was ugly. 00:03:25.591 --> 00:03:28.798 - And I thought it was painful. But what about you? 00:03:29.442 --> 00:03:36.785 - Do you remember that earlier this morning in your office? Oh, God, thinking back on it now, I'm like, 00:03:36.785 --> 00:03:44.056 - whoa, what a scene, you know? I'm sorry that I cried. I went like a little girl, and that was wrong, 00:03:44.056 --> 00:03:50.895 - but it was what I was feeling. A lot of people cry when they're confused and when they're sad. 00:03:50.895 --> 00:03:58.094 - What about you? I don't know. You just seem like a big waller, a great, big, thick-skinned creature 00:03:58.094 --> 00:03:59.390 - from another age. 00:03:59.810 --> 00:04:08.290 - 7th Sense, sir, you seem brave. I don't know if you cry at all. But there are so many questions. Like, 00:04:08.290 --> 00:04:16.687 - what is a layoff? And what is inappropriate use of office materials? And what exactly is the sense of 00:04:16.687 --> 00:04:25.002 - a situation where one is downsized, then escorted to the elevator by security and that woman from UN 00:04:25.002 --> 00:04:29.118 - Resources? I think it's bad for the company, sir. 00:04:29.826 --> 00:04:35.107 - And that's the point I'm here to make with you this morning, that the company and you personally are 00:04:35.107 --> 00:04:36.990 - better off with me than without me. 00:07:05.314 --> 00:07:11.686 - She's originally from Chicago, where she started her training 18 years ago and is blessed to have worked 00:07:11.686 --> 00:07:17.815 - with many professionals in the dance community over the years. And after graduating, Lorena plans to 00:07:17.815 --> 00:07:24.309 - join those ranks of dance professionals, either with a dance company doing commercial work or on Broadway. 00:07:24.309 --> 00:07:30.438 - This afternoon, she will be performing. Excuse me, consonance. She will be performing her very first 00:07:30.438 --> 00:07:34.686 - original piece, Scar Runs Deep. Ladies and gentlemen, Lorena Sanchez. 00:08:00.002 --> 00:08:15.934 - by the German continuous. This day is set upon the 00:08:52.610 --> 00:08:52.958 - That's it. 00:10:30.850 --> 00:10:40.926 - The Japanese have accepted fully the surrender terms of the United Nations. This, ladies and gentlemen, 00:10:40.926 --> 00:10:44.414 - is the end of the Second World War. 00:11:06.626 --> 00:11:13.253 - Thank you, Lorena. Moving now to the spoken word, I would like to introduce Ifejudeni Oputa, who is 00:11:13.253 --> 00:11:20.409 - currently at IU, pursuing both an MFA in poetry and an MA in African-American and African diaspora studies. 00:11:20.409 --> 00:11:27.235 - She is a Cave Canem and Kalaloo fellow. She has been featured in WFIUs, The Poet's Weave, and her work 00:11:27.235 --> 00:11:33.663 - has appeared or is forthcoming in Pink Online, Kinfolks Quarterly, Crab Orchard Review, Kalaloo, 00:11:33.663 --> 00:11:36.446 - and more. A native of Fresno, California, 00:11:36.546 --> 00:11:55.037 - She shares with us today Mosaic in Nine Lives. Please welcome Ife Judeni. Thank you all for being here. 00:11:55.037 --> 00:11:59.838 - Mosaic in Nine Lives. One. 00:12:01.250 --> 00:12:10.044 - The pearl-sized hole in my sister's arm is all that remains of our messy ritual after she cuts and drains 00:12:10.044 --> 00:12:18.588 - the perpetual blackhead that swelled and abscessed to the size of a golf ball. The muck that oozes out 00:12:18.588 --> 00:12:26.884 - reeks, has been building up beneath her skin for years, only a hint of it sputtering onto my thumbs 00:12:26.884 --> 00:12:31.198 - each time I tried to push the puss out like a sigh. 00:12:31.426 --> 00:12:41.031 - my fingers not nimble enough to coax the body of its secrets. Two. When we are still young enough to 00:12:41.031 --> 00:12:50.542 - find the same things wondrous, she teaches me to play dead. This is a drill we run, one of us going 00:12:50.542 --> 00:12:59.006 - limp mid-sentence while the other runs for help or screams until the dead one says stop. 00:13:01.154 --> 00:13:11.299 - Three, the neck bone's connected to the head bone, the head bone's connected to the jaw bone, the jaw 00:13:11.299 --> 00:13:21.244 - bone knows to lock down when too much truth starts scratching. Four, I am 23 and it is spring, so I 00:13:21.244 --> 00:13:30.494 - break open a new silence and pull queer out like hair from the throat. She is not surprised. 00:13:30.690 --> 00:13:40.736 - says, as a girl, I had a dream where we were lovers. What else could that mean? Five. A cocktail or 00:13:40.736 --> 00:13:50.783 - two, and my sister is loose-lipped and earnest, pouts out stories she's forgotten not to tell, will 00:13:50.783 --> 00:14:00.126 - forget she's told in the morning. Six. We are women. We land in New York for New Year's Eve, 00:14:00.738 --> 00:14:11.320 - We walk down the airplane aisle and my sister goes limp. Seven. My sister does not want to go to the 00:14:11.320 --> 00:14:22.008 - emergency room, although she cannot zip her own shoes. She cannot walk. She cannot stand. We have not 00:14:22.008 --> 00:14:29.342 - trained for this. So I recite the blackout back to her. Slumson seat. 00:14:29.986 --> 00:14:42.508 - Eyes roll back, bottom lip slack. Then to a flight attendant, two EMTs, our mother slumps in seat. Eyes 00:14:42.508 --> 00:14:54.548 - roll back, bottom lip slack. A nurse, another nurse, a doctor, our father slumps in seat. Eyes roll 00:14:54.548 --> 00:14:57.438 - back, bottom lip slack. 00:15:02.402 --> 00:15:11.778 - The specialist shows us the blood clots effloresced across her lungs like so many dandelion seeds, so 00:15:11.778 --> 00:15:21.062 - many unspoken things. Eight. The funny bone, though connected to the arm bone, is not a bone at all. 00:15:21.062 --> 00:15:30.622 - It is the nerve that after days sleeping upright beside my sister's bed, head heavy atop my right fist, 00:15:30.946 --> 00:15:41.685 - elbow compressed onto the corner of the armrest radiates a warning down my forearm to my pinky and ring 00:15:41.685 --> 00:15:52.011 - fingers to go numb so that I cannot hold a pen or bend my arm or write at all. Nine. The body wants 00:15:52.011 --> 00:16:00.478 - to be a private thing. This I understand. There are things I still won't tell her 00:16:01.154 --> 00:16:13.838 - even when she asks. Thank you. Thank you so much. The next artist on our program is Jeremy Curtis, who 00:16:13.838 --> 00:16:26.030 - is a second year master's student at the Jacobs School of Music, studying oboe with Linda Stroman. 00:16:26.030 --> 00:16:28.862 - Unfortunately, he's... 00:16:29.474 --> 00:16:35.934 - not able to perform for us today because his accompanist has a prior commitment. Don't know why he didn't 00:16:35.934 --> 00:16:42.211 - call me. So we turn instead back to the theatrical stage. We welcome Evelyn Gaynor, a native of Acton, 00:16:42.211 --> 00:16:48.367 - Massachusetts, now completing her third year as an MFA student in acting, having previously received 00:16:48.367 --> 00:16:54.766 - a BFA in acting from Syracuse University. She was most recently seen in King Lear as goneril, her thesis 00:16:54.766 --> 00:16:57.630 - role, which capped off an impressive run at IU 00:16:57.730 --> 00:17:02.694 - which has also included Cloud Nine, The Imaginary Invalid, The School for Scandal, The God of Carnage, 00:17:02.694 --> 00:17:07.707 - When the Rain Stops Falling, Cabaret, A Midsummer Night's Dream, and Liz Estrada, as well as The Taming 00:17:07.707 --> 00:17:12.575 - of the Shrew and You Can't Take It With You for the Indiana Festival Theater. Today, with monologues 00:17:12.575 --> 00:17:16.190 - from As You Like It and other desert cities, please welcome Evelyn Gaynor. 00:17:38.978 --> 00:17:46.870 - you insult, exalt, and all at once over the wretched. What, though you have no beauty, as by my faith 00:17:46.870 --> 00:17:54.840 - I see no more in you than without candle may go dark to bed. Must you be therefore proud and pitiless? 00:17:54.840 --> 00:18:02.887 - Why, what means this? Why do you look on me? That's my little life. I think she needs to tangle my eyes 00:18:02.887 --> 00:18:06.910 - too. No, faith, proud mistress, hope, not after it. 00:18:07.010 --> 00:18:14.996 - Tis not your inky brow, your black silk hair, your bugle eyeballs, nor your cheek of cream that can 00:18:14.996 --> 00:18:23.061 - entain my spirits to your worship. You foolish shepherd! Wherefore do you follow her like foggy sows 00:18:23.061 --> 00:18:31.126 - puffing with wind and rain? You are a thousand times a proper man than she a woman. It is such fools 00:18:31.126 --> 00:18:35.678 - as you that make the world full of ill-favored children. 00:18:36.162 --> 00:18:44.909 - Tis not her glass, but you that flatters her, and out of you she sees herself more proper than any of 00:18:44.909 --> 00:18:53.656 - her lineaments can show her. But, mistress, know thyself down underneath, and thank heaven fasted for 00:18:53.656 --> 00:19:02.403 - a good man's love. For I must tell you, friendly, in your ear, sell when you can. You are not for all 00:19:02.403 --> 00:19:05.662 - markets. Cry the man mercy, love him, 00:19:06.306 --> 00:19:22.843 - Make his offer. Foul is most foul, being foul to be a scoffer. So take her to the shepherd. 00:19:22.843 --> 00:19:34.526 - Fare you well. Yeah. No. I'm not gonna do that. You're asking me 00:19:35.458 --> 00:19:44.668 - shut down something that makes me possible. Your argument for suppression means that I would die well. 00:19:44.668 --> 00:19:54.057 - I've been dead before. I'm not going back. And if that means that we are over, well, then it means we're 00:19:54.057 --> 00:19:56.382 - over and life will go on. 00:20:02.722 --> 00:20:09.904 - against the book isn't that it's meretricious, but that I should wait for you to die before publishing 00:20:09.904 --> 00:20:16.877 - it. Yeah, yeah, yeah, maybe it was crazy for me to try to write it. But I did. So I owe myself more 00:20:16.877 --> 00:20:24.128 - than that. And I owe Henry a lot more. And you're asking me for help. Henry asked you for help. He made 00:20:24.128 --> 00:20:30.334 - a brutal, terrible, awful mistake, and you shunned him. And with that, you have to live. 00:20:31.714 --> 00:20:38.637 - Relationships are hard earned things. There's a reason and a logic to them. Well, I cannot go backwards 00:20:38.637 --> 00:20:45.492 - into my cave. Mother, when you criticize and you find fault with every last move I make, yeah, I know, 00:20:45.492 --> 00:20:52.149 - for whatever reason. This is just how you were made. And I know you tell yourself that it's because 00:20:52.149 --> 00:20:58.872 - you're pushing me and you only want what's best for me. But you make it impossible for me to see the 00:20:58.872 --> 00:21:01.534 - love in that. And all I see is a bully. 00:21:02.178 --> 00:21:18.628 - who's lost touch with gentleness or kindness. That is what I see. There are many different ways of being, 00:21:18.628 --> 00:21:31.198 - and yours. I just fail to understand it. Thank you very much. Thank you, Evelyn. 00:21:32.546 --> 00:21:37.678 - Next, we have our first taste of ballet for the afternoon, performed by Kelsey Byrne. Originally from 00:21:37.678 --> 00:21:42.811 - Southern California, where she attended the Orange County High School of the Arts as a student in the 00:21:42.811 --> 00:21:48.094 - Classical and Contemporary Dance Department, she is now a sophomore in the Jacobs School of Music Ballet 00:21:48.094 --> 00:21:53.227 - Department and plans to graduate in the spring of 2015. Performing the prayer variation from Capella, 00:21:53.227 --> 00:21:54.686 - please welcome Kelsey Byrne. 00:25:44.258 --> 00:25:50.072 - Now to conclude the first half of the program, which will be followed by a strict 10-minute intermission, 00:25:50.072 --> 00:25:55.721 - we welcome bass baritone Adam Walton, a native of Orham, Utah. He is now pursuing a doctorate in vocal 00:25:55.721 --> 00:26:01.316 - performance at the Jacobs School in the studio of Costanza Cucaroe. He received his bachelor's degree 00:26:01.316 --> 00:26:06.855 - from Brigham Young University, where he was named the 2009 Male Singer of the Year and completed his 00:26:06.855 --> 00:26:08.830 - master's degree here at IU in 2013. 00:26:09.730 --> 00:26:15.096 - He has performed roles in a wide variety of operas, including The Tales of Hoffman, Johnny Skiki, A 00:26:15.096 --> 00:26:20.462 - View from the Bridge, Albert Herring, The Marriage of Figaro, Don Giovanni, and two world premieres 00:26:20.462 --> 00:26:25.882 - at our very own musical arts center, Vincent and The Tale of Lady T. Kin. Performing a reverse order 00:26:25.882 --> 00:26:31.517 - of what's in your program, Schubert's Auf der Donau and Bizet's Con la Flamme de l'amour. Please welcome 00:26:31.517 --> 00:26:35.166 - Adam Walton, accompanied at the piano by Professor Edwin Ponorwood. 00:33:57.762 --> 00:34:03.055 - It's always nice to see the audience return after intermission. So we'll continue with the showcase 00:34:03.055 --> 00:34:08.613 - today with Terence Manning. Having grown up in McKeesport, Pennsylvania, he earned his bachelor's degree 00:34:08.613 --> 00:34:12.318 - in creative writing and literature from the University of Pittsburgh. 00:34:12.418 --> 00:34:17.622 - He is currently an MFA candidate in fiction at Purdue University, where he is the fiction editor at 00:34:17.622 --> 00:34:22.879 - the Sycamore Review, teaches freshman composition and creative writing, and recently he was a top 25 00:34:22.879 --> 00:34:28.135 - finalist in the Glimmer Train Fiction Open, as well as the Cincinnati Review Schiff Awards for pros. 00:34:28.135 --> 00:34:33.600 - He also received the chapter career award in literature from NSAL in 2012. Here to read for us, Andretti 00:34:33.600 --> 00:34:36.254 - and the El Camino. Please welcome Terence Manning. 00:34:45.826 --> 00:34:52.674 - Thank you for having me. This story is about many things, but one of the central conflicts is that my 00:34:52.674 --> 00:34:59.590 - character Jay is trying to rebuild his father's old El Camino. In this scene, he's just bought it from 00:34:59.590 --> 00:35:06.639 - his uncle who owned it since Jay's father's death, and they're standing in the garage with the car after 00:35:06.639 --> 00:35:13.823 - the tow truck leaves, and they're kind of discussing the legend of the Camino. Andretti and the El Camino. 00:35:13.823 --> 00:35:15.166 - This car has become 00:35:15.394 --> 00:35:21.893 - Quite the legend, my Uncle Ricky said. Your daddy and me picked it up together. All the way in Allentown. 00:35:21.893 --> 00:35:28.085 - Few hours, but worth the trip. He lit a cigarette. Your daddy heard about it from a buddy. Got it in 00:35:28.085 --> 00:35:34.338 - his mind, and that was it. That's how he was. Got an idea, and he'd drive it home. He wouldn't let up 00:35:34.338 --> 00:35:40.530 - about this damn Camino. Called it a gentleman's ride, a real American muscle car. And he hadn't even 00:35:40.530 --> 00:35:44.638 - seen the thing. I laughed and kicked the tire, looking down at it. 00:35:45.090 --> 00:35:51.842 - Faded black, rust rising up like flames eating away at the body. Come a long way since that night, 00:35:51.842 --> 00:35:58.731 - hasn't it? Sure has, he said. And the legend stands? Sure it stands. People say Andretti touched it. 00:35:58.731 --> 00:36:05.620 - They say maybe even owned it. That's bullshit, Jay. You know better. He looked inside the car toward 00:36:05.620 --> 00:36:12.577 - bits of bark, leaves, and dirt accumulated on the cracked interior. More than touched it. I was there 00:36:12.577 --> 00:36:14.078 - and I seen it myself. 00:36:14.786 --> 00:36:20.779 - I grabbed a milk crate full of greasy bolts and gasket shards and dumped it on the floor. Turned the 00:36:20.779 --> 00:36:26.713 - crate and sat down. Dean told me you guys bought the car and left. He said Andretti might have been 00:36:26.713 --> 00:36:33.003 - there, but he never touched the Camino. Dean got no imagination, my uncle snapped. He don't see something 00:36:33.003 --> 00:36:39.174 - with his own eyes. He thinks it's not the truth. He got no hope, no nothing. Sometimes, I swear to God, 00:36:39.174 --> 00:36:41.726 - I believe that boy was born a goddamn log. 00:36:41.890 --> 00:36:48.184 - You think your daddy's the kind of son of a bitch to hear Mary Andretti touch this car and leave? 00:36:48.184 --> 00:36:54.606 - He's not, and neither am I. He smoked. Your daddy was a dreamer, not like Dean. He heard about that 00:36:54.606 --> 00:37:01.028 - car and didn't let up until we drove out mid-summer, hot like July should be hot. That was 1974. We 00:37:01.028 --> 00:37:07.515 - didn't stay inside an air-conditioned house. We went out to sweat in the sun. That summer, heat kept 00:37:07.515 --> 00:37:08.478 - up into night. 00:37:09.250 --> 00:37:16.526 - We took the breezeway past Allentown, where the locals race fast cars, real cars, strong cars, the way 00:37:16.526 --> 00:37:23.801 - they used to be. And there it was, the 72 El Camino, just like your daddy described it. Black like the 00:37:23.801 --> 00:37:31.289 - night, chrome mirrors, chrome rims, enough goddamn chrome to keep a boy busy polishing for months. Enough 00:37:31.289 --> 00:37:38.494 - rust now to polish for years, I laughed. Shut your mouth, he said, not smiling. Let me tell you this. 00:37:38.978 --> 00:37:45.602 - His daddy and me intended to buy it and come home. Things changed. Andretti wasn't just there. He was 00:37:45.602 --> 00:37:52.550 - leaning on the hood of the Camino. This hood, this hood, he said, tapping the hood with his middle finger. 00:37:52.550 --> 00:37:59.109 - Said he'd heard about it too, and he'd come there to race it. I wanted to laugh as my uncle told the 00:37:59.109 --> 00:38:05.603 - story. Mario Andretti racing my father's Camino, but he kept pausing, staring into the Camino as if 00:38:05.603 --> 00:38:07.486 - he could see it there again. 00:38:07.906 --> 00:38:14.817 - pearl black and running, before the wreck or the rust or the vanished glow, and it was alive again, 00:38:14.817 --> 00:38:22.143 - humming, breathing from the exhaust, a monster engine with a pretty hood and power beneath it. I couldn't 00:38:22.143 --> 00:38:29.054 - lie. Instead, I felt frightened watching him, sad for him, uncomfortable. And he raced it, I asked. 00:38:29.666 --> 00:38:36.065 - Sure did, he said. Your daddy and me leaned on the fence like everyone else, shaking the metal with 00:38:36.065 --> 00:38:42.528 - our fists when Andretti passed, engine roaring. My God, we were kids in our 20s. Your crazy son of a 00:38:42.528 --> 00:38:49.247 - bitch daddy was thrilled, smiled like a fool. Hell, so did I. Andretti won. Of course he won. He's Mario 00:38:49.247 --> 00:38:55.902 - Andretti, the king. Pulled off that track and handed those keys to me right in front of everyone. Yeah, 00:38:55.902 --> 00:38:57.822 - it's hard to believe, I said. 00:38:58.658 --> 00:39:04.383 - meaning it less sneeringly than it had sounded. It's the truth. He handed us the keys and left. I'd 00:39:04.383 --> 00:39:10.451 - have liked to see that, I said, trying to imagine a look on my father's face. My father, in his twenties, 00:39:10.451 --> 00:39:16.519 - red-cheeked and stupid, thinking he'd witnessed something unreal, that he'd been handed a gift, a legacy, 00:39:16.519 --> 00:39:22.415 - that he'd driven away from Allentown and more than an El Camino. He'd driven away laughing and stunned 00:39:22.415 --> 00:39:24.190 - with his brother close behind. 00:39:24.610 --> 00:39:31.355 - smiling still at each other in the mirrors, probably wishing the entire time to talk about what they'd 00:39:31.355 --> 00:39:37.969 - seen but unable to for hours. Must have killed him. My father got excited. He carried it with him. I 00:39:37.969 --> 00:39:44.583 - remember that much. When he was happy, he was happy as hell. When he was angry, we sure as hell knew 00:39:44.583 --> 00:39:51.262 - it. But in the garage with my uncle, I didn't talk about the reality of my father, the one I'd known. 00:39:51.938 --> 00:39:58.366 - I wanted Uncle Ricky's story to be the reality, the man my father might have been. Uncle Ricky was a 00:39:58.366 --> 00:40:04.794 - better source of truth. Said things about my father like, a good man, a dreamer, a big heart, a hard 00:40:04.794 --> 00:40:11.412 - working son of a bitch. And I was too ashamed to tell him that I wish I could see it that way too. Wish 00:40:11.412 --> 00:40:17.840 - I wasn't left with little else but the marching. A few images of him closing a window in the bedroom 00:40:17.840 --> 00:40:21.086 - or chopping wood out back of the house. Thank you. 00:40:29.602 --> 00:40:35.985 - Thank you, Terrence. We welcome now to the stage Mara Leffler, a second year MFA student in acting at 00:40:35.985 --> 00:40:42.306 - IU with a BA from Southern Utah University. While at IU, she has appeared in King Lear, Cat on a Hot 00:40:42.306 --> 00:40:48.752 - Tin Roof, The School for Scandal, and Richard the Third. A native of Salt Lake City, she is here today 00:40:48.752 --> 00:40:55.198 - to perform monologues from Time Stands Still and Two Gentlemen of Verona. Please welcome Mara Leffler. 00:41:19.586 --> 00:41:31.440 - I was sitting in a cafe with the Reuters guys and a car bomb went off a block or two away in this market. 00:41:31.440 --> 00:41:42.624 - And I just ran to it. Took off without even thinking. The carnage was ridiculous. Exploded produce. 00:41:42.624 --> 00:41:43.966 - Body parts. 00:41:48.642 --> 00:41:59.623 - Women keening. They were digging in the rubble for their children. And I started shooting. Then suddenly 00:41:59.623 --> 00:42:10.814 - this woman burst out of the smoke, covered in blood. Her skin was raw and red and charred and her hair was 00:42:21.794 --> 00:42:34.438 - And she was screaming at me, go away, go away, no picture, no picture. And she was pushing on me, she 00:42:34.438 --> 00:42:48.446 - was pushing on my camera with her hand on my lens. And I kept shooting. And somehow I ran the hell out of there. 00:42:50.498 --> 00:42:57.726 - to catch my breath and to check on my cameras. And there was blood on my lips. 00:46:12.546 --> 00:46:19.361 - totally wrapped with suspense. I might have waited the rest of the afternoon. So brava. Thank you. So 00:46:19.361 --> 00:46:26.310 - we move back to dance. And like one of our previous dance winners, Amani Adele-Sailors is also a native 00:46:26.310 --> 00:46:33.125 - of Chicago, where she began her dance training at the age of three at the Chicago Multicultural Dance 00:46:33.125 --> 00:46:40.542 - Center. Now a freshman at IU, Amani is a Hudson and Holland scholar and a member of the Hutton Honors College, 00:46:40.898 --> 00:46:46.048 - pursuing a bachelor of science in ballet performance with an outside field in political science, as 00:46:46.048 --> 00:46:51.609 - well as a minor in French. Performing for us now Aurora's wedding variation from Tchaikovsky's The Sleeping 00:46:51.609 --> 00:46:53.566 - Beauty, here is Amani Adele, Sailors. 00:49:22.434 --> 00:49:27.863 - Imani. Returning now to musical theater, we welcome to the stage Emily Schulteis, a junior BFA musical 00:49:27.863 --> 00:49:33.292 - theater major at IU. While here in Bloomington, she has appeared in the Truman Show at the Bloomington 00:49:33.292 --> 00:49:38.774 - Playwrights Project, Swing the Musical for Indiana Festival Theater, and Sunday in the Park with George 00:49:38.774 --> 00:49:43.518 - for IU Theater, in addition to being a three-year varsity member of the Singing Hoosiers. 00:49:43.650 --> 00:49:49.554 - Most recently, she was on stage again at the BPP, where she originated the role of Jordan in Island 00:49:49.554 --> 00:49:55.576 - Song by Sam Carter and Derek Rigger, and earlier this month was invited by the writers to perform her 00:49:55.576 --> 00:50:01.775 - 11 o'clock number from the show at 54 Below in New York City. Now performing Gotta Get Out from Ordinary 00:50:01.775 --> 00:50:07.797 - Days, Not Getting Married Today from Company, and a monologue from Just Looking, please welcome Emily 00:50:07.797 --> 00:50:08.446 - Schulteis. 00:55:57.314 --> 00:56:03.372 - up today I said I hope it's something I can play she said it was fast. So moving on to Leah Fournier 00:56:03.372 --> 00:56:09.369 - who began dancing at age three at a local dance studio in Auburn, Maine. She continued her training 00:56:09.369 --> 00:56:15.427 - at the Portland School of Ballet in high school where she performed in several shows with the school 00:56:15.427 --> 00:56:17.406 - and the Portland Ballet Company. 00:56:18.018 --> 00:56:23.805 - with soloist and demi-soloist roles in productions of the Victorian Nutcracker and Giselle. She is currently 00:56:23.805 --> 00:56:29.114 - a junior at IU, majoring in contemporary dance, where she is co-founder and board member of the new 00:56:29.114 --> 00:56:35.166 - student organization, The Movement Cooperative. Dancing her original piece entitled Woman, here is Leah Fournier. 01:00:34.978 --> 01:00:40.413 - We now welcome flutist Daniel Carlo, a first-year master's student at the Jacobs School in the studio 01:00:40.413 --> 01:00:45.795 - of Thomas Robertello. Daniel earned a bachelor of science degree in mathematics from Wheaton College 01:00:45.795 --> 01:00:51.443 - in Wheaton, Illinois, where his musical endeavors included study with Jenny Brown, playing in the Wheaton 01:00:51.443 --> 01:00:56.879 - Symphony Orchestra and performing as a member of the Wheaton Flute Ensemble. He was a finalist in the 01:00:56.879 --> 01:01:02.474 - 2013 Skokie Valley Symphony Orchestra Young Artist Competition, as well as the 2012 Masterworks Festival 01:01:02.474 --> 01:01:03.646 - Concerto Competition. 01:01:04.578 --> 01:01:10.094 - And next month, he will represent the Bloomington Chapter at the NSAL National Woodwinds Competition 01:01:10.094 --> 01:01:15.773 - in Charleston, West Virginia. Performing the ballad for Flute and Piano by Frank Martin and accompanied 01:01:15.773 --> 01:01:18.558 - by Nikolai Varevkin, please welcome Daniel Carlos. 01:09:45.250 --> 01:09:50.882 - our final performer of the afternoon, mezzo-soprano Denise Usen, who comes to us from Mannheim, Germany. 01:09:50.882 --> 01:09:56.407 - She received her bachelor of voice degree at the University of Music Karlsruhe and Mannheim, appearing 01:09:56.407 --> 01:10:01.825 - at the National Theater Mannheim during that time. In addition to earning several awards and prizes, 01:10:01.825 --> 01:10:07.242 - she performed in two productions of the Young Artist Program of the Baden-Baden Easter Festival. She 01:10:07.242 --> 01:10:12.606 - is now at the Jacobs School of Music pursuing an artist diploma in the studio of Andreas Pulimenos. 01:10:12.606 --> 01:10:14.430 - And in classic opera house style, 01:10:14.626 --> 01:10:20.087 - I will let you know that she has been lately feeling under the weather. However, she will perform for 01:10:20.087 --> 01:10:25.441 - us today, and she will be performing Rossini's Cruz de Sorte and Bizet's Segue Día, accompanied at 01:10:25.441 --> 01:10:27.422 - the piano by Paul Pisano. Thank you. 01:17:29.698 --> 01:17:35.239 - And many thanks to all of you for joining us and being such a great audience this afternoon. And now 01:17:35.239 --> 01:17:41.218 - that the performance portion of our program has concluded, I will happily cede the podium to our Bloomington 01:17:41.218 --> 01:17:46.814 - chapter co-presidents, Ruth Albright and Dennis Organ for the award presentations. Thank you so much. 01:18:06.242 --> 01:18:15.351 - We didn't rehearse yesterday. Jenny wanted me to remind you that CATS is here recording this program 01:18:15.351 --> 01:18:24.460 - today and it will be shown on Channel 3 frequently in the next few weeks, I think, and you can check 01:18:24.460 --> 01:18:28.158 - that online to see what the schedule is. 01:18:28.386 --> 01:18:34.968 - I wanted to thank Eric Anderson Jr., who's been such a wonderful emcee for the last three years. 01:18:34.968 --> 01:18:42.092 - And Eric, perhaps we'll just fly you back from Boston. I don't know. We may not be able to do it without 01:18:42.092 --> 01:18:42.974 - you. Thanks. 01:18:49.890 --> 01:18:56.951 - I'm Ruth Albright and this is Dennis Organ and we're co-presidents of the Bloomington Chapter this year. 01:18:56.951 --> 01:19:04.147 - And I'm just delighted you could join us for our 48th annual Showcase of the Arts. We're obviously getting 01:19:04.147 --> 01:19:11.141 - near 50 and that will be a fun time. The National Organization is celebrating its 70th anniversary this 01:19:11.141 --> 01:19:18.000 - year. We were founded in 1944. I want to thank all of the wonderful, generous donors who have made it 01:19:18.000 --> 01:19:19.614 - possible for us to give 01:19:19.746 --> 01:19:27.188 - more than $27,000 in awards to 48 amazing young artists in visual arts, ballet, contemporary dance, 01:19:27.188 --> 01:19:34.630 - drama, literature, instrumental music, voice, and musical theater. Although our visual arts winners 01:19:34.630 --> 01:19:42.071 - do not perform in the showcase, they had a wonderful exhibit here in the Rosemary P. Miller Gallery 01:19:42.071 --> 01:19:49.662 - in January, which I hope some of you saw. It was really very nice. We were very proud of them as well 01:19:49.794 --> 01:19:56.929 - as our performing artists. A special thanks to Ivy Tech Community College for being an underwriter for 01:19:56.929 --> 01:20:03.857 - the showcase. We really do appreciate their support and enjoy working with them. We like this space 01:20:03.857 --> 01:20:10.992 - here in this auditorium. It just sort of fits us just right in that performers are sort of right there 01:20:10.992 --> 01:20:13.278 - with us and we enjoy being here. 01:20:14.306 --> 01:20:20.968 - I'm going to turn the program over to Denny to call up our competition chairs, but I would like to say 01:20:20.968 --> 01:20:27.500 - a word about these competition chairs. They are really what makes everything happen. They, you know, 01:20:27.500 --> 01:20:29.246 - send out the applications. 01:20:30.082 --> 01:20:37.171 - the applications back, and they schedule the students, and as I said, we have eight competitions each 01:20:37.171 --> 01:20:44.191 - year, so it's a really very, very large job, and they do a great job, and we absolutely could not do 01:20:44.191 --> 01:20:51.211 - it without them. So I'm going to turn it over to Danny to introduce them and let them present awards 01:20:51.211 --> 01:20:58.718 - in their categories. Thank you, Ruth. First, we'll call on Katherine Johnson-Rare to distribute the awards. 01:21:00.418 --> 01:21:09.356 - in the visual arts category. I know we had a few people contacted me and said they couldn't come. We 01:21:09.356 --> 01:21:18.205 - had the show in January, which obviously is this year, especially was not the greatest year to come 01:21:18.205 --> 01:21:24.222 - downtown and trudge through the snow and ice to see an art exhibit. 01:21:24.546 --> 01:21:30.978 - But we do have a slideshow running just outside the door. If you haven't had a chance to look at it 01:21:30.978 --> 01:21:37.668 - yet, we've got all the pieces that were in the show or in this slideshow. So thank you three for coming 01:21:37.668 --> 01:21:44.358 - today. I'm going to read through them. And if your name is called, just come up. We have the Pygmalions 01:21:44.358 --> 01:21:49.182 - Art Supplies Merit Award in Visual Arts goes to Zachary Carlisle Davidson. 01:21:52.546 --> 01:22:05.111 - We have the Alan Kahn Memorial Award in Visual Arts goes to Matisse Strath. The Grace L. Dyer Memorial 01:22:05.111 --> 01:22:17.676 - Award goes to Christina Weaver. Congratulations. We have a Pygmalions Art Supplies Merit Award to Zach 01:22:17.676 --> 01:22:21.214 - Koch. The Klein Merit Award. 01:22:21.474 --> 01:22:32.253 - goes to Tom Kolkord. Another Pygmalions Art Supplies Merit Award, thanks very much to Pygmalions this 01:22:32.253 --> 01:22:43.033 - year, goes to Izzy Jarvis. The Chris Merit Award goes to Alicia Hartzok. The Alma Eichermann Memorial 01:22:43.033 --> 01:22:45.886 - Award goes to Sean Hurley. 01:22:49.858 --> 01:23:01.780 - The Ilkner P. Ralston Memorial Award goes to Autumn Busen. Seth Dalton receives two awards, the Pygmalions 01:23:01.780 --> 01:23:09.022 - Art Supplies Merit Award and the Alma Eichermann Memorial Award. 01:23:15.906 --> 01:23:27.881 - And unfortunately, our chapter career award winner was not able to join us today. He has to take down 01:23:27.881 --> 01:23:39.856 - a show elsewhere. But Martin Beach won that award this year. So thank you very much. Next, the ballet 01:23:39.856 --> 01:23:45.022 - competition coordinator, Anne-Marie Parker. 01:23:54.978 --> 01:24:16.510 - more ballet dancers, please come down. I'm very happy to present the Marina Stutlova Memorial Award to Andrew 01:24:24.482 --> 01:24:37.129 - The Joanne Athanas Memorial Award for Colin Ellis. Thank you. And the Marina Stotlova Memorial Award 01:24:37.129 --> 01:24:46.270 - to Kelsey Byrne. And the Joanne Athanas Memorial Award for Amani Saylor. 01:24:59.874 --> 01:25:14.932 - the Contemporary Dance Awards and for that we call on Celine Carter. Could I invite the Contemporary 01:25:14.932 --> 01:25:28.798 - Dance Awardees to join me please? Thank you all so much for your support. It's such an honor 01:25:29.026 --> 01:25:35.791 - to receive awards. And I had a friend once tell me in dance that awards were good because you got to 01:25:35.791 --> 01:25:42.623 - practice receiving goodness. And as I reflected on that advice today, I thought about how much all of 01:25:42.623 --> 01:25:49.588 - you make that possible. Your generosity and support allows them to receive goodness. And then I thought 01:25:49.588 --> 01:25:56.286 - about how much being a teacher to these talented young people is another way of receiving goodness. 01:25:56.386 --> 01:26:06.357 - It's just wonderful that this chapter is here to give goodness. And thank you dancers for giving us 01:26:06.357 --> 01:26:16.727 - goodness in your work. The first award I'd like to present is to Christian Long for the Marina Svetlova 01:26:16.727 --> 01:26:23.806 - Memorial Award. Next to Erin Blair, the Joanne Athanas Memorial Award. 01:26:32.642 --> 01:26:41.961 - Jessalyn Givas is the winner of the Shiner Merit Award in Contemporary Dance. Where's Lorena? Okay, 01:26:41.961 --> 01:26:51.838 - good. I'll put that aside for her. Lorena Sanchez is the recipient of the Marina Svetlova Memorial Award. 01:26:51.838 --> 01:27:00.318 - And finally, we have the Chapter Career Award in Contemporary Dance goes to Leah Fournier. 01:27:18.466 --> 01:27:25.790 - Announcing and presenting the Drama Awards, I will call on Don and Debbie Brighter. 01:27:47.042 --> 01:28:05.963 - Okay, we have the Drama Awards going to Ian Demont Martin. Adam Gregory St. John, who cannot be with 01:28:05.963 --> 01:28:14.206 - us today. Emily Harp. Samuel Evans Barkley. 01:28:19.170 --> 01:28:32.665 - Evelyn Gaynor. And last but not least, Marta Leffler. Thank you. We thank you very much for all the 01:28:32.665 --> 01:28:46.430 - donations and all the awards that have been bestowed upon our wonderful talent here at IU. Thank you. 01:29:04.802 --> 01:29:31.998 - The Literature Awards, Rick and Lois Hall. We had 27 entries this year and three fabulous judges. 01:29:32.738 --> 01:29:44.798 - The judges asked to do it again this year, which was very nice. And they picked some fine winners. 01:29:44.798 --> 01:29:51.742 - The first, of course, was our chapter winner, Ify Oputa. 01:30:05.410 --> 01:30:17.066 - Joanne Athanas Memorial Award in Literature goes to Terrence Lee Manning. Natalie Lund was not able 01:30:17.066 --> 01:30:28.956 - to be with us today and she regrets that very much, she said. But the next one for the David Albright 01:30:28.956 --> 01:30:33.502 - Memorial Award goes to Leslie Aguilar. 01:30:47.042 --> 01:30:59.990 - Elizabeth Cooley, I don't believe this is here. No. The Mira Merit Award in Le Truco is to Paul Cuanion 01:30:59.990 --> 01:31:03.102 - Austin. Congratulations. 01:31:18.754 --> 01:31:27.171 - The coordinator for the instrumental music, Emma Dederich, is not here today. However, Ruth has the 01:31:27.171 --> 01:31:35.757 - proper papers. The Hamm Merit Award goes to Samantha Johnson who plays the clarinet. She was not able 01:31:35.757 --> 01:31:44.595 - to be with us today because one of her professors was retiring in Indianapolis and it was a very special 01:31:44.595 --> 01:31:46.110 - occasion for her. 01:31:46.370 --> 01:31:57.067 - Oh, I forgot to call them up. Oh, jeez. And I write these rules. Daniel, I know you're here somewhere. 01:31:57.067 --> 01:32:07.556 - Come on down. And Jeremy, did you make it? He's here. Good. Jeremy was not able to play for us today 01:32:07.556 --> 01:32:12.126 - because his accompanist was unable to play. 01:32:12.866 --> 01:32:20.765 - And so the Mrs. Granville Wells Memorial Award, which in instrumental music goes to Jeremy Curtis. This 01:32:20.765 --> 01:32:28.740 - is an award that was left to us in an endowment by Herman B. Wells, our former president and chancellor. 01:32:28.740 --> 01:32:36.487 - Congratulations, Jeremy. Thank you very much. And as you've heard, Daniel's going to be going with us 01:32:36.487 --> 01:32:37.854 - to West Virginia. 01:32:38.018 --> 01:32:52.762 - and compete for a $10,000 top prize in woodwinds. So we're excited about that and I hope he is too. 01:32:52.762 --> 01:33:07.358 - He receives the Donald Traub Tribute Award in Instrumental Music 2014. Daniel. Coordinator for the 01:33:07.522 --> 01:33:21.303 - vocal music competition, Mary Alice Cox. Can all the voice winners please come forward? I think we have 01:33:21.303 --> 01:33:35.614 - two people who could not be with us today. And the first one that I will mention is the winner of the Helen 01:33:35.938 --> 01:33:42.720 - and Linton Caldwell Memorial Award and the Davis Merit Award. And that was Elise Marie Kennedy. She 01:33:42.720 --> 01:33:49.841 - is actually out of state auditioning right now. But we do have the winner of the Joanne Athanas Memorial 01:33:49.841 --> 01:33:52.350 - Award and that goes to Martha Eason. 01:33:59.458 --> 01:34:08.621 - Also, the winner of the Cox Cook Merit Award is Elizabeth Toy, and she is at this moment performing 01:34:08.621 --> 01:34:18.242 - with the Bloomington Chambers Singers. So she couldn't be here. The winner of the Donald Felton Memorial 01:34:18.242 --> 01:34:27.588 - Award goes to Jacqueline Matava. The winner of the Spence Merit Award and the Jacobi Merit Award goes 01:34:27.588 --> 01:34:29.054 - to Denise Ozan. 01:34:29.826 --> 01:34:42.922 - She can barely talk. I gave her a very potent lozenge and I think that saved the day. The winner of 01:34:42.922 --> 01:34:48.030 - our chapter award goes to Adam Walton. 01:35:04.578 --> 01:35:14.809 - The conclusion of our awards presentation activities will be carried out by George Penny, who coordinated 01:35:14.809 --> 01:35:24.557 - the musical theater competition. Well, today is technical rehearsals for guys and dolls, and many of 01:35:24.557 --> 01:35:33.726 - the students are at that technical rehearsal. There should be seven students standing up here. 01:35:33.986 --> 01:35:40.857 - The first one actually is Todd Alworm, who performed in Act One of our Showcase Day, and he's behind 01:35:40.857 --> 01:35:47.933 - the scene crewing to make sure the set doesn't fall down, so we congratulate him. He received the Scott 01:35:47.933 --> 01:35:55.348 - Burgess Jones Tribute Award. Elaine Cotter, the Bloomington Chapter, is receiving the Rogers and Hammerstein 01:35:55.348 --> 01:35:59.294 - Award. Bea Fitzgibbon, the Joanne Athanas Memorial Award. 01:36:05.986 --> 01:36:14.265 - Kayla Eilers, the David E. Albright Memorial Award and Shiner Merit Award. Who's not here? Caitlin Mays, 01:36:14.265 --> 01:36:22.622 - the Helen and Lytton Caldwell Memorial Award and the Ilfner P. Ralston Memorial Award in musical theater. 01:36:24.194 --> 01:36:31.172 - Hannah Slayball, Robinson Merritt Award, and Covener Merritt Award. I might say she's not in Guys and 01:36:31.172 --> 01:36:38.151 - Dolls, but she's at the moment still in New York, and she'll be flying back tonight. We just finished 01:36:38.151 --> 01:36:45.129 - our New York Showcase, and she's been there for two weeks. I'm very happy to say that she's been cast 01:36:45.129 --> 01:36:51.902 - in the national tour of Annie as Star to Be. And the Chapter Career Award goes to Emily Schulteis. 01:37:03.106 --> 01:37:10.558 - Again, I would second what Ruth said about the work, the core work really of our chapter is done by 01:37:10.558 --> 01:37:18.085 - the competition coordinators. They do a lot of work and at times a lot of worrying too. Things don't 01:37:18.085 --> 01:37:25.760 - always work out smoothly, but they hang in there, they make do, they make the most of the moment, they 01:37:25.760 --> 01:37:32.318 - call on credits and favors, and somehow it all comes together in what we've done today. 01:37:32.418 --> 01:37:43.455 - It's just amazing and heartwarming to see it turn out like that. I'm glad that Rick Hall mentioned the 01:37:43.455 --> 01:37:53.206 - judges. We couldn't do these things without competent, informed, and conscientious judges, 01:37:53.206 --> 01:37:57.278 - and they do it. It's a labor of love. 01:37:59.010 --> 01:38:06.973 - We have to give them credit, at least some of the credit, for just how well some of our winners here 01:38:06.973 --> 01:38:15.172 - have done when they went on to the national competition. And I would be doubly remiss if I didn't close 01:38:15.172 --> 01:38:23.213 - my words here with a big vote of thanks to our production, our theater production crew. That includes 01:38:23.213 --> 01:38:28.574 - Hank McDaniel or Henry McDaniel, if you want to be proper about it. 01:38:28.962 --> 01:38:44.018 - He headed it up. The work of Aaron Bowersox and the lighting, critical part of what makes this thing 01:38:44.018 --> 01:38:55.646 - nice, in my opinion. Matt Herndon certainly did a lot all around. Not just in 01:38:56.802 --> 01:39:04.690 - you know, what their designated duties were, but things like putting this Marley floor down last night. 01:39:04.690 --> 01:39:12.350 - It was midnight when I left, and Hank said it was about two o'clock in the morning when he got home. 01:39:12.350 --> 01:39:20.162 - So this tells you something about the schedule we're on as we get into the countdown here to showtime. 01:39:20.162 --> 01:39:26.078 - Ruth, did you want to final word, or do you want to comment on the reception? 01:39:27.010 --> 01:39:33.964 - We hope that you all will join us downstairs in the lobby and the galleries for the reception in honor 01:39:33.964 --> 01:39:41.121 - of the young artists. And we hope you will come down and get to know them a little bit better. And thanks 01:39:41.121 --> 01:39:45.374 - so much for coming. We really enjoyed your being here. Thanks.