- Good afternoon and welcome to the 38th Annual Showcase of the Arts. I'm Peggy Bachman and I'm Co-President
- of the National Society of Arts and Letters, the Bloomington Chapter. I'm sure that you all know that
- the Bloomington Chapter is the only one in the country which holds a competition in each of the disciplines
- of art, music, literature, dance, drama, and this year we added musical theater.
- And to this end, we raised a record-breaking $21,650 in cash prizes, which we will award this afternoon.
- Thank you so very much, all of you, for the work you've done to make this possible. And now this is
- the yearly venue where you will be able to see and hear the winners of our competitions. Please go into
- the art gallery downstairs
- before you leave so that you can see the art show. Next year, we hope to show slides of the winning
- works. I'd like to thank our first Vice President, David Albright, who's standing at the door for arranging
- this showcase, as he has for several years, along with his helpers, Mary Carol Reardon and George Koronek.
- After the show, the prizes will be awarded.
- Thank you. I'd like to introduce you to my co-president, Ingellar Welch. Thank you very much. I can
- only agree with Peggy, every word she said. I'm 100% behind her. I also have the pleasure to introduce
- this afternoon
- Once again, our Master of Ceremonies, Professor Murray McGibbon. Professor McGibbon, as you may know,
- has been with us in previous years, the last two years anyway, is a professor of the Department of Theater
- and Drama at Indiana University and has an MFA from the University of Southern Illinois. He's a native
- of South America, which is a lovely country.
- where he received a number of major directing awards, along with the university, which include Aqueous,
- Midsummer Night's Dream, Romeo and Juliet, and this season, he will be directing Master Harold and the
- Boys. Please give a warm welcome to Murray McGibbon.
- Thanks. Good afternoon. It's good to be with you again. Our first performer this afternoon will be Sam
- Wotton. Sam holds a Bachelor of Arts degree from the University of Georgia and is a second year student
- in the MFA acting program at Indiana University. Since being with us, he has performed in Proof, Romeo
- and Juliet, Lysistrata, and Art at the University Theater. And he has played in Picasso at the La Panna
- Gille and My Three Angels at the Brown County Playhouse.
- as well as being in an independent production of our country's good here at the John Waldron Art Center.
- He can currently be seen in Malafickia, a wonderful discovery of witches, at the Bloomington Playwrights
- Project this afternoon, within a few minutes after performing here, and again this evening. So those
- of you who sneak out, I know where you're going. This summer, Sam will study Commedia dell'arte in Italy
- with the famed Antonio Fava. Today, he will be doing excerpts from William Shakespeare's
- the Merchant of Venice, and the Mercy Seat by Neil Labout. Please welcome Sam Wotton. Certainly my conscience
- will serve me to run from this Jew, my master. The fiend is at my elbow and tempts me, saying to me,
- Gobble. Lancelot, gobble. Good Lancelot. Good Gobble. Good Lancelot, gobble. Use your legs.
- Take the start. Run away. Well, my conscience says no. Take heed on us, Lancelot. Take heed on us, Gobble.
- My honest friend, Lancelot Gobbo, being an honest man's son, or rather, an honest woman's son, for indeed,
- my father did something smack, something grow to. He had a kind of a taste. Well, my conscience says,
- bouge not, bouge, says the fiend, bouge not, says my conscience. Conscience, say I, you counsel well.
- My conscience is but a kind of hard conscience to offer to counsel me to stay with the Jew. Who is,
- say to me, reverence the devil incarnate? But the fiend, if I should run from the Jew, well, I would
- be following the devil himself. But in my conscience, my conscience is but a kind of hard conscience
- to offer to counsel me to stay with the Jew.
- The fiend gives the more friendly counsel. I will run, fiend. My heels are at your commandment.
- I will run. You think I was born this way? Like I'm some
- Hot throat pirate of the high seas? Huh? Hell, I'm just trying to muddle through. That's all, just muddle
- my fucking way through the middle age. See if I can make it that far. Wait, you like trivia so goddamn
- much, well, here's a tidbit for you. I'm faking, okay? Totally getting by on fumes. I put my game face
- on and I go out there
- Scared shitless. But you know what? I take that back. This is me. I screwed up every step of my life,
- Abby. I'm not afraid to admit it. Happy to, actually. I'm happy to sing it out there for anybody who
- wants to hear. I always take the easy route. Do it faster, simpler. You know, whatever it takes to get
- it done. Be light. Get by. That's me. Cheated in school.
- screwed over my friends, took whatever I could get from whomever I could take it from. My marriage,
- there's a goddamn fiasco, of which you're intimately aware. The kids, I barely register as a dad,
- I'm sure. But compared to the other shit in my life, I'm Dr. Fucking Spock. No matter what I do or have
- done, they adore the house.
- Kids are like. And you. I mean, let's not forget you. Us. I haven't done all I said. I promised I do.
- I fuck up along the way. But I've been trying. I really have. This time out, I've really been trying
- with you. I don't know what it looks like or feels to you.
- But I've really made a go of us. And so then yesterday, through all the smoke and fear and just... I
- don't know, apocalyptic shit. I see a way for us to get out of it. You know, to totally erase the past.
- And I don't think that makes me Lucifer or some criminal or a bad man for noticing it. We've been given
- something here. A chance to...
- all the rotten crap we've done. More than anything, that's what this is. A chance. I know it is.
- Jenna Wolf is currently pursuing a ballet major with an outside field in business at Indiana University,
- and is a part of the IU Honors College. She began dancing at the Ruth Mitchell Dance Studio in Atlanta,
- Georgia, at the age of four. Continuing her training, she joined the Ruth Mitchell Dance Theater, and
- subsequently danced in various ballets, including The Nutcracker, The Sleeping Beauty, La Bayader, Coppelia,
- and Swan Lake. She has also had soloist roles in
- Sherba gala performances, and at the Spoleto Arts Festival in Charleston, South Carolina. With the Indiana
- University Ballet Theater, she has had roles in original works by Mark Godden and Violette Verde, The
- Nutcracker, Swan Lake, George Balanchine's Four Temperaments and Serenade, and The Sleeping Beauty.
- For us this afternoon, she will be dancing Aurora's Variation from Peter Tchaikovsky's Sleeping Beauty.
- Mary Jarrell grew up in the small town of Petersburg, Indiana, and she's been an undergraduate degree
- from the University of Evansville. She is currently completing her master's thesis at Johns Hopkins
- University under the direction of poet Dave Smith. Her work has been published in several journals,
- including The Rainbow Review, Hayden's Fairy Review, Poeta del Sol, and The Formalist. She has also
- received two consecutive Intro to Journal Awards
- from the Associated Writing Programs. Today she will be reading four of her poems. The four poems I'm
- reading today are from a longer series of narrative poems, all set in a small town. The first two are
- from the perspective of a young woman who lives in the town and her experiences at the county fair.
- The last two are from the perspective of two older women in the town. Demolition Derby. Another word
- for girl was target, which I should have read but didn't in his smile the first time I climbed in the
- driver's seat. His 89 Impala lasted four whole minutes before two tires blew and I became the candy
- stuck in his steel pinata.
- scared senseless, which he liked, and falling hard for the violent rush, the magic of the hit, the souped-up
- consciousness. I learned to strip the cars myself, to smash them in the back end so they spun, and how
- to get unhooked. I didn't mind the busted lip, bruised wrists, or blues I had the morning after. But
- sometimes, walking off the field alone, the empty bleachers littered with
- soda cans, beer bottles, and half-eaten funnel cakes, I remember my first race and that boy as scared
- for me as I was, winking as he strapped me in and sent me chasing after more than just a crush. Behind
- me now lies a trail, deep ruts, and wrecks of crumpled steel, while across the chest of my t-shirt,
- the spattered mud from spun-out tires dries brown and stains like blood.
- Pig wrestling. Well-greased and terrified, it screeches its way into the pen where we four high school
- girls last year's division champs anticipate its first evasive move. It barrels left, zigzagging right
- between us while we slog barefoot, our jeans rolled to the knees through muck three inches deep.
- The crowd shouts strategies as we close in, the pig prepared to dodge us like a cornered memory that's
- stuck somewhere between forbidden and forgotten. We spring together, struggle to subdue it, stop its
- squealing, feel its slimy skin beneath us, the muscles twitching. When the bell calls time, it twists
- off in escape, just like those thoughts that bolt away after their capture, more alive than when you
- pinned them for the count,
- Anniversary. He's hiding things from me again. I found our bank book in the freezer stuck between the
- icy slabs of deer meat our boys brought home last fall. The past few nights, I haven't slept with him.
- He doesn't remember who I am. He called me a hussy and a fool to think he'd sleep with just anyone who
- walked into his room. At the hospital today, the therapist played the moonlight serenade
- and asked him what he remembered about the song. He knew the name and hummed the tune in his wobbly
- old man baritone. Frank Sinatra sang that song, he said, and closed his eyes. I watched him sway to
- the music, wondering if he remembered my head on his shoulder at the USO in Boston, holding him so tightly
- as we danced that the buttons of his jacket left small imprints on my chest and stomach.
- Yesterday, on our anniversary, I took out our old wedding pictures. I didn't expect him to remember
- them, and he didn't. They tell me this is good for him, but I'm not convinced. He asks me questions
- as he glances at them, but he doesn't believe my answers. He just looks at me. His eyes are clear and deep.
- Cold water in a wishing well, but his thoughts are burnt gold pennies tossed by lovers, friends,
- and children, old and new coins spread apart or jumbled up together, lying at the bottom with no way
- to scoop them out without falling in. Beautician. Because they know she'll do it when their time has
- come, her ladies sometimes joke about it at the shop.
- They stand and say, I want it just like this, then laugh at the mirror. She laughs, too, until someone's
- last appointment brings her here, to this white room of sterile metal, quiet, cold, windowless. She
- only sets the sides and front, the backs not seen, of course. She works on women she has known for more
- than 30 years, making sure the handheld dryer is on the cooler setting, doing things exactly like she's
- always done.
- When the hair has dried, she takes the rollers out and lets the perfect glossy curls fall into place.
- Then, with a curling iron, touches up the last few strands. But today the iron grazes the dead flesh
- at the temple, hissing softly. And for a moment she expects to see the woman's facial muscles press
- the mouth into a rounded ouch of pain and hear some sound emitted from the throat.
- Instead, she only hears the echo of her voice. I'm sorry, Catherine. As embarrassment warms her face,
- knowing the hand that wants to ease the darkening burn is her small, age-spotted own. Thank you.
- Abigail Mueller from Evanston, Illinois, is a senior majoring in theater and drama at Indiana University.
- On the IU main stage, she has appeared in Trelawney of the Wells, Sweeney Todd, Sweet Charity, and the
- IU Broadway Cabaret. Other credits include Queen of Bakersfield at the John Waldron Arts Center, How
- to Succeed in Business Without Really Trying at the Baskook Chumley, and Man of La Mancha, Little Shop
- of Horrors, Fiddler on the Roof,
- and the last five years, all with the Rocky Mountain Repertory Theatre in Grand Lake, Colorado. She
- will be performing selections from the most happy fella and the last five years. Please welcome Abigail Mueller.
- My name is Catherine Hyatt. I'm here to see Mike Stelmeyer, please. Thank you. Hyatt! Mike! Hyatt! It's
- Kathy Hyatt. No, no, no. This will only take a minute. I'm sorry if I'm interrupting. Well, two things.
- Actually, one, I just wanted to make sure you got those reviews I sent you from the summer. Yes, I got
- some notices in the local paper and I thought you'd enjoy them.
- to send out another set of those, sure, sure. The other thing was just, you know, checking in, seeing
- if there's anything you wanted to send me in for. I feel like I'm in a really good place right now.
- Yes, yes, yes, certainly. As soon as I'm doing something in the city, I will let you know. Okay, thanks
- so much for your time, Mike. Okay, I'll talk to you soon.
- Christopher Nochtrab is completing his second year with the Indiana University Ballet Theater. He began
- his dance training with his mother in Long Island, New York, and as he advanced, he joined a small company
- known as Harbor Ballet Theater in Port Jefferson, New York. He danced in many ballets with this company,
- including The Nutcracker, Peter and the Wolf, and many new works. He also attended summer ballet intensive
- programs with the Pittsburgh Ballet Theater School, The Rock, and Chautauqua.
- Since arriving at IU, he has danced in new works by Jacques in Virginia and Cezbron, George Balanchine's
- Four Temperaments, and Serenade, Swan Lake, and The Sleeping Beauty. This summer, he will be performing
- as a company apprentice with the Chautauqua Company. For us this afternoon, he will be doing the male
- solo from George Balanchine's Square Dance.
- Jason Plaude is currently a graduate student at IU where he studies with Patricia Wise. He received
- his Bachelor of Music and Voice Performance from the University of Southern Maine. Since coming to IU,
- he has appeared with the IU Opera Theater in La Traviata, The Merry Widow, The Ballad of Baby Doe, and
- Peter Grimes. He has also had roles elsewhere in The Marriage of Figaro, The Telephone, The Secret Garden,
- HMS Pinafore, Rita, and Jekyll and Hyde.
- His concert soloist work includes Gabriel Forez Requiem, Wolfgang Mozart's Requiem, Ralph Vaughan Williams'
- Five Mystical Songs, and Joseph Hayden's Lord Nelson Mass. Among his honors are the Lillian A. Nordica
- Scholarship, the Emily K. Rand Vocal Prize, and the Ed DiBrando Pisetti Scholarship. He will be singing
- an aria from Mozart's Marriage of Figaro, and an art song by Richard Strauss. Ladies and gentlemen,
- Jason Plaude.
- Have you already won the case? What do I hear? What do I have to do with it? I want to punish you in
- such a way. It will be my pleasure.
- If the old woman pretends to pay her, in what way? And then there's Antonio, who refuses to marry a
- nephew to the unknown Figaro. Cultivating the pride of this mad cat,
- Let's make a turn.
- take a short break.
- As we resume our program, the next performer will be Laura Otto. Laura has a BA in English and a BA
- in rhetoric from the University of Illinois Urbana-Champaign, and she is currently completing work for
- an MFA in fiction at IU. She's also the associate director of the Indiana University Writers Conference
- and a freelance journalist for The Business Ledger, a business newspaper serving the Chicago area. She's
- a single mother of a six-year-old boy, Cole,
- who is her pride and joy, but the greatest detriment to getting any work done. She spends lots of time
- driving coal to hockey, baseball, and martial arts practice, and not much time writing. Any writing
- that she does tends to be late at night. For us, she will read selections this afternoon from her short
- story, How to Kill a Wild Boar.
- How to Kill a Wild Boar is written in second person point of view, which means that the narrator is
- addressing a you character and making the you character a central character in the story. In this story,
- the you character is named Jory. Her mother died while giving birth to her, and Jory has grown up living
- alone with her father. Jory is now 17 and is trying to come to terms with her and her father's strained
- relationship. How to Kill a Wild Boar. You can do it with a bullet.
- But if you're really brave, you'll use a bow and arrow. Your best bet is to get him in the neck. You
- have one shot. If you miss, the boar will go after you. And believe me, you don't want to be faced to
- snout with an angry boar, because with every wild boar comes 10 wild boars. They travel in packs, and
- they'll come after you with their long razor-sharp tusks, poking and jabbing you in the legs, leaving
- scars a foot long and an inch deep. And if you fall,
- Don't fall. It's all over. They've got you, your little girl stew. And they'll eat anything, roots,
- cow patties, onions, lizards, small birds, raspberry jello, sour corn, eggs, grapes, their own dead
- kin. Don't think they won't eat you. Your father tells you this as you watch him snap open the bed of
- his pickup truck. He has just returned home from a six-day camping trip.
- Three of the days were spent driving from your home in a small Chicago suburb to the South Carolina
- swamps and back again. Primo hunting ground, your father explains. You are watching Three's company
- reruns when he runs inside the house waving his arms frantically. Jory, you've got to see something,
- he says, breathless. When he clicks the television off, you sigh and roll your eyes. Your home early,
- you say. It is noon on a Saturday.
- You didn't expect him to return until early the next morning. You had been looking forward to an evening
- alone, or almost alone. Jean, your boyfriend of six months, is supposed to come over with a bottle of
- sparkling grape juice and a rented copy of Pulp Fiction.
- Jean knows you don't like sleeping alone when your father's out of town, especially since you just found
- out that Darren, the pimply-faced kid that lives next door, has been hiding in the bushes that line
- the front of your house and watching you undress at night. Darren is only 12, but he looks nearly 20.
- And unlike the other little boys that live in your neighborhood,
- He is already taller than you and has patches of brown fuzz that trail the soft curve of his jaw in
- wild and erratic patterns, like the chia pet your father bought you for Christmas three years ago. Darren's
- mother works late at Jenny's, a little diner on the west side of town. And sometimes, late at night,
- you hear his stepfather yelling at him, and you hear crashes and metal things banging together. And
- you hear the high-pitched screech of his stepfather's car
- as he spins out of the driveway. And if things get really bad, you hear Darren blast the Star Wars theme
- song so loud that the ceramic ballerina on top of your dresser wobbles a little. If things get really,
- really bad, Darren will scream at the top of his lungs, sometimes in tune with the music. Once, he screamed
- for a good 10 minutes straight, beginning with a droid battle and not ending until passage through the
- planet core.
- You feel sorry for Darren and disgusted at the thought of him looking at you that way. You wonder if
- he ever watched you make out with Gene or dance around your room in your Tuesday underpants pretending
- to be baby from dirty dancing. You wonder if he ever saw you scratch your butt or pluck the tiny black
- hairs that grow out of the space between your eyebrows. You wonder how many times he saw you naked or
- if he saw you naked at all. Most of all, you wonder what it is about your tall, lanky body.
- too tall and too lanky for a girl of 17, in your opinion, that he finds so appealing. But when you lie
- awake at night, the noises from next door are somewhat comforting. You marvel at Darren's amazing lung
- capacity, the reverberating battles of the house next door, so different than your own speechless house.
- You wonder what it must feel like to scream like that. You tried practicing once in the shower, wondering
- if your father would run up the stairs panicked.
- You screamed for five minutes straight until foamy rivers of shampoo slid down your forehead and filled
- your mouth, and you had to stop. Gene tells you that it's peaceful in your house, calm, refreshingly
- still. Not a creature is stirring, he says, tickling your foot. I would have killed for this at your
- age. My house was full of noises all the time, the coffee grinder, my brother's stereo. I would have
- loved this. You have so much freedom.
- You grimace at the way Gene said, your age, like you're his five-year-old cousin or something. Then
- you think about the word freedom and realize that freedom is earned. Freedom means giving up something
- because you want to, because you don't want it anymore. But I never asked for this, you say. I never
- asked for all this quiet. When your father grabs your hand and pulls you out of the chair, you think
- about calling Gene.
- You want to tell him not to come or to forget about the sparkling grape juice at least. You don't want
- your father to find out that Gene sometimes spends the night when your father is away. You don't want
- your father to notice Gene's dark green silk boxers, the ones with the dancing jalapenos that you love
- so much peeking out from the waist of his jeans. You don't want your father to smell Gene's excess cologne
- or notice the small cut on his chin still bleeding from a fresh shave.
- Gene always tries to make himself look good for you, and you are afraid that your father will notice
- and start asking questions. You are afraid that your father will see the indentations from your fingernails
- in his back like tiny half moons. You are afraid that your father will smell Gene's musky odor in your
- hair, on your hands. You and Gene have not had sex yet, but you have come close. Gene says he's willing
- to wait, but by the way, his hands reach for the arch of your back,
- pulling you towards him in desperate thrusts, you are not sure how long. Or perhaps you are not so much
- afraid that your father will find out about you and Gene, but that he will notice but say nothing, looking
- at you with a slight tilt of the head as if you were a complex math equation. And then he'll shake his
- head and walk away, and you'll want to tell him to come back, to not give up, but he'll already be gone.
- You want to call Jean, but before you can pick up the phone, you find yourself standing at the edge
- of the driveway, shivering in just a t-shirt and running shorts, despite the glare of an October sun.
- Your father is excited and talking rapidly. He is now telling you about the mating habits of wild boars
- and how they have a three-inch layer of fat, grizzly tendons between their muscle and skin that's as
- strong as armor.
- And to kill them, you have to aim for this one particular spot at the base of their neck, directly between
- the shoulder blades, and how he knows a guy that tried to kill one with a pistol, but the bullet bounced
- right off. When he says, bounced right off, he points at his chest, and then at you, and you wonder
- if it is a symbolic gesture. His cheeks are flushed, the same pale pink color of your petaguanas tongue.
- You rarely see him like this, so ready and willing to look you in the eyes.
- Usually he looks the other way when he sees you coming. And sometimes you think the fragility of your
- 17-year-old body and the peachy scent of your perfume scares him a bit. A reminder of the woman you
- killed when you heaved your way through the dark tunnel of her vagina and out into this bright white
- world. Sometimes you think he hates you for it. Thank you.
- Jessica Galgiani will graduate from Indiana University this coming August with a BS in ballet and biology
- after only two years of study. She was born and reared in Tucson, Arizona, and she began taking ballet
- when she was eight years old, inspired by a ballet teacher who was brought in to coach the gymnastics
- team Jessica was on. Jessica was trained under the expert eye of Mary Beth Cabana and spent summer workshops
- with the San Francisco and Boston Ballets. Over time, she progressed to performing leading roles in
- classical ballet such as The Nutcracker and more contemporary pieces set for Cabana's company Ballet
- Tucson. She graduated from high school with honors and was named a National Merit Scholar and an AP
- Scholar with Distinction. At IU, she has recently performed in Sleeping Beauty, staged and coached by
- Julie Kent. Jessica hopes to begin her professional career
- fall. Today she will dance a variation from the bluebird pas de deux from Sleeping Beauty.
- Nino Cotirella is a student of Menekim Prezler at Indiana University School of Music. Nino made his
- public debut at the age of 14 performing his own composition, Rhapsody for Piano and Orchestra with
- the Evansville Philharmonic. Since then, he has performed extensively in public. Recently, he was invited
- to play Franz Liszt's first piano concerto with the Indianapolis Symphony Orchestra for a private donor
- appreciation concert. And in January 2004,
- He did a concert tour of the Hawaiian Islands. He has won many top prizes and competitions. Among these
- are the Indianapolis Concerto Competition at the age of 17, the National Foundation for Advancement
- in the Arts Competition, the Music Teacher's National Association Competition, and Indiana University's
- Concerto Competition. Nino is also an active composer.
- and has won awards in several composition competitions, including a second prize nationally in the Music
- Teacher's National Association Composition Competition. This afternoon, he will play pieces by Claude
- Debussy and Sergei Rachmaninoff.
- you
- Vanessa Brinchley hails from Utah, where she received degrees in theater and political science summer
- cum laude from Utah State University. She was Miss Utah in the Miss America competition and received
- the Burt's Parks Talent Award at the Miss America Pageant. Currently, she is a first-year MFA student
- in acting at Indiana University, where she has appeared in Jacques Brel Is Alive and Well in Living
- in Paris and the Laramie Project. Her credits before arriving at IU include
- The King and I, Pegger My Heart, and Pride and Prejudice. She's also been a performer with the Utah
- Festival Opera Company and the Old Lyric Repertory Company. This summer, she will be a member of the
- Acting Company of the Utah Shakespearean Festival. For us this afternoon, she will perform excerpts
- from William Shakespeare's Henry IV Part II and Conor McPherson's The Where. Please put your hands together
- for Vanessa Brinchley.
- was ill-sorted. Therefore, captains have need look to it. For God's sake, thrust him downstairs. I cannot
- endure such a fusty and rascal. Oh, you sweet little rogue, you. Alas, poor ape, how thou sweatest.
- Come, let me wipe thy face. Come on, you whoresome chops. Ah, rogue, if they
- In March last year, the school had a sponsored swim, and the kids were going to swim the length of the
- pool, and I promised I was going to watch her, but I got, well, I was late.
- out of work, and I was only going to be able to meet her afterwards, but when I got there, there was
- an ambulance outside, and I thought like, well, the pool is in the central remedial clinic, and so I
- thought like it was just somebody being dropped there. I didn't really pay any attention, but when I
- got in, there was nobody in the pool, and one of the teachers was standing there with a group of children,
- and she was crying, and some of the kids were crying, and then this woman,
- Another one of the moms came over and she said that there'd been an accident and that Neum had hit her
- head in the pool and she'd been in the water and they were trying to resuscitate her. But she said she
- was going to be all right. She was in her bathing suit and the ambulance man said he didn't know if
- what he was doing was working and he didn't know if she was alive, but the ambulance man knew.
- I think. Well, she wasn't breathing and he just knew. And he said if I wanted to say goodbye to her
- in the ambulance in case I didn't get a chance in the hospital, then. So I gave her a little hug. Her
- body was freezing cold. I told her that mommy loved her very much. She just looked asleep, but her lips
- had gone blue
- Colin Donnell, originally from St. Louis, is now a junior at Indiana University majoring in musical
- theater through the individualized major program. He has performed, or is performing in, Sweet Charity,
- Betty's Summer Vacation, Sweeney Todd, and Parade. His regional credits include shows such as Miss Saigon,
- South Pacific, My Fair Lady, and a number of others at Muni St. Louis. He plans to return there again
- this coming summer. But before he does so,
- He will be participating in May in the National Society of Arts and Letters National Competition in
- Musical Theatre at Urbana-Champaign, where the top prize is $10,000. Today Colin will do selections
- from She Loves Me, Hello Dolly, and Doonesbury.
- me and to my amazement I love it knowing that she loves me she loves me true she doesn't show it well
- how could she when she doesn't know it yesterday she loathed me but not today she loves me and tomorrow
- I'm speechless, for I mustn't tell her. It's wrong now, but it won't be long now, before my love discovers
- that she and I are lovers.
- Just think, there I sat, cooped up in Yonkers for years and years, and wonderful people like Mrs. Malloy
- were just walking around in New York, and I didn't know them. I don't know if y'all can see it from
- where you're sitting. Well, for instance, the way her cheeks and her eyes and her forehead come together
- up here. Can you? I tell you right now that a fine-looking woman is the
- greatest work of God on earth. You can talk all you like about the pyramids and Niagara Falls, but they
- aren't in it at all. I mean, of course, I've talked to women before, but today, today, I talk to one
- equal to equal, and they're so different for men. And they're often mysterious, too. I bet that you
- could know a woman for a hundred years without ever being really sure whether she liked you or not.
- Today, I've lost
- My job, my future, everything that people think is important. But I don't care. Even if I have to dig
- ditches for the rest of my life, at least I'll be a ditch digger who once had a wonderful day.
- not to move too fast with her. I know we're new at learning how to care, but if she comes to me a night
- that's soft and still
- Theresa Herold is a master's student at IU studying with Constanza Cucaro. She has recently performed
- in IU's production of Peter Grimes, The Magic Flute, and the Lafayette Symphony Orchestra, and a local
- Bloomington production of Dido and Anais. Among her past credits are roles in Jeppe, The Marriage of
- Figaro, and Dr. Miracle. She's also soloed with several local and university choirs, performing such
- works as Mozart's Coronation Mass,
- Handel's Messiah, Schubert's Mass and E-flat Major, Bach's Magnificat, and Britain's Rejoice in the
- Lamb. In 2003, she received third place in the Indianapolis Matinee Musicale. She also placed first
- in both the 2001 and 2002 competitions of the National Association of Teachers of Singing. In 2002,
- she participated in the Maine's Emerging Artist Program, and in 2003, she attended the Charlie Creek Workshop.
- This coming summer, she will be a member of the Bach Festival Chorale in Carmel, California. Teresa
- will perform an art song by Brahms and an aria by Rossini.
- note on which to end our program this afternoon. It's been a pleasure to be with you and to introduce
- you to this remarkable talent and I'd now like to turn the podium back to Ingallor Welsh and Peggy Buckman
- to introduce the NSAL area chairs who will present the awards to the winners.
- Thank you very much, Murray, and thank you everyone who performed. It was absolutely thrilling and fabulous.
- I enjoyed it a lot, and I hope you did too. We are now going on to our awards, and Peggy Bachman will
- be giving out the awards for the visual arts program. She is doing this for Rhoda Celizzi, and Becky
- Cresmolos.
- Would the award winners for the visual arts competition please come up to the front of the stage? And
- we would like to ask the audience to hold your applause please until we have completed the awards.
- The first award is to Ayako Goto. He has been awarded the Pygmalion's Merit Award in Visual Arts.
- Not here? Okay. Gabby Grodin has been awarded Pygmalion's Merit Award in Visual Arts.
- Wes Harvey has been awarded the Bachman Merit Award in Visual Arts. Congratulations. Nick Canning has
- been awarded the Keller Merit Award in Visual Arts. Congratulations. Brian Smith has been awarded the
- Kahl Merit Award in Visual Arts.
- Neil Colander has been awarded the Klein Merit Award in Visual Arts. Michael Schulbaum has been awarded
- the Schnicke Merit Award in Visual Arts. Congratulations. Shane Moses has been awarded the Alan W. Kahn
- Memorial Award in Visual Arts. Is that how you say your first name? Chaney. Chaney, I'm sorry. Congratulations.
- Timothy Borntrager has been awarded the Carter Merit Award in Visual Arts. Congratulations. Jared Landberg
- has been awarded the Grace Dyer Memorial Award in Visual Arts. Congratulations. Jesse Mathis has been
- awarded the Christ Merit Award in Visual Arts. Congratulations.
- John Dean Eleven has been awarded the Alma Eicherman Memorial Award in Visual Arts. Rachel Brewer has
- been awarded the Noor Primo Merit Award in Visual Arts. Congratulations. Wes Harvey has been awarded
- the Rosemary Fraser Merit Award in Visual Arts. Congratulations.
- And Matthew Ballou has been awarded the Chapter Career Award in Visual Arts. Congratulations. Okay,
- that's it.
- I'd like to introduce Joan Athanas, Joanne Athanas, who is chair of the dance. She will present those
- awards. First, I'd quickly like to say a few thank yous before I invite the winners up.
- I'd like to thank my friend, Mary Stroh, who stood in for me during an emergency. Mary is right there.
- And Mary is going to be our dance chair next year. Thank you, Mary. I'd also like to thank our trio
- of judges who gave up a Sunday of their lives to adjudicate this competition. They were Larry Attaway
- of Indianapolis, Elizabeth Hartwell of Louisville, and Michael Tevlin of Cincinnati. And finally, I'd
- like to thank our member, Violet Verde,
- who really makes this competition a success. She coaches the students, helps them with their variations,
- and I thank her very much. I'm sorry she couldn't be here today. And I guess that's it. Would the winners
- now come up and please hold your applause till the end.
- Fifth place award, the Athanas Merit Award, goes to Elana Lichtman. Our fourth place award is the Shiner
- Merit Award, and it goes to Stephanie Lam. Our third place award goes to Christopher Noctrob, and it
- is the Marina Svetlova Tribute Award, donated by Violet Verdi.
- Our second place winner is Jenna Wolf, and she receives the Marina Svetlova Tribute Award donated by
- Lila Hughes. And finally, our first place winner is Jessica Gagliani, who wins the $1,000 award donated
- by the Bloomington Chapter members. And you may applaud.
- I have the honor to ask Marilyn Norris, who's the chair of the Drama Awards, please to give her awards.
- And I congratulate you, too. Thank you. Drama winners, will you take the stage? And we'll remind you
- to hold your applause until the end.
- is not what actors do on stage. The theater is the spontaneous combustion that occurs between what the
- actors are doing on stage and you in the audience. These today we honor because a panel of very distinguished
- judges decided that these six and one, the two who could not be here, were capable of creating that
- spontaneous combustion
- even on the basis of a very brief one or two minute audition. And so we like to honor them and congratulate
- them today. The winner of the Ilknoll and Robert Ralston Merritt Award is a Phi Beta Kappa double major
- in Thea and Geology and unfortunately today is on a required geology field trip. Alia Maria Tawell received
- the Ralph Collins Memorial Award.
- receives the Lazarus Merit Award. Congratulations. Josh Devoyan receives the Frank and Becky Persimales
- Merit Award. Congratulations. And in a few minutes, we'll be on stage in Tidus and Brontas. Michael
- Malloff receives the Linneth Rocket, Carol Mooney, and Fran Snig Memorial Award. Congratulations.
- on stage in a few moments. Sam Wojtek, who is the recipient of the Laura Scheiner Memorial Award, is,
- even as we speak, on stage in Malafika at the Bloomington Playwrights Project production. And our chapter
- career winner, Vanessa Wrenchley, congratulations.
- I would like to introduce Ruth Albright, who is chair of the literature competition. Ruth. Thank you,
- Peggy. Would all the literature winners please come forward? While they're coming forward, I'd like
- to tell you that it was a stiff competition this year. We had 50 entries, plays, poems, short stories,
- essays of literary merit, TV scripts, et cetera, and these
- 10 people. I'm not sure everyone's here today, but the 10 people won these awards and really deserve
- them. Our first winner is Michelle Ross, who seems not to be here. She won the McCluskey Merit Award.
- Sarah Jane Stoner won the Josephine Piercy Creative Writing Award. Congratulations. Robin Jane Kish
- won the Hannah Bennis Wilson Merit Award.
- Kathleen Susan Balma won the Roy Battenhouse Memorial Award. Amanda Hong was not able to be with us
- today. She has a class today, which is too bad for Amanda. Allison Powell, I guess she's not here either.
- She won the Will H. Hayes Jr. Memorial Award. Brian Cox. Brian won the Albright Merit Award.
- Dan Manchester. Dan won the Helen Caldwell Merit Award. Carrie Jarrell, who read her poems for us, won
- the Roy Battenhouse Memorial Award. Carrie came all the way from Baltimore to read for us today, because
- she goes to Johns Hopkins. We appreciate her coming. Laura Ann Otto won our Chapter Career Award.
- Congratulations to all the winners. I have the pleasure to ask Dee Lane to come to the podium and introduce
- her music competitors.
- they are assembling up here, I would like to remind us all that music is an exacting discipline and
- their performances and their competition represents many years of cultivating not only their instrument
- but their interpretations and their techniques and it represents wonderful discipline.
- We are proud of all. Joon Eun Jo has been awarded the Hapfield Merit Jacobi Merit Award. Her discipline
- is violin. Jessica Jo Julin.
- has been awarded the Margaret Viewer White Memorial Award. His discipline is piano. Jason Sloan has
- been awarded the Caldwell Merit Award, and you know his discipline is the voice. Nino Cocharena has
- been awarded the Elizabeth H. Berger Merit Award,
- and we congratulate you, is Disability Forces Piappa. And Teresa Piappa has been awarded the Chapter
- Career Award in Voice. Thank you very much.
- Our final presenter is George Penny, who did the competition for musical theater. George, you want to
- give out your award? It is truly a pleasure and honor to be able to present
- the first ever National Society of Arts and Letters musical theater competition. Galia Arad, Hall Merit
- Award. Alexander Meisner, the Bossman Merit Award. Rhea Campos, the Borkenstein Memorial Award and Jacobs
- Merit Award. Thank you. Zachary Frank, the Albright Caldwell Merit Award.
- Vanessa Branchley, the Scott Burgess Jones Tribute Award. Abigail Mueller, William and Gail Cook Award
- in honor of George Clooney. Colin Donald, Mrs. Granville Wells Memorial Award, our competition winner.
- Thank you very much.
- That concludes our program. We would like to ask the winners to come and stay here for a photo session
- for a minute, and then if you'd all go downstairs and enjoy yourself with some refreshments, we would
- like to invite you to do that. And that concludes our program. Thank you for coming. I hope you enjoyed it.