Fall 2013 Program #3

Contents Fall 2013

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Issue 3

November 7-17, 2013

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GREGG MUSEUM FASHION SHOW: ADELAIDE AFUA WOTORTSI PMC LECTURE: DIALI CISSOKHO & KAIRA BA THE GAME’S AFOOT GREGG MUSEUM “CRYSTALIZES” FUTURE EXPANSION NC STATE DANCE PROGRAM FALL CONCERT NC STATE JAZZ ENSEMBLE I TOTALLY BEETHOVEN: MUSIC @ NC STATE CELEBRATES 90 YEARS

Ghanaian designer/dressmaker

Adelaide Afua Wotortsi THURSDAY, NOVEMBER 7, 2013 AT 7PM  Washington Sankofa Room, 126 Witherspoon Student Center

When her uncle emigrated to the United States and sent back glowing stories of life in North Carolina, Adelaide’s mother began applying for the annual visa lottery offered by the U.S. Department of State.

In 1996 she succeeded in winning a green card through the program and moved to Carrboro, NC, bringing Adelaide with her.

By then, Adelaide had already acquired her trade. Shortly before her sixteenth birthday, she had decided that she preferred art, design and working with her hands over academic studies, and once she had finished high school she enrolled in a government-run vocational school, where she learned freehand sewing and garment construction.

After two years of training and apprenticing, she readily passed the board examinations to join the Ghana National Tailors & Dressmakers Association. She was now prepared to make a living as a certified seamstress, but although dressmaking could offer a dependable income to anyone who was willing to work hard at it, it would be difficult to move beyond industrial sewing into fashion or design. Ghana’s unemployment hovered at 25%, while hundreds of thousands of young people were already working in the country’s apparel factories.

NC State students and staff will be strutting in contemporary African style on the evening of November 7th, when they don clothing created

by Adelaide Afua Wotortsi for a participatory fashion show sponsored

by NC State’s African American Cultural Center.

Held in conjunction with the joint exhibition presented by the Gregg Museum of Art & Design and the African American Cultural Center, MEASURE OF EARTH: Textiles and Territory in West Africa, this event complements the historical artifacts on display in the gallery by presenting African clothing on live models, in full living motion.

Born in 1977 in the Mataheko section of Ghana’s capital city of Accra, Adelaide Wotortsi grew up surrounded by fabrics and patterns. Her grandmother was a businesswoman who had founded a successful wholesale mercantile enterprise in Accra’s famous Makola Market, selling everything from cooking oil, bulk rice, and hundred-pound sacks of sugar, to bolts of cloth stacked so high that they formed walls of brilliant color. The shop supported the entire extended family, including Adelaide’s mother and all her aunts and uncles, who worked there until they set out on their own. In recent years her grandmother retired and one of her aunts now runs the family business.

P rogram N otes  Ghanaian designer/dressmaker Adelaide Afua Wotortsi

THE GREGG MUSEUM OF ART & DESIGN PRESENTS A FASHION SHOW OF CLOTHING CREATED BY

The move to North Carolina offered the chance to explore new ventures and to reach a wider audience. After sharing a house with her uncle in Carrboro for a year, Adelaide moved into her own place in Chapel Hill and later bought a home in Durham where, in 2003, she founded Adesco Creations and went into business for herself.

Since then, she has served the Triangle area’s growing African immigrant population as a source for custom-made traditional Ghanaian-style clothing like dashikis, smocks, and kaba-and-slits, as well as fashions based on her own designs.

After a decade of responding to customer demands in her new homeland for everything from wedding gowns to red wool hunting jackets, business is booming, especially among students who appreciate Adesco’s more contemporary clubbing wear. Adelaide Wotortsi has mounted successful runway presentations at Duke University, where her fashion shows for the Black Student Alliance have been wellattended annual events for three years in a row. This will be her first show at NC State, and it promises to be a fun evening for audience and participants alike.

Fall 2013  Issue 3  A3

MUSIC @ NC STATE and the Price Music Lecture Series present

Diali Cissokho & Kaira Ba Music inspired by West African Griot Tradition FRIDAY, NOVEMBER 8, 2012 AT 7PM  Titmus Theatre

In Mande society, the griot (or jeli) served as a historian, advisor, praise singer, and storyteller. These musicians served as walking libraries, preserving and sharing the stories and traditions of their culture through song. This inherited tradition, with its deep connections to spiritual, social, and political powers, has been passed down through generations since the 14th century.

Diali Cissokho’s mother, MoussuKeba Diebate, and his father, Ibrahima Cissokho, both hailed from long and celebrated lines of griots. Historically, each village had their own griot who told tales of births, deaths, marriages, battles, hunts, affairs, and other important events and celebrations.

“Kairaba” (pronounced “KAI rah bah”) is a Mandinka word meaning “the great peace” or “peace and love.” The Mandinka belong to West Africa’s largest ethno-linguistic group, the Mande.

The flagship instrument of Diali Cissokho & Kaira Ba is the kora, a 21 or 22-stringed bridge-harp from West Africa. According to oral traditions, the kora originated with the Senegambian Mandinka of the Kabu Empire, which encompassed parts of present-day Guinea-Bissau, southern Senegal, and the Gambia. The strings of the kora are made of fishing line and they resonate through a large, halved gourd stretched with a cowhide. Traditionally, the kora is played by Mandinka Jalis and Mande Jelis (“griots” in French), members of a special caste of society that work as musicians and oral historians. They are walking libraries of information and history; artisans of speech and sound.

Diali Cissokho & Kaira Ba creates and performs music inspired by the ancient West-African griot tradition. The band features Senegalese griot Diali Keba Cissokho – a vocalist, percussionist, dancer, and master of the kora (a 21-string African harp). Diali hails from a famed lineage of musicians and storytellers traceable to the 14th century in his native West Africa.

The band is rounded out by four outstanding North Carolina-raised musicians – Austin McCall, Will Ridenour, John Westmoreland, and Jonathan Henderson, each bringing their own musical influences to bear. Kaira Ba’s distinctive sound is reminiscent of the great West African dance bands – bursting with unison melody, adventurous improvisation, fiery solos and polyrhythmic frameworks.

Please,

during the Performance

Silence your cell phone  No photography  No texting

Thank You!

THE GAME’S AFOOT

or Holmes for the Holidays

By Ken Ludwig

FRIDAY-SATURDAY, NOVEMBER 8-9, 2013  7:30PM SUNDAY, NOVEMBER 10, 2013  2PM WEDNESDAY-SATURDAY, NOVEMBER 13-16, 2013  7:30PM SUNDAY, NOVEMBER 17, 2013  2PM WEDNESDAY-SATURDAY, NOVEMBER 20-23, 2013  7:30PM SUNDAY, NOVEMBER 24, 2013  2PM Kennedy-McIlwee Studio Theatre Director

P rogram N otes  THE Game’s afoot

University Theatre presents

THE GAME’S AFOOT is produced by special arrangement with Samuel French, Inc.

John C. McIlwee* Scenic Design Jayme Mellema Costume, Hair & Makeup Design Em Rossi Lighting & Sound Design Joshua Reaves Technical Direction David Jensen

PROFESSIONAL STAFF Acting & Vocal Coach Rachel Klem Fight Choreography Joshua Reaves Costume Shop Manager Em Rossi Costume Technician Adrienne McKenzie Assistant Technical Director Aaron Bridgman Marketing Nancy D. Breeding Marketing, Graphics & Photography Ronald A. Foreman*

ACKNOWLEDGEMENTS Lynn Fisher Dr. Mike Mullen, Vice Chancellor of DASA, the voice of the Radio Broadcast Announcement

Setting: Palace Theatre, New York City, 1936 and Gillette Castle, Connecticut River, Christmas Eve, 1936 There will be one fifteen minute intermission

CAST WILLIAM GILLETTE....................................................................................................................................Christian O’Neal* MARTHA GILLETTE...........................................................................................................................................Diana Quetti* FELIX GEISEL....................................................................................................................................................Andrew Enloe* MADGE GEISEL..............................................................................................................................................Lauren Caddick SIMON BRIGHT....................................................................................................................................................... Randy Cain AGGIE WHEELER.....................................................................................................................................................Teal Lepley INSPECTOR GORING..................................................................................................................................Allison McAlister DARIA CHASE.....................................................................................................................................................Morgan Piner

Production Crew Stage Manager..................................................................................................................................................... Nico Peaks* Assistant Stage Managers.......................................................Meghan Leonard*, Dayne Smith, Destiny McNeill Production Assistant.................................................................................................................................. Tony Scialabba* Master Carpenters................................................................................................Chris Bradsher*, Nathaniel D. Conti* Scenic Carpenter...................................................................................................................................Autumn Stephens* Assistant Scenic Artist and Props............................................................................................................Lauren Caddick Sound Board Operator............................................................................................................................... Chris Bradsher* Light Board Operator.............................................................................................................................Paige Broadaway* Lighting Assistant........................................................................................................................................Kenny Hertling* Set Crew............................................Paige Broadaway*, Kenny Hertling*, Alec Haklar, Paul Tyrlik, Kelsey Beal, .................... Maggie Miller, Omara Brock, Chu Lu, Mary Knierim, Rachel Hopler, Molly Garber, Kate Wiens, ........................ Kristen Bagley, Dayne Smith, Laura McCusker, Olivia Bunce, Lindsey Fulton, Matthew Price Run Crew........................................................................................................................................Kyle Bullins*, Alex Smith Wardrobe Supervisor.................................................................................................................................. Yamila Monge* Dressers............................................................................................................................ Heather Murray, Alyssa Padmos Costume Crew.......................................... Maggie Briggs*, Gillian Paige, Joyska Nuñez Medina, Dayne Smith, ...................................................................Greg Echavaria, Kel Henkel, Dan Smidler, Kylie Howe, Lindsey House, .........................................................................Courtney Shoaf, Heather Murray, Yamila Monge*, Destiny McNeill House Manager...............................................................................................................University Theatre House Crew Usher(s)..............................................................................................................................University Theatre House Crew *Member of Alpha Psi Omega Honorary Theatre Fraternity

Please,

during the Performance

John and Jane Kanipe for contributions to set décor

Silence your cell phone  No photography  No texting

Raleigh Little Theatre

Thank You!

PlayMakers Repertory Company

Fall 2013  Issue 3  A5

P rogram N otes  THE Game’s afoot ...continued

The Game’s Afoot Cast Bios Lauren Caddick, Madge Geisel, is a senior Park Scholar in art and design with a minor in film studies. She returns to the stage after portraying Catherine Holly in Garden District: Suddenly, Last Summer. Lauren enjoys working at the theatre as a scenic artist and is so thankful that the UT community has allowed her to stick around for the last three years.

Randy Cain, Simon Bright, is a sophomore in business management with a finance concentration with plans to minor in theatre. Randy is making his debut at University Theatre and is extremely excited to have been cast in The Game’s Afoot!

Andrew Enloe, Felix Geisel, is a junior in communications media – video production. Andrew’s previous credits include Ezra Chater in Arcadia, Freddy in Dirty Rotten Scoundrels, Mark in Rent, Officer Barrel in Urinetown, George in The Philadelphia Story, Antonio in Twelfth Night for University Theatre, and many small and short film roles. “Acting is a passion of mine that I hope to pursue for the rest of my life.”

Teal Lepley, Aggie Wheelie, is a freshman in English with a concentration in creative writing. Making her debut at University Theatre, Teal is thrilled to be a part of The Game’s Afoot. Her previous credits include the Ghost of Christmas Past in A Christmas Carol. She thanks the cast and crew for their dedicated work, as well as her parents and roommate Jessie for their support. “Theater has always been a wonderful outlet for me.

I’m very excited and honored to be a part of such an amazing show!”

Allison McAlister, Inspector Goring, is currently in her fourth year of her Ph.D. in mathematics. During her time in Raleigh Allison has joined University Theatre on stage in The Spyglass Seven, The Heidi Chronicles, The Arabian Nights, and Suddenly, Last Summer. Additional credits include Bare Theatre’s production of Shakespeare’s As You Like It. Allison is excited and honored to be back on stage at UT for The Game’s Afoot.

Christian O’Neal, William Gillette, is a senior in mechanical engineering.

Christian’s previous holiday show credits include Inspecting Carol, and It’s A Wonderful Life: The Radio Play. His one mystery credit is Inspector Goole in An Inspector Calls. Christian thanks his parents Kerry and Donette O’Neal for giving him his sense of humor and directors John McIlwee, Allison Bergman, Rachel Klem, and Ron Cole for their encouragement in his studies in the theatrical arts. He also extends his love to the students and staff of University Theatre “who truly are an extended part of my family.”

Morgan Piner, Daria Chase, is a senior in marine and coastal natural resources. Morgan is ecstatic to be a part of The Game’s Afoot. Daria is her most favorite role to date – she loves playing a super salty and witty woman who is always ready to get in the middle of gossip. Morgan’s previous credits include Mrs. Jefferson in Rent, the Red Queen in Alice in Wonderland, and Martha in A Piece of My Heart. She also loves working in short film and has won Campus Movie Fest’s best actress two years in a row. When Morgan is not on stage she is probably advocating for environmental conservation or practicing her best “Bette Davis.” Thanks for all the support. Enjoy the show!

Diana Quetti, Martha Gillette, is a senior in communication media with a minor in theater arts. Diana’s previous credits include Chloe Coverly in Arcadia, Beauty in The Spyglass Seven, Heidi in The Heidi Chronicles, Edna in An Inspector Calls, Mrs. White/White Queen in Alice in Wonderland, Renee in Dirty Rotten Scoundrels, and a member of the ensembles of both The Arabian Nights and Urinetown. She also performed in Red, White & Banned the past three years. “Thank you to Dad, Mom, Rachel, Jackie and the rest of my family and friends for your continuous support. I am so excited to be a part of the cast of The Game’s Afoot!”

The Game’s Afoot Production Bios John C. McIlwee, Director, has been with NCSU’s University Theatre for more than 27 years. He has worked extensively throughout the United States as an actor, director, costume designer, scenic designer, makeup artist, and playwright. He holds a master’s degree in theatre and a master of fine arts degree in theatre design. A recipient of the Raleigh Medal of Arts, John is also a national award-winning fashion designer and a twotime winner of the Raleigh Medal of Arts and Letters Council Award for children’s playwriting. Recently, John directed Lettice and Lovage, The Philadelphia Story, Garden District, Rent, Twelfth Night, Inspecting Carol, Black Coffee, and the winner of ARTS NC STATE’S 2012 Creative Artist Award The Spyglass Seven written by Michael Seebold. His combined directing and costume credits include Amadeus, Into the Woods, and Murder on the Nile; acted in Re:Design; directed and designed the sets for TheatreFest and the costumes for The Dixie Swim Club and Dirty Rotten Scoundrels. He continues to lecture extensively on the history of couture and costume and enjoys working with THIS amazing University Theatre staff to create a varied and exciting theatrical experience that is available to ALL university students. “Much love to Nancy for letting me out to play all these years!”

been one of the most hilarious adventures I’ve had – it promises to be a great show and I can’t wait for everyone to see it. I would like to thank my parents, the cast, the crew, the rest of my UT family, my big sister Bri, my big brother Nat, and my best friend Simba. Welcome Holmes for the Holidays.”

Nico Peaks, Stage Manager, is a junior in secondary science education with a minor in theatre. This is Nico’s ninth production with University Theatre. Previous credits include stage manager for Little Women and Alice in Wonderland, as well as on stage performances in The Arabian Nights and Dirty Rotten Scoundrels. “I’m really grateful and excited to be working with UT again. The cast and crew are amazing and this has

Dayne Smith, Assistant Stage Manager, is a senior in art studies concentrating in visual arts with a minor in theater. The Game’s Afoot is the third show Dayne has worked on the crew. Previous credits include assistant to the playwright for Alice in Wonderland and makeup crew for An Inspector Calls. “I did theatre in middle and high school and finally found my way back my junior year here. I love the people and atmosphere in theatre and I hope it will always be a part of my life.”

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Meghan Leonard, Assistant Stage Manager, is a junior in biology. This is Meghan’s fifth production with University Theatre and first time as an assistant stage manager. Her previous work includes being a member of the Dirty Rotten Scoundrel ensemble, production assistant for Alice in Wonderland, dramaturge and member of the deck crew for The Heidi Chronicles, and a dresser for Murder at the Howard Johnson’s.

Destiny McNeill, Assistant Stage Manager, is a junior in communication with a minor in theatre. This is Destiny’s first experience in the role of ASM. Her acting credits include Carmen in NCT’s award winning production of FAME and for University Theatre, member of the ensemble and soloist for Rent, and Perfect Love in The Arabian Nights. Destiny is excited to be a part of The Game’s Afoot.

The Strange and Wonderful History of William Gillette

by Ken Ludwig Early last summer I was interviewed for a newspaper story about my recent play The Game’s Afoot, and the reporter asked, quite rightly, why I decided to write a play about William Gillette. She (the reporter) had never heard of Gillette before reading my play. To her, Gillette seemed to hold a minor place in the history of the American theatre, and he lived at a time when the American theatre was in its infancy. Why set a mystery around an “obscure” American actor who lived in some isolated castle on the Connecticut River?

The answer is: The more I read about Gillette – about his wild eccentricities, his stunning theatrical successes, his romantic reputation, and his ties to the phenomenon of Sherlock Holmes – the more I believe that the question should be: how in the world could I not write a play about William Gillette?

For those who don’t know much about him, William Gillette was the first American matinee idol. He was a stunningly handsome actor-playwright who was born in Connecticut in 1853. His father was a U.S. Senator who was no doubt horrified when his son informed him that he wanted to go on the stage. But William followed through on his first love and started acting in a traveling stock company at the age of 20.

He was almost 30 when he wrote his first play, The Professor, and he managed to get it produced in New York City at the Madison Square Theatre, where it ran for over 150 performances. Other plays followed, most notably Held By The Enemy and Secret Service, both set during the Civil War, and Too Much Johnson, which was later revived on stage then filmed

by Orson Welles.

By the late 1890s, Gillette was becoming well-known for his sturdy plays and suave performances. By one account, “he could be thrilling without bombast or infinitely touching without descending to sentimentality…”

His strong, quiet demeanor as an actor made an impression on audiences all over America and soon in England as well. As a young man, he married a very beautiful woman, but she died after six years of marriage; and the fact that Gillette never remarried only added to the aura of romance surrounding him.

All of this would have put Gillette into the theatrical history books with a paragraph or two, or even a whole page: but Gillette changed everything in 1899 when he gave his first performance in the play Sherlock Holmes.

He wrote the play himself, with the personal permission of Sir Arthur Conan Doyle (the men later became life-long friends). And the play was not only an instant hit, but Gillette ended up acting in it for the rest of his life, racking up over 1,300 performances in both America and England.

Indeed, Gillette was the first home-grown American actor ever to receive critical and popular acclaim in London. There the play was performed at the Lyceum Theatre at the personal request of the greatest actor-manager of the Victorian stage, Sir Henry Irving.

Not only was Gillette a star, a playwright and a heart-throb, he was also a serious man of the theatre whose theatrical innovations have been with us ever since he created them. In particular, he brought a brand new sense of realism to the theatre – in costume, scenery, sound and lighting – and a whole new style of American acting. Audiences sat spellbound by his quiet, intelligent presence, which was not only part of his own acting style, but the perfect representation of Sherlock Holmes.

Gillette not only looked like the Sherlock Holmes that Conan Doyle described in the stories (and which Sidney Paget illustrated in the pages of The Strand Magazine), he also brought lasting innovations to the character. It was Gillette who made the deerstalker cap a symbol of Holmes (though it was first added atop Holmes’s head by Paget in his drawings).

Gillette also adopted the famously curved meerschaum pipe, and he did it for a wonderfully theatrical reason. He found that a straight pipe, as Conan Doyle described, would cover his face to the audience. The meerschaum provided the perfect solution.

I first learned about William Gillette when I visited his completely wonderful and eccentric home, which is lovingly preserved by the State of Connecticut in East Haddam on the Connecticut River. After achieving fame and fortune on stage, and living alone as a widower, Gillette decided to build a castle – a real, honest-to-God castle with crenellated battlements and huge doors – and then he decided to fill it with tricks. Thus, for example, with a series of mirrors, Gillette could sit in his bedroom and see his visitors enter the front door. He also had a disappearing dinner table, a houseboat parked outside on the river, and a miniature railroad chugging along in a circle outside on the grounds.

When I first visited Gillette Castle in the 1990s, I learned that Gillette would often bring the cast of his latest New York production to the castle on his boat, The Aunt Polly. The moment I heard this legend (true or not), I had an epiphany: wouldn’t that be a wonderful set up for a stage mystery? Eccentric, romantic man of the theatre and his cast of actors – all playing in Sherlock Holmes no less – isolated in a castle for the weekend, and then a murder takes place? I immediately picked up a pad and pencil and wrote my first play about Gillette and called it Postmortem. Flash forward to 2011 and I decided to write a second mystery about William Gillette. This one I titled The Game’s Afoot, and I’m proud to say that it won the 2012 Edgar Award from The Mystery Writers of America.

So at this point, William Gillette and I are old friends. I’m currently thinking of writing a series of mystery novels about this fabulous, mysterious, romantic, eccentric, crazy, innovative and lovable actor. As I guess it must be obvious by this time, I just can’t get him out of my head.

Ken Ludwig | www.kenludwig.com Reprinted with permission from http://www.breaking-character.com/ post/2013/09/18/The-Strange-and-Wonderful-History-of-WilliamGillette.aspx | August 27, 2013

Fall 2013  Issue 3  A7

A Conversation with Ken Ludwig

Interviewed by Ron Ziegler, Field Services Director, American Association of Community Theatre RZ: As you know, your plays are widely produced in community theatres around the country and around the world. Do you have any personal background in community theatre?

Ken Ludwig: I do have a background in community theatre. I grew up in the town of York, Pennsylvania; York has a wonderful community theatre called the York Little Theatre. And when my parents moved to York, before I was born, my mother was heavily involved in York Little Theatre and played roles there. In fact, I’ve just recently found one of her play scripts, signed by her, and I was just thrilled! So it’s very much a part of our life. I also remember auditioning for a role.

They were doing The Music Man and I was in high school and I probably was 16 or something. But I was determined. I wanted to lay the lead because I had memorized all of Harold Hill’s great patter songs (I can still just do them off the top of my head). I really wanted that role. They were very sweet; they let me audition and I did it, but obviously they weren’t going to have a 16 year old kid play Harold Hill. I should have played Tommy!

And so they let me down easy. So absolutely I love community theatre.

RZ: Besides being a playwright you are also a director, correct?

Ken Ludwig: Yes, I’ve done directing all my life.

I directed shows in college, and then I started directing professionally on and off as I wrote. But I love directing. The only trouble with directing for me at this moment is I still have a son in high school. If you want to direct, you’re gone from your hometown for six to eight weeks at a time and that’s something I just can’t do at this point.

RZ: When you direct your own plays do you ever find yourself wanting to change your script because as a director you’ve gained a different perspective?

Ken Ludwig: Oh absolutely. I’ll direct a piece and then I’ll discover I didn’t leave enough time for this person to change before an entrance or something. That might be the sort of elemental thing I discover. But the other, more profound circumstance is, if I find that in directing a scene, it ultimately doesn’t pay off or work in the way that I want it to. And then it would be a matter of me turning to the playwright and saying, “Hey, you know, write better!”

RZ: Or asking the playwright if you could make changes?

Ken Ludwig: Exactly. One of the times I directed, at the Alley Theatre – directing Leading Ladies for the world premiere production – I bought this

A8  ncsu.edu/arts

little pink hand puppet and I said, “Now listen, when I’m directing I’m not the playwright. She is the playwright. So don’t ask me to change a lot, because I’m the director. Talk to the playwright.”

It’s so easy for an actor to say, “Gee, that doesn’t work Ken, could you change my line?” Playwrights slave away trying to get lines right. As Oscar Wilde said, he spent one morning putting a comment in and then in the afternoon taking it out. You’re very careful about every choice you make as a playwright and you don’t want to make changes willy-nilly.

RZ: Do the characters and situations in your plays – as farcical as they may be at times – have a basis in real life, specifically in your real life?

Ken Ludwig: Oh, absolutely. Absolutely. Take a play like Lend Me a Tenor. People said to me, “Hey, Ken, that Max, that’s you!” If you don’t know the play it’s about a young man who wants to be an opera star and believes he has it inside him but no one else sees it. In the course of the play he proves it to the world, proves it to himself and he gains self-confidence. I went to law school because thought I needed something to fall back on. And so I spent time practicing law as sort of my day job, and I wanted to be in the theatre more than anything else, and I always did, ever since I was a kid. And I had always felt that I had this ability inside me. I had this sense of what art really is about and trying to communicate it to people and trying to make people happy and trying to give people courage and trying to make people proud of themselves and having a sense of worth and humanity. And that’s what mattered to me and I thought I could convey that. But I had to prove it. In the course of the play Max proves it.

Actually, Crazy for You is the same story as it turns out. Some people have said when you’re a writer you often end up telling the same story all your life. That’s one example.

A more specific example is in Leading Ladies.

Well you know the old lady who’s dying – you think she’s dying – I mean, that’s my godmother exactly to a T. She was funny. She had a sense of humor. She was curmudgeonly. There was nothing delicate about her. She was tough as nails but she looked frail as she got older. Meg in that play, I knew a hundred Megs. I’ve certainly known in my life Leo and Jack. I’ve known them in my work in London and in New York, they’re actors who really think they can make it but just haven’t had the chance or haven’t had the right break and at the same time they want a real life or a life with children and wives and children.

So, really, everybody I write, they very much come from real life.

RZ: I’ve always thought the dialogue you write for your characters rings true and strikes me as honest.

Ken Ludwig: That’s a real compliment. That’s sort of a deep compliment that people not in our business wouldn’t understand. That’s really what I strive for, and it’s so easy as a playwright, or any kind of writer, to fall back on mannerisms or things that you think are cute. When you read pulp novels or bad plays you see it all the time.

Finding that sense of honesty in a real simple way is in many ways the trick. It’s the skill of being a playwright.

RZ: What are you working on right now?

Ken Ludwig: Well, first of all, a couple of new plays are opening in this season. An organization that represents high school in America asked me to write a play for high schools in America and I wrote a play called Midsummer Jersey, which is an adaptation of Midsummer Night’s Dream set on the Jersey shore. I’ve written a children’s play for the first time, a new play called T’was the night before Christmas, and that’s about how an elf and mouse and a little girl save Christmas when a “fallen elf” (like out of Milton) has turned into a “pirate-like” character. He tries to steal Christmas by stealing the naughty and nice list. It wouldn’t be so bad except last year he stole Santa’s sleigh and tried to sell it to Wal-Mart, so Santa’s on to him. And then I have a play opening at the Cleveland Playhouse.

They’re just opening a new, big $40 million space; we’re going to be the very first people to ever to go into these rehearsal spaces and so they’re all excited. That play is called The Game’s Afoot.

It’s a comedy thriller about man named William Gillette who was a great, great matinee idol who wrote the play Sherlock Holmes. He actually played Holmes for 30 years on Broadway on and off, and he would often take his cast in a boat up to his castle up on the Connecticut River for a weekend of fun and games and a very elegant weekend. So I thought wouldn’t it be fun if a murder occurred during one of those weekends, and if he tried to solve it and in a sense becomes Sherlock Holmes.

RZ: That sounds like fun.

Ken Ludwig: It was fun to write. It’s something like Deathtrap or Sleuth. There hasn’t been one of those around for a long time. I thought it would be fun to try to write one.

From the AACT website, used by permission of the American Association of Community Theatre (www.aact.org). © American Association of Community Theatre

Photos (L-R): Jim Trotter and Jaye Day-Trotter in front of Distillation, a giant steel tree by sculptor Roxy Paine; Nicole Peterson, Crystal Bridges founder Alice Walton, First Lady of NC State Susan Woodson, and FOG Board member and Gregg Museum supporter Anna Ball Hodge pose for a photo inside the 21c Museum Hotel; Group shot outside the original Walton’s “five and dime” store in the heart of Bentonville; Travelers viewing Kindred Spirits by Hudson River School painter Asher Brown Durand.

gregg Museum “Crystalizes” Future Expansion First Lady of NC State Susan Woodson and Gregg Museum Director Roger Manley lead group to Crystal Bridges Museum of American Art in Bentonville, Arkansas The Crystal Bridges Museum of American Art is the brainchild of Alice Walton, the avant-garde philanthropist and daughter of Walmart founder Sam Walton. The 200,000-square foot institution, located in Bentonville, Arkansas, sits on 120 acres of land previously owned by the Walton family.

It is named for nearby Crystal Spring that flows under and around its pavilions. The museum is in close proximity to Sam Walton’s original 5&10 store that opened in the 1950s. Many of the pieces that adorn the gallery walls at Crystal Bridges today come from Ms. Walton’s personal collection.

Over a decade ago, she and her family decided to make Bentonville an extraordinary art destination by sharing their collection with the world, and in 2011 Crystal Bridges opened its gleaming doors.

In late September, in the midst of a capital campaign, a group of 25 of the Gregg Museum Campaign’s most significant friends and supporters embarked on an arts adventure to the Crystal Bridges Museum of American Art. The group stayed at the ultra-swanky 21c Museum Hotel, a unique property just off Bentonville’s quaint town square that features an impressive collection of 21st century artwork. Upon our arrival, while enjoying a welcoming wine reception,

Is That Alice Walton?

A serendipitous moment befell our group when Crystal Bridges founder, Alice Walton, casually walked up to the 21c Hotel bar and asked, in her demure, deepthroated drawl, if she could join us for cocktails and conversation! For the next hour, with her Jack Russell “Friday” by her side, Alice listened to the group talk about why we were in town and why we love the Gregg Museum. Alice listened intently and mentioned repeatedly that she likes to make dreams come true!

we took a tour of the hotel’s 12,000 square feet of exhibition space. Travelers followed the impressive contemporary art collection as it wound around the lobby and galleries and finally into the Hive restaurant, where we dined on scrumptious high-end Southern cuisine before turning in for the evening.

The next morning, either on foot or by shuttle, the group made its way to the main cultural event: the Crystal Bridges Museum. The day’s agenda included two private tours of the collection’s highlights, a picnic lunch, a special traveling exhibition viewing and plenty of time for personal observation and contemplation. American masterpieces from Gilbert Stuart, Asher B. Durand, Norman Rockwell, Andy Warhol and Chuck Close lined the walls of the galleries.

Four Shining Revelations: After two full days of artistic and cultural exploration, the group reflected upon the experience and gleaned four main points of inspiration for the future Gregg Museum: 1. Be welcoming! You only get one first impression and at Crystal Bridges, they do it right. Friendly, welcoming and accommo dating staff members abound.

2. Be clear! Guests are never cocooned by a maze of galleries at Crystal Bridges. Instead, visitors navigate through a chronologically engineered layout that allows patrons to view five centuries worth of art easily.

3. Be free and open! Admission to view the permanent collection is always free, plus the museum opens early each weekday to accommodate school groups and families.

4. Share art outdoors! Crystal Bridges is as much about the surrounding landscape as it is about the artwork and features walking paths and sculpture gardens.

A True Gem: Crystal Bridges Museum of American Art is the crown jewel of northwest Arkansas, just as the future Gregg Museum of Art & Design is soon to be the new jewel in the cultural crown of the Triangle region. The Gregg expansion will grant the museum even more opportunities to share, borrow and loan artwork with museums, like Crystal Bridges, around the country and worldwide when it reopens at its permanent home at the northern tip of Pullen Park. Such opportunities will be made possible by loyal and devoted supporters, like our travelers, who contribute to the Gregg Museum Campaign and continue to think of new ideas to help make the Gregg a “must-see” museum. And, we are almost there! We have $1.7 million of our $3.9 million private fundraising goal left to raise before the new Gregg can break ground!

An art museum can be an economic driver for communities and a creative oasis that challenges, amuses, stimulates and provokes new ideas and conversations. Crystal Bridges, nestled in a forested ravine in Bentonville, Arkansas, has become a cultural catalyst that has pushed the small town of Bentonville onto a global platform. The Gregg Museum will continue to do just that for NC State and the greater community. Director Roger Manley said it best: “If the future Gregg can come anywhere near modeling itself on Crystal Bridges – and I see no reason that it can’t – then I hope we will emulate the way that they have committed themselves to sharing something of the wonder and delight in the creative act. If we can come close to achieving that, then I think we’ll be able to say that we succeeded.”

If you would like to learn more about giving to the Campaign for the Gregg Museum, please contact Virginia Yopp, Gregg Campaign Manager, at 919-812-2355 or virginia_yopp@ncsu.edu.

Fall 2013  Issue 3  A9

NC State Dance Program Fall Concert

Please,

during the performance

Silence your cell phone No photography No texting

Thank You!

A10  ncsu.edu/arts

Photos on page A8-A10 by Ben Scott Photography

THURSDAY & FRIDAY, NOVEMBER 14 & 15, 2013 AT 8PM  Titmus Theatre

I. Choreography by Independent Study Students AM Choreography: Ashley Walls White Music: Original score by Zakk White Lighting: Joshua Reaves Performance: Casey Anders, McKenna Czap, Holley Holmes, Mary Jackson, Jacquelyn Watson The Recital Choreography & Performance: Ran Lin Lighting: Joshua Reaves Music: Claude Debussy, Clair de Lune (from Suite Bergamasque)

Waiting Choreography: Amy Mutarelli Taylor Music: Mumford and Sons, I Will Wait Lighting: Joshua Reaves Performance: Rebecca Anderson, Dianna Baptista, Leslie Barber, Jamie Barbuto, Euijin Choo, Jenna Delsignore, Shelby Gabello, TayLa Littles, Serena Murison, Ashley Sartain, Natalie Seibel, Allie Sloan, Bronchez Walls Intermission

III. NCSU Dance Company NCSU Dance Company Movement Studies Project

T’reetime Trute Underneath the Angel Tree Choreography: John Miller IV Music: Long Time, Gullah Singers; Gullah Story, Unknown; No More, My Lawd, Alan Lomax Collections Lighting: Joshua Reaves Contributions: Uninhibited Praise Gospel Choir Praise Team; Antoinette Parnell, author of Might Oak; Yuri Powe, orator of Spoken Words Performance: Dianna Baptista, Alex Cohen, Shelby Gabello, John Miller IV, Dominique Jones, Kaitlyn Lund

The News

I. Anchor

II. Traffic

III. Debate

IV. Sports

V. Breaking News

VI. World Report VII. Weather VIII. Anchor: Goodnight

Choreographer’s notes: “T’reetime Trute Underneath the Angel Tree” or “Three Time Truths Underneath the Angel Tree,” follows a day in the life of the Angel Tree which is located on John’s Island, near Charleston, South Carolina. This piece was inspired by a service learning trip that was a part of an Africana Studies class about the Gullah-Geecie culture. Upon setting foot on the sacred ground of the tree’s roots, the energy was electrifying.

Looking out on the grounds, I took my shoes off and made a raw connection with the soul of the tree. I saw the stories of church meetings, clan meetings, picnics, lynching, beatings, gatherings of hidden lovers and inappropriate friendships. With branches like limbs, knots like mouths, and bark like skin, I knew that this was no ordinary tree. After exploring and researching this spiritual geography, I knew that I had to tell the story of morning, afternoon and nighttime in the day of the life of the Angel Tree. This piece was influenced by the work of Alvin Ailey.

Choreography and Performance: Mary Bounds, McKenna Czap, Hayley Dirscherl, Mary Griffin, Holley Holmes, Mary Jackson, Katy Lund, Jacob Marx, Jessica Mattie, Angela Petrongelli, Agee Taylor, Sierra Thomas, Jacquelyn Watson Costume and Set Design: Lisa Tireman Lighting: Joshua Reaves Sound/Music: Dick Hodgin, Osceola Recording Studios, in collaboration with the choreographers, using excerpts from: Soundrangers, Garageband; Keith Olbermann, MSNBC; Bill O’Reilly, Fox News; The Green Mile; 2 M Dominion Orchestral Reed Organ –Easter Hymn (YouTube); Raw Video Bloomberg Presides Over Gay Wedding (YouTube); Protesters, Lawmakers React to Abortion Vote, The Texas Tribune (YouTube); shotgun sound effect (YouTube); The Bridal Chorus, “Here Comes the Bride,” Richard Wagner, (YouTube); Star Spangled Banner, Jimi Hendrix (live at Woodstock); Red Sox vs. Yankees Live Radio Broadcast, October 2, 1949, via Baseball MA; Stardust, Isham Jones; La Cumparista, Werner Muller; I’ve Got My Love to Keep Me Warm, Les Brown and His Orchestra; Megyn Kelly, Fox News; Watson Wu Studios, The Weather Channel; Cello Song, The Books featuring Jose Gonzalez

Got Your 6 Choreography: Jacquelyn Watson Music: Linkin Park, Hands Held High Lighting: Joshua Reaves Performance: Holley Holmes, Angela Petrongelli, Jacquelyn Watson

II. Panoramic Dance Project Panoramic Dance Project Identity Project The 1948 Universal Declaration of Human Rights

I. Article 18

II. Article 5

III. Article 3

IV. Article 19

V. Article 12 Choreography & Performance: Rebecca Anderson, Dianna Baptista, Leslie Barber, Jamie Barbuto, Jenna Delsignore, Shelby Gabello, TayLa Littles, Serena Murison, Ashley Sartain, Natalie Seibel, Allie Sloan, Bronchez Walls Music: Olafur Arnolds, Dianna Baptista, excerpts from Nathan Lanier, The Freesound Project; Heartbeat by Bellabeth Lighting: Joshua Reaves

P rogram N otes  dance program fall concert

Program

Pause Untitled (work-in-progress) Choreography: Robin Harris Music: Johannes Brahms, Intermezzo No.1 in E Flat Major, Op.117 Color, set & costume design consultation: Marty Baird Costumes: Sarah Cannon Set: Greg Osbeck Lighting: Joshua Reaves Performers: Holley Holmes, Angela Petrongelli, Agee Taylor, Jacquelyn Watson Delayed Choreography: Shane O’Hara Music: Terrafolk and Bach, Aria from Goldberg Variations Lighting: Joshua Reaves Performance: Mary Bounds, McKenna Czap, Mary Jackson, Jacob Marx, Agee Taylor, Jacquelyn Watson

PRODUCTION: Director/NCSU Dance Company Artistic Director: Robin Harris; Assistant Director/Panoramic Dance Project Artistic Director: Tara Z. Mullins; Technical Director & Lighting Designer: Joshua Reaves; Technical Crew: Titmus Theatre staff

Fall 2013  Issue 3  A11

P rogram N otes  dance program fall concert ...continued

Faculty Bios

Guest Artist Bios

Robin Harris is director of the NC State Dance Program, where she also serves as artistic director of the NCSU Dance Company, mentors student choreographers, and teaches dance composition.

Marty Baird is a visual artist whose work has been supported by the National Endowment for the Arts, NC Arts Council, United Arts, and the City of Raleigh Arts Commission. She holds a B.A. and M.F.A. in painting and has been an Artist-In-Residence at the Headlands Center for the Arts and at the Vermont Studio Center. Since 1993 Marty has collaborated with Robin Harris on several projects including Key to Paris, Outspoken Dinner Party, Blanche, Dedication, 30 and 73, and Book of Dreams. In 2009 she was one of the artists on The Bain Project, a collaborative installation, in Raleigh’s former water works plant. Marty exhibits her work at The Mahler Gallery in Raleigh and Vision Gallery in Atlantic Beach. She also shows with Devin Borden Gallery in Houston. Marty lives in Raleigh with her husband, Don Ellison, an NCSU physics professor.

A choreographer of over thirty major works, Robin is a recipient of two NC Arts Council Choreographers Fellowships, the Raleigh Medal of Arts, an Indy Award, and the 2010 NCAAHPERD University Dance Educator Award. Her work has also been recognized by the American Dance Festival, and been presented five times in National Galas of the American College Dance Festival Association, including performances at the John F. Kennedy Center for the Performing Arts. Full evenings of Robin’s work have been presented by NCSU Center Stage and the Southeast Women’s Studies Conference. Additionally, her work has toured four seasons with the North Carolina Dance Festival, and been a featured subject on National Public Radio’s Studio 360.

Robin has served as a guest artist at Washington & Lee University, James Madison University, University of Maryland, Hollins University, and Meredith College. She has also choreographed for Burning Coal Theatre Company in Raleigh, including Hair in 2009, Enron in 2011, and Brigadoon in 2012. Robin choreographed Rent for University Theatre at NC State in 2012. Robin is a member of the 2013/2014 Burning Coal Theatre Company.

Robin holds a B.A. in French and an M.A. in dance from The Ohio State University, and has received certification from the Dance Notation Bureau as a Labanotation teacher.

Tara Zaffuto Mullins, Assistant Director of the NC State Dance Program and Artistic Director of Panoramic Dance Project, has a B.A. in Dance from James Madison University and an M.F.A. in Dance from Arizona State University. While at ASU, she received many awards and grants for her research, teaching and choreography including the Faculty Women’s Association Distinguished Masters Degree Candidate Award for her work developing arts programs for homeless youth and the first Herberger College of Fine Arts Fellowship.

Tara has taught at Henrico Center for the Arts, Arizona State University, Mesa Community College, St. Catherine’s School, the University of Virginia and most recently was on faculty at the Academy of Arts and Minds in Miami, FL. She has been a guest artist for Radford University, JMU, East Central University among other institutions and companies.

Additionally, Tara has choreographed for the Opera Theatre of Northern Virginia, the Latin Ballet of Virginia, Dance Arizona Repertory Theatre and Paradigm Players. Through the years, Tara has performed professionally with a variety of dance companies such as Doug Hamby Dance, Starr Foster Dance Project and the Latin Ballet of Virginia. After serving as the Educational Programs Director for the Latin Ballet of Virginia, Tara developed her own education and service based Z Mullins Dance Company and continues to run such programs as the Virginia Dance Symposium and the Big Gig in Miami.

A12  ncsu.edu/arts

Sarah Hazel Cannon is a senior Anni Albers Scholar – dual degree in Art & Design at the College of Design, and Textile Technology at the College of Textiles. Sarah has designed collections for the past three years in the Art2Wear fashion show. This past summer she interned for fashion designer Jason Wu in the collection department as a design intern in New York City.

Lynda Clark is a professional actress, director, coach, and costumer with over 30 years of stage, film and television credits. Recent costume designs include The Heretic for Burning Coal Theatre, Dixie Swim Club for Temple Theatre, A Doll’s House for William Peace University; and for the independent film Rawdon’s Roof, based on a short story by D.H. Lawrence.

Shane O’Hara has choreographed and performed throughout the United States and Europe including concerts in Lisbon, Athens, Krakow, New York, Paris and Washington, D.C. O’Hara has received grants from the USIS/ American Embassy, Pennsylvania Council for the Arts, and the Virginia Commission for the Arts as well as a Fulbright Fellowship to Portugal.

As a faculty member at James Madison University, Professor O’Hara was named the JMU CVPA Madison Scholar in 2010. Recent creative projects include choreographic commissions for the West Virginia Dance Company, Piedmont Virginia Community College, and Dogwood Dance Project. This is his third time choreographing on the students of NCSU. O’Hara is the Director of the JMU Summer Contemporary Dance Intensive in London and has been a guest artist in China developing artistic residencies in Sichuan Province. His current choreographic work has been produced in Washington, Richmond and throughout Virginia.

Guest Artist Bios (continued) Joshua Reaves This will be Joshua’s sixth concert with NCSU Dance Company. Currently he serves as Lighting and Sound designer for NCSU’s University Theatre. Selected work: NCT - Tommy, All Shook Up, Raleigh Little Theatre - The Three Penny Opera, The Piano Lesson, Sideways Stories, & Light in the Piazza, Triad Stage - Ethel Waters, High Point Ballet - Spring Concert, Opera Company of North Carolina - Rigoletto, Code f.a.d Indulge, Cincinnati Conservatory of Music - Falstaff, La Boheme, Burning Coal - Richard III, 1776, North Shore Music Theatre - The Mystery of Edwin Drood, Cinderella, Man Bites Dog - The Goat or who is Sylvia. Joshua has also served at Assistant Lighting designer at Cincinnati Opera and production electrician for the Alley Theatre. He received his MFA in Lighting Design from the University of Cincinnati.

Amy Mutarelli Taylor began dancing in Ocala, FL, where she studied ballet and various dance forms. She earned her Bachelor of Science from Auburn University, and an MFA in Dance from Florida State University.

With emphasis on performance and choreography, she created work that was selected for the Florida State University concert series, Days of Dance, in 2008 and 2009, and danced as a member of Dance Repertory Theater.

While at FSU, she had the privilege to study with Anjali Austin, Lynda Davis, Suzanne Farrell, Tim Glenn, Gerri Houlihan, Sheila Humphreys, Rick McCullough, Anthony Morgan, Dan Wagoner and Jawole Willa Jo Zollar. She enriched her training through participation in summer intensive programs at the Orlando Ballet, The Washington School of Ballet and Nederlands Dans Theatre. Before relocating to NC, Amy taught ballet and modern dance at Darton College in Albany, GA. She was the co-coordinator for the 2012 ACDFA SE Conference, hosted by Darton. Her choreographic work has been accepted into Dumbo Dance Festival (NYC), and most recently been presented at the Marion Ballet Theater Choreographic Festival, ACDFA Informal concerts and the New Grounds Emerging Artists Festival (Tampa, FL).

Zakk White (musician) is a graduate student at NC State pursuing a Masters in Teaching with a concentration in English. A long time musician and performer, he started working collaboratively on music for dance with AWW Performance Company in Spring 2012. He would like to thank his wife Ashley and his mother Pam White for their support.

Student & Alumni Bios

Casey Anders is a freshmen in First Year College. She hopes to pursue a major in the science field, but the specifics of that have yet to be determined. She has danced since she was at 2, and started to compete at the age of 6. She has trained for the past 15 years at a studio called POPS Performing Arts Academy in Huntersville, North Carolina. This is her first year in the NCSU Dance Company.

Rebecca Anderson is a junior from Asheboro, North Carolina studying Psychology. She has been dancing since age 3, and is currently a hip-hop instructor at Studio J Dance Center. Rebecca has been trained in ballet, lyrical, modern, jazz, tap, and hip-hop. She was America’s Teen Miss Dance 2010 for Dance Machine Productions and has also won various awards for her accomplishments in dance. This is her third year in Panoramic Dance Project, and she loves the wide variety of styles this program has to offer.

Dianna Baptista has been with Panoramic Dance Project since the Spring of 2010 and will be graduating in December 2013. She has grown tremendously in ability and love for culturally eclectic dance performance with the guidance of three incredible directors, many talented choreographers and breathtaking dancers to whom she attributes the beauty of this company and her experience.

Leslie Barber is a sophomore majoring in Fashion and Textile Management with a concentration in Fashion Development and Product Management.

She received her modern dance training from 2 ½ years of dancing in the Holly Springs High School dance program in Holly Springs, NC. She also enjoys African dance, and this is her second year with the Panoramic Dance Project.

Jamie Barbuto is a sophomore in Textile Engineering. She has been dancing since age 4 and is excited to explore new and different dance styles.

This is her first semester with the Panoramic Dance Project.

Mary Bounds is a graduate student in Public Administration. She holds a B.A. in Political Science and French from McDaniel College in Maryland where she was president of the McDaniel Dance Company. With a base in classical ballet, she thanks the many dance mentors that guided her outside the box, with a special thank you to Joy of Motion Dance Center in Washington, DC. Corinne Canavarro is a junior and is pursuing a BS in Chemistry. She has been dancing for eight years with experience in modern, contemporary, jazz, and Hip-hop. Corinne is also a member of NC State’s Just Cuz Crew and is proud to be a part of Panoramic Dance Project this year.

Fall 2013  Issue 3  A13

P rogram N otes  dance program fall concert ...continued

Student & Alumni Bios (continued) Euijin Alley Choo is a Ph.D student studying computer science at NCSU. She is proud to be a member of PDP since Spring 2010 and a member of Fusion since Fall 2011. Euijin was a hip-hop dancer as a member of dynamic girls since 2003. She was also a main dancer in several Korean commercials including Casio electronics and was a backup dancer for famous Korean singers including Vibe. Euijin has won awards in several performance contests, including The Girl and Underground Jam.

My name is Domonique Jones I am a junior and I am nineteen years old.

I have been dancing since I was seven years old and I started off in the form of liturgical dance. Once I reached middle school I did modern dance up until my arrival at NC State University where I was exposed to my newfound love, hip-hop. I joined DanceVisions freshman year and have been an active member ever since. Dance is my passion and I am proud to say I continue to grow in it each day.

My name is Alexandra Cohen and I am studying Fashion and Textile Design in NC State’s College of Textiles. I have been dancing since a young age, learning in ballet, modern, hip-hop, jazz, and Irish dancing. I have spent most of my college career in Panoramic Dance Company, and have enjoyed the rich dance community at NC State.

Hi, I’m TayLa Littles! All styles of dance have been in my life for many, many years although this is my first year with the Panoramic Dance Project and my senior year as a student. Although I am only with Panoramic (and at NCSU) for one semester through the National Student Exchange Program, I am SO grateful to be able to choreograph, dance, and perform with such a talented group!

McKenna Czap is a junior majoring in Media Communication and minoring in Film Studies and is excited to begin her second year in the company.

She is a radio DJ at WKNC-Raleigh, an intern at Trailblazer Studios and participates in the NCSU Film Society. She has been dancing since the age of three at Cary Ballet Conservatory, where she has been part of both the Cary Ballet Company and 3D Jazz Company. In addition to dance, she loves her family, friends, cats, and running.

Jenna Delsignore is currently a freshman majoring in Business Management from Buffalo, New York. This is her first year with the company, however this is her 15th year dancing. In Buffalo, she was a part of the Matthew Clark Dance Company where she trained in tap, jazz, ballet, hip-hop, contemporary, modern, musical theatre, and African. She would like to thank Tara and the rest of the dance company for being so welcoming and supportive through it all!

Shelby Gabello began with ballet at age 4 and continued dancing, mostly contemporary/jazz and ballet classes, throughout high school. She is so grateful to have had the opportunity to be a member of Panoramic Dance Project for the past year and a half. Big thank you to Tara for being such an awesome teacher! Shelby will be graduating in December with a degree in Psychology and Social Work. She hopes that dance will always remain a big part of her life.

Mary Griffin is a freshman in Elementary Education. She has danced for six years and trained competitively at Dancers Unlimited in Mooresville, North Carolina. This is Mary’s first year in the company and she is enjoying learning more about expressive movement and the style of modern.

Holley Holmes is a sophomore at NC State studying Secondary Mathematics Education and Statistics from Asheville, North Carolina. Holley grew up dancing at Asheville Dance Theater, under the direction of Cheryl Whitworth and Tonia Freeman, with whom she won awards at regional and national level competitions. Holley is very happy to be a part of the NCSU Dance Company for her second year and to share the stage with such talented artists.

Mary Jackson is a junior majoring in Animal Science and minoring in German. This is her third year in the NCSU Dance Company. She has been dancing since the age of four at the Raleigh School of Ballet, North Carolina Dance Institute, and Governor’s School West. In addition to dance, she loves her family, friends, dogs, and football.

Katy Lund is a sophomore majoring in Engineering. She has danced for 13 years and was accepted to the University of North Carolina School of the Arts contemporary summer dance program twice. Katy is the Secretary of the Society of Women Engineers (SWE) here at NCSU and a member of the Women In Science and Engineering (WISE) program here at NCSU. She was also a member of the group that won third place for the precision launcher at Freshman Engineering Design Day (FEDD) at NCSU. And she really loves cats.

My name is Jessica Mattie and I am a freshman at North Carolina State University. I am currently enrolled as a Psychology Major and hope to become a guidance counselor one day. I am from Flemington, New Jersey and have been dancing since I was three years old. With my competition team I won various national titles and solo awards. NCSU Dance Company was the perfect way to keep my passion in my life while I am away at college and to learn how to choreograph on my own. When I am not dancing I enjoy oil painting and reading, and I am a member of NC State’s Pi Beta Phi Chapter. I am so happy to be a member of this amazing company!

Jacob Marx is a first year masters student in Nuclear Engineering at NCSU. He recently graduated from Case Western Reserve University with a Bachelors in both Physics and Dance. His past experiences include studying abroad in Jerusalem where he was enrolled at Hebrew University and The Jerusalem Academy of Music and Dance where he studied Gaga technique.

Jacob has preformed in multiple works with the CWRU Dance Department including Pascal Rioult’s Wien and Views of a Fleeting World.

John Miller IV is a junior majoring in Psychology and minoring in Arts Entrepreneurship. He was born in Charleston, SC before moving to Charlotte, NC where he completed high school. John has experience in modern, hip-hop, and African, but his heart style is Liturgical in which he has taught on the state and national levels. He is currently the Student Assistant for Center Stage in ARTS NC STATE. During his college career he has been a part of Panoramic Dance Project and Koffee Dance Company, and he is currently the Vice President of DanceVisions Dance Company. He is really excited for the opportunity to participate in this Independent Study with the Dance Program here at NC State.

Serena Murison is a senior at NCSU. She is celebrating her fifth semester with Panoramic Dance Project. Prior to PDP, Serena studied ballet, jazz and modern dance in Asheville, North Carolina.

Angela Petrongelli is a sophomore hoping to switch into the Social Work baccalaureate program. This is her second year in the company.

She has studied dance throughout middle and high school and was a member of the Dance Theater of Jacksonville. At the Dupree Dance Convention in Chicago she received a scholarship to return to the

A14  ncsu.edu/arts

convention and her solo His Great Promise won a diamond award and 3rd overall at the competition. In addition to her high school’s biannual dance shows, she has performed in the Beaufort Gala Festival, the South Carolina Dance Festival, the American College Dance Festival and the biannual NCSU Dance Company shows. In addition to dance, she has a passion for ministry and participates as a small group leader for NCSU’s Catholic Campus Ministries; she loves outdoor activities and has a passion for volunteer services (particularly with those in poverty), children, and families. Her family has been her constant support throughout her life. She is eternally grateful to God for His faithfulness through the best and the worst times in her life, she wouldn’t be the woman she is today without her faith in her Heavenly Father.

Ashley Sartain is a senior majoring in Social Work. She is from Durham, North Carolina where she studied ballet and jazz at Carolina Dance Academy. This is her fifth semester in Panoramic Dance Project, and she is excited to continue to learn and grow as a dancer.

Natalie Seibel is a senior majoring in Art & Design with a minor in Arts Entrepreneurship. She trained in the styles of ballet, jazz, contemporary, and pointe for fourteen years and had the opportunity to dance with the Moscow Ballet and the Carolina Ballet in the Nutcracker. This is her fifth semester in Panoramic Dance Project.

Allie Sloan is a senior majoring in Industrial and Systems Engineering.

This is her first year on Panoramic Dance Project but she has been dancing for 18 years now, which began with 15 years at Cary Dance Productions.

Allie was also a member of the modern dance ensemble at Enloe High School as well as a member of the NC State Dance Team for three years.

Agee Taylor is a senior studying fashion and textile management with a concentration in product development and design. She is the recipient of the North Carolina Textile Foundation First Union Scholarship. In addition to dancing, Agee spent this past summer as a design intern for Tory Burch in New York City. She currently is a sales consultant and stylist at Saks Fifth Avenue. This is her fourth year as a member of the NCSU Dance Company.

Agee has studied dance at Arts Together, Raleigh School of Ballet, American Dance Projekt and Broughton High School. Agee was recently awarded the 2012-2013 Arts NC State Performing Artist Award in Dance.

My name is Sierra Thomas, and I am in the Industrial Design major for the class of 2017. I have been dancing at Carolina Dance Center since I was nine, but I have several interests outside of dance: design (duh), drawing, cosplay, fabricating clothes and costumes, dying my hair, and many more.

I graduated from Leesville Road High School, which is only around 20 minutes away from here. I’m terrible at writing biographies about myself; this is more of a list. My roommate’s name is Angela and she is also in the Design school. I have two siblings, of which I am the oldest. Um. Yep. I’m not quite sure how professional this is supposed to be, but to be frank, I’m not a serious person so I don’t think my biography should be. I am a complicated person, and it takes a while to actually know me. I’m pretty introverted, but can be very friendly if you are friendly to me first. So say “hi” to me! I LOVE music and have to move when I hear it. Or at least sing along to it badly ... unless it’s rap. I don’t like that stuff.

Jacquelyn Watson is a junior majoring in Nutrition and Sports Science and this is her third year with the NCSU Dance Company. She recently became a company member with AWW Performance Company, a modern dance company based out of Raleigh, NC. She has been dancing since the age of 3 at Leslie’s Dance Academy in Fayetteville, NC. She is a Zumba Instructor for NC State University Recreation and is also involved in Sigma Alpha Omega Christian Sorority.

Bronchez Walls was raised in Charlotte, NC. Bronchez’s ardor for dance was ignited in the eighth grade when he took his first dance class. He has been dancing ever since and has performed as a recurring guest dancer with Code F.A.D. Dance Company. He is currently receiving his training at the North Carolina Dance Institute and is truly grateful to be a member of the Panoramic Dance Project.

Ashley Walls White is a graduate student pursuing a masters degree in mathematics, and this is her seventh year in the company. Ashley has created several choreographic works during her time in the company, two of which were selected to be performed in regional galas at the American College Dance Festival’s Mid-Atlantic conference, Three Nurses in 2012 and “but today they’re all gone”-Mr. Davis in 2010. “but today they’re all gone”Mr. Davis was first alternate to go to the ACDFA national gala. Ashley is the artistic director of the AWW Performance Company, a Raleigh based modern dance company, founded in 2012. She would like to thank her husband, Zakk White, for his explicit collaboration, and non-explicit support in all her artistic endeavors.

Thank You!

Thank you to N. Alexander Miller III (Vice Provost, Division of Academic and Student Affairs), Dr. Mike Mullen (Vice Chancellor and Dean for Academic and Student Affairs), Dr. Thomas Roberts (Department Head, Physical Education), David Jones and the Titmus Theatre tech crew.

Do not miss the exciting NC State Dance Program

Spring concerts: Panoramic Dance Project Concert March 27 and 28, 2014 NCSU Dance Company Concert April 10 and 11, 2014 Please contact Tara Mullins in the Dance office at 919-513-7345 if you would like to learn how you can participate in or support the Dance Program.

Fall 2013  Issue 3  A15

P rogram N otes  NC STATE JAZZ ENSEMBLE I

Music @ NC State presents

NC STATE JAZZ ENSEMBLE I Saturday, November 16, 2013 at 7pm  Titmus Theatre

Dr. Wes Parker, Conductor

Program

Roster

Program to be selected from the following:

Jazz ENSEMBLE I Vocalist

Take the “A” Train ..............................................................Billy Strayhorn

..................................................................................Arr. Alan Baylock Epistrophy ............................................Thelonious Monk/Kenny Clarke

............................................................................... Arr. John Fedchock Hot House...........................................................................Tadd Dameron

..................................................................................Arr. Eric Richards Vine Street Rumble ...............................................................Benny Carter Too Close For Comfort .......................................Bock/Holocener/Weiss

..........................................................................Arr. Gordon Goodwin Truth ........................................................................................ Bob Mintzer Bunch of Blues .........................................................................Les Hooper Deedle’s Blues ....................................................................... Diane Schuur

................................................................................... Arr. Frank Foster Satin Doll............................................................................ Duke Ellington

.............................................................................. Arr. Sammy Nestico April in Paris ........................................................ Harburg/Vernon Duke

.......................................................................................Trans. Jeff Hest Things to Come ................................ Walter Gill Fuller/ Dizzy Gillespie

..........................................................................Arr. Gordon Goodwin A Shade of Jade .................................................................. Joe Henderson

Olivia Springer, Communications

Saxophones

Will Campbell (Lead Alto), Electrical Engineering Anisa Traish (Alto), Zoology Carter Harris (Lead Tenor), Electrical Engineering Graduate Studies Nick Berglund (Tenor), Electrical Engineering Carly Abney (Bari), Chemical Engineering

Trumpets

Kyle Santos (Lead), Computer Engineering Gary Martin, Aerospace Engineering Graduate Studies Elora Forgie, Animal Science Julie Bernstorf^, Biological Engineering Collin Greatwood^, Business Administration

Trombones

Austin Peterson (Lead), Aerospace Engineering Samantha Case, Plant Biology Graduate Studies Benjamin Hamm, Physics Spencer Monaco (Bass), Textiles Charles Jennings (Bass), Mechanical Engineering Graduate Studies

Rhythm

David Scanlan (Piano), Engineering Steven Ray, (Guitar), Engineering Kevin Quick*^, (Bass), Psychology/Sociology Collin Frank (Drums), Business Administration Julia Khatibzadeh (Drums), Biological Sciences

Jazz Combo

Please,

during the Performance Silence your cell phone  No photography  No texting Thank You!

Carter Harris (Tenor Saxophone), Electrical Engineering Graduate Studies Kyle Santos (Trumpet), Computer Engineering Daniel Salo (Piano), Biomedical Engineering Steven Ray (Guitar), Engineering Kevin Quick*^ (Bass), Psychology/Sociology Chad Mangum (Drums), Mathematics Graduate Studies * member of Mu Beta Psi National Musical Fraternity | ^ music minor

A16  ncsu.edu/arts

TOTALLY BEETHOVEN: Music @ NC State Celebrates 90 Years Raleigh Civic Symphony SUNDAY, NOVEMBER 17, 2013 AT 4PM  Meymandi Concert Hall Dr. Nathan Leaf, guest conductor

Program Pre-concert performance in lobby by NC State Jazz Combo Introduction Dr. Robert Petters Concerto for Piano, Violin, Cello, and Orchestra (“Triple Concerto”) in C Major, Op. 58 1804 I. Allegro II. Largo III. Rondo alla Polacca

P rogram N otes  TOTALLY BEETHOVEN: Music @ NC State Celebrates 90 Years

MUSIC @ NC STATE in conjunction with the Raleigh Civic Symphony Association presents

Brian Reagin, Violin | Jonathan Kramer, Cello | Olga Kleiankina, Piano INTERMISSION Overture to Egmont, Op. 84 1809-10 A tribute to Dr. Randolph Foy, former Director of Orchestral Activities, NC State University

Please,

during the performance

Silence your cell phone No photography No texting

Thank You!

Seufzer eines Ungeliebten und Gegenliebe, WoO 118 1794–95 Kathryn Mueller, Soprano | Tom Koch, Piano Fantasia for Piano, Chorus, and Orchestra (“Choral Fantasy”), Op. 80 1808 Tom Koch, Piano NC State Combined Choirs: State Chorale, Vox Accalia and Singing Statesmen

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P rogram N otes  TOTALLY BEETHOVEN ...continued

Program Notes Triple Concerto

A number of Beethoven’s greatest works, including the 4th and 5th Piano Concerti, the “Archduke” Trio, and the Missa Solemnis were composed for his student and then lifelong friend the Archduke Rudolph (1788-1831) of the Hapsburg line. The Triple Concerto we hear tonight is the first of these works, which Beethoven wrote for his royal pupil when the boy was only 15.

An accomplished pianist even at that tender age, yet not ready to tackle the demands of a full concerto, his teacher composed for him a unique largescale concert piece with a somewhat less strenuous, though still impressive and demanding solo piano part, with virtuoso writing for mature violin and cello soloists carrying the weight of the action. At least this according to Beethoven’s notoriously unreliable biographer Anton Schindler. The dedicatee of the published score is a Bohemian aristocrat, friend and patron Joseph Franz Maximillian Lobkowicz, to whom Beethoven dedicated the 3rd, 5th, and 6th Symphonies and Op. 18 String Quartets. Such dedications provided Beethoven with the resources he required to function outside the kind of court appointment that Haydn and Mozart held a generation earlier with varying degrees of discomfort.

This confusing story accounts for several aspects of the work. First, it accounts for the unusual format: on the one hand a throwback to the Sinfonia Concertante multi-soloist work of the 18th Century and on the other, a standalone work that neither followed nor established precedent. Second, while it contains material that is at times dramatic, charming, and lyrical, overall the work embodies the gallant style favored by the aristocracy of the day without the depth or emotional complexity of the Piano Concerti or monumental Violin Concerto by which Beethoven would establish his unassailable reputation as the revolutionary founder of Romanticism in Music. The third movement, indeed, is in the style of an aristocratic Polonaise, a Polish dance form that would be popularized several decades later by Chopin.

The two solo string parts share material almost equally, often with the cello introducing themes that are then taken up by the violin. Virtuoso scale and arpeggiated figures in the fast movements shuttle back and forth between the soloists, who sometimes join forces and at other times seem to compete in a kind of 19th Century “dueling banjos” format. In the two outer movements, the orchestral tutti plays important framing and commentary roles, balancing the florid figurations of the soloists with a kind of Earth-bound gravity. Both these fast movements end with surprising and ingenious codas. The short but lovely second movement begins with the cello alone; then the violin joins in a lyrical duet with the piano part rendering lilting accompanying figures that knit together the solo ensemble into a cohesive unit. While not so profound or transcendent as Beethoven’s more famous large-scale works, the Triple Concerto is a masterpiece of balance, of formal ingenuity, a tour de force of compositional challenges overcome with elegance and surprising deftness such as only a Beethoven could have accomplished … and the history of Music gave us only one of these!

Notes by Dr. Jonathan Kramer

Overture to Egmont

No subject could have touched Beethoven more deeply than defiance of tyrannical rule. Thus, when in 1809 he was invited to write incidental music for the Vienna Court Theater’s revival of Goethe’s drama, Egmont¸ he quickly accepted the commission, not only because of his great admiration for the poet but also because of the theme of the play.

Egmont deals with the 16th-century subjugation of the Netherlands by Spanish rule, and their betrayal, agony, the seeds of their growing defiance, a dream of victory, and a call to revolution. The leader of the Dutch resistance, Count Egmont, has been captured by the Spanish Duke of Alva, imprisoned,

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and condemned to execution. On his last night, Egmont’s love, Clärchen, appears to him as the “Goddess of Freedom,” predicting that his martyrdom will spark courage in the hearts of the people who will rise to overthrow the tyranny of Spanish rule. In death, Egmont will become victorious.

Beethoven’s overture projects the essential conflict of the play in three musical sections. A slow introduction is punctuated by massive chords in the rhythm of a sarabande (a reference to the Spanish?). These are followed by a lyrical motive (longing of the people?) reiterated to the point of near-extinction, only to be transformed into the center of the action – an allegro main section that follows.

The allegro is driven forward by syncopated accents and the sarabande rhythm at a much faster pace. After a dramatic pause and quiet comments from the woodwinds, a final triumphant “Victory Symphony” emerges.

Notes by Dr. Randolph Foy

Choral Fantasy and Seufzer eines Ungeliebten und Gegenliebe

Date: December 22, 1808. That evening in Vienna, Beethoven had planned a benefit concert of his own music intended to display the various aspects of his talent. The concert was a tour de force that ranks as one of most historically significant in Western music. Lasting over four bitter-cold hours, the performance premiered the 5th and 6th Symphonies, the 4th piano concerto, movements from the Mass in C, an aria, a piano improvisation, and – for his closer – the Choral Fantasy, a finale brilliante designed to bring together all the performing forces assembled that evening.

Written just two weeks before the concert, the Fantasy is aptly named because it defies the conventional labels of the day: part piano solo, part concerto, and part cantata. The design of the work is also peculiar, comprising three main parts. The first part consists of an improvised piano solo that has no connection to the sections that follow – clearly intended as a vehicle for showing off the composer’s dazzling improvisational abilities (in fact, Beethoven only wrote down this part after the concert).

With the entrance of the orchestra in part two, the piano introduces the charming Gegenliebe melody on which the rest of the Fantasy is constructed. If the melody sounds familiar, it should be no surprise – nor was it to Beethoven, who mentioned in a letter some 16 years later that the tune resembled the famous Ode to Joy from his Ninth Symphony. In reality, this melody first appeared in an art song Beethoven composed in 1795 and which you will hear performed tonight: Seufzer eines Ungeliebten – Gegenliebe (“The Sigh of an Unloved – Reciprocated Love”), a setting of two poems by folk poet Gottfried August Bürger about a man who first laments that the object of his affection does not reciprocate his love, and then dreams of a life in which she does.

After its initial presentation by the piano, the Gegenliebe melody is reworked in a set of variations that display Beethoven’s marvelous capacity for contrasts – from the virtuosic to the graceful to the martial. At the December premiere, however, this part of the Fantasy did not go as planned due to a miscommunication between the soloist (Beethoven) and the orchestra (Beethoven’s near deafness may have been a factor). As a result, the performance came to a screeching halt and the section was repeated. In part three, Beethoven pulls out all the stops by announcing the vocal soloists and chorus. The singers take up the Gegenliebe melody on a poem presumably by playwright and author Christoph Kuffner. Like Schiller’s Ode to Joy, Kuffner’s Schmeichelnd hold und lieblich (“Graceful, charming, and sweet”) is an ode that praises the beneficial nature of music. And as in the finale of the Ninth Symphony, the work ends triumphantly with all the performers uniting in joyous splendor.

Notes by Dr. Thomas Koch

Texts and Translations Dr. Randolph Foy

Dr. Randolph Foy, former Director of Orchestral Activities, NC State University, holds degrees from Oberlin Conservatory of Music, the University of Iowa (organ) and a doctorate (conducting) from Peabody Institute of Johns Hopkins University, Baltimore. His teachers have included David Boe and Fenner Douglass (organ) and Frederick Prausnitz (conducting), and John Spitzer (musicology; dissertation “Textural Transformations: The Instrumental Music of Krzysztof Penderecki, 1960-73”).

He has conducted in the Baltimore/Washington area, and has taught at the University of Richmond, NC School of Science and Mathematics (founding faculty) and NC School of the Arts. In addition to his teaching and administrative duties as Associate Director of the Department of Music, NC State, Dr. Foy has conducted and taught at the Governor’s School of NC in Winston-Salem, a summer program for gifted high school students.

He has been called “an inspired and inspiring director” and “a totally committed musician whose mission is to spark in his audience the same level of enthusiasm that he clearly feels.” In May, 2006, Dr. Foy was awarded the City of Raleigh Medal of Arts for presenting a wide variety of concerts of unusual repertoire that enhance the cultural life of the community.

Dr. Randolph Foy joined the NC State Department of Music in August 1998. As conductor of the Raleigh Civic Symphony and Raleigh Civic Chamber Orchestra, orchestras comprised equally of student and community musicians, Dr. Foy was recognized for his commitment to programming contemporary music, presenting concerts in a thematic context and connecting orchestral repertoire to larger ideas in creative ways. Audiences and musicians eagerly explored familiar repertoire in innovative contexts while experiencing new and unfamiliar pieces in ways that made them accessible.

In 2007, Dr. Foy was recognized with the Outstanding Extension Service Award by NC State University’s Office of Extension and Engagement for the “North Carolina Connections” concert series. The series included three concerts of music from North Carolina. The first featured local pianist Greg McCallum and symphony musicians at the NC Museum of History. In the second, McCallum played Bartok’s Piano Concerto no. 3 as well as works by Salem Moravians, John Cage, Lou Harrison and J. Mark Scearce.

The third concert premiered Ted Gellar’s Incidents in the Life of a Slave Girl, on NC slave narratives. Bartok, Cage, and Harrison all spent time composing in the western part of the state.

The orchestra program at NC State University is supported jointly by ARTS NC STATE and the nonprofit Raleigh Civic Symphony Association. It is with great pride and appreciation that we recognize Dr. Randolph Foy for his many contributions to the arts and education both at NC State University and throughout the state.

SEUFZER EINES UNGELIEBTEN und GEGENLIEBE

THE SIGH OF AN UNLOVED and RECIPROCATED LOVE

Hast du nicht Liebe zugemessen Dem Leben jeder Kreatur?

Warum bin ich allein vergessen, Auch meine Mutter du! du Natur?

Have you not favored with love every creature’s life?

Why, however, am I forgotten as well as you, my mother, you, Nature?

Wo lebte wohl in Forst und Hürde, Und wo in Luft und Meer, ein Tier, Das nimmermehr geliebet würde? — Geliebt wird alles außer mir!

Where in bosk and lea and where in air and sea may dwell a beast, that nevermore was loved?

All is loved, but me, truly all but me!

Wenn gleich in Hain und Wiesenmatten Sich Baum und Staude, Moos und Kraut Durch Lieb’ und Gegenliebe gatten; Vermählt sich mir doch keine Braut.

Be it in groves, in fields and pastures that tree and bush and moss and herb find each other in love — why will I not get married to a bride?

Mir wächst vom süßesten der Triebe The sweetest of all desires Nie Honigfrucht zur Lust heran. never sprouts a fruit for me.

Denn ach! mir mangelt Gegenliebe, Alas, love is never returned to me, Die Eine nur gewähren kann. love, that only one can give.

---- ---Wüßt’ ich, wüßt’ ich, daß du mich If I knew that you Lieb und wert ein bißchen hieltest, showed me signs of your affection, Und von dem, was ich für dich, and of what I feel for you, Nur ein Hundertteilchen fühltest; you felt but a tiny fraction; Daß dein [Dank hübsch]1 meinem Gruß’ Halben Wegs entgegen käme, Und dein Mund den Wechselkuß Gerne gäb’ und wiedernähme:

that your greeting in return met my greeting halfway even and your lips did likewise yearn to return my kisses given,

Dann, o Himmel, außer sich, Würde ganz mein Herz zerlodern!

Leib und Leben könnt’ ich dich Nicht vergebens lassen fodern! —

then, o heavens, without thought would my heart be brightly flaming!

Life and limb be not for naught at disposal of your claiming!

Gegengunst erhöhet Gunst, Liebe nähret Gegenliebe, Und entflammt zu Feuersbrunst, Was ein Aschenfünkchen bliebe.

Favor shown is favor found, given love will be returning and inflames a fire unbound where just cinders would be burning.

CHORAL FANTASY

Schmeichelnd hold und lieblich klingen unseres Lebens Harmonien, und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn.

Fried und Freude gleiten freundlich wie der Wellen Wechselspiel.

Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.

Graceful, charming and sweet is the sound Of our life’s harmonies, and from a sense of beauty arise Flowers which eternally bloom.

Peace and joy advance in perfect concord, like the changing play of the waves.

All that was harsh and hostile, has turned into sublime delight.

Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht. Äuss’re Ruhe, inn’re Wonne herrschen für den Glücklichen.

Doch der Künste Frühlingssonne lässt aus beiden Licht entstehn.

When music’s enchantment reigns, speaking of the sacred word, Magnificence takes form, The night and the tempest turns to light: Outer peace and inner bliss Reign o’er the fortunate ones.

All art in the spring’s sun Lets light flow from both.

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P rogram N otes  TOTALLY BEETHOVEN ...continued

Texts and Translations (continued) Großes, das ins Herz gedrungen, blüht dann neu und schön empor.

Hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor.

Nehmt denn hin, ihr schönen Seelen, froh die Gaben schöner Kunst Wenn sich Lieb und Kraft vermählen, lohnt den Menschen Göttergunst.

Greatness, once it has pierced the heart, Then blooms anew in all its beauty.

Once one’s being has taken flight, A choir of spirits resounds in response.

Accept then, you beautiful souls, Joyously the gifts of high art.

When love and strength are united, God’s grace is bestowed upon Man.

Raleigh Civic Symphony Association Mary Sherk, Executive Director Adam Burke, President www.raleighcivicsymphony.org

WE THANK OUR SPONSORS The Raleigh Civic Symphony and Chamber Orchestra are the student/ community orchestras of NC State University, sponsored jointly by ARTS NC STATE, through Music @ NC State and the Raleigh Civic Symphony Association (RCSA), a nonprofit organization. RCSA is funded in part by the City of Raleigh, based upon the recommendations of the Raleigh Arts Commission, grants, business sponsorships, and private donations.

THANKS ALSO TO: Annabelle Lundy Fetterman Concertmaster Endowment Matching Employee Contributions from: Art Tech, Hewlett-Packard, and IBM Corporation

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RCSA DONORS CONDUCTOR $500 PLUS

Ann Wheeler Grigg IBM Corporation - Community Grant Dr. J Mark Scearce Qualcomm Incorporated J. Russell & Linda Hill

CONCERTMASTER $300-499

John & Nancy Lambert Richard & Mary E. Mitchell Triangle United Way

SECTION LEADER $100-299

Anonymous (2) Adam Burke Jeff Cates Allison Fluitt Denise Franz Hans Kellner Patricia Kirkpatrick Alan & Janice Lipson Patrick Liu Qualcomm Community Foundation Ghazala Sadiq Mara Shea Mary & Eric Sherk Munindar Singh Kathy Silbiger Deborah & Theodore Wagner

MUSICIAN Under $100

Michael & Kimberly Bridgers Cindy Chastang Patrick Haggerty Francine Hunter Robert Upchurch

RALEIGH CIVIC SYMPHONY PERSONNEL Violin

Lindi Wang, concertmaster Eric Burns, violin II co-principal Ellen Goertzen, violin II co-principal Jessica Acito Nancy Atkins Connie Chen Alex Combs Nadia Drabick Anna Eusebio Allison Fluitt Nicholas Freeman Madison Hargreaves Sarah Catherine Hudson Francine Hunter Woongchan Jeon Jaeho Kim Suhyun Lee Julie Mayberry Michael Mugrage Molly Puente Mara Shea Sarah Beth Short Stephen Smith Angelina Song Divya Tangella Alexandra Thompson Erick Waterworth Sean Wells Flora Wong

Viola

Brant Johnson, principal Steven Berger Christine Casoria Caitlin Collins Miranda Forman Philip James Jonathan Simonson Kenny Yi

Cello

David Oh, principal Michael Cartwright Joshua Choi Ann Grigg Max Martin Katharine Swoboda Joseph Thai Nathanael Welford-Small

Double Bass

Adam Burke, principal Jessie Birckhead Nina Caraway

Flute

Erin Munnelly, principal Cindy Chastang

Oboe

Maggie Rahmoeller, principal Ryan Cinoman

Clarinet

Joan Blazich, principal Merida Negrete

Bassoon

Russ Hill, principal Brenda Balazs-Reylek

Horn

Vince Waters, principal Matthew Behrhorst Paige Maxon Michael Scanlan

Trumpet

Gary Martin, principal David Goodman

Timpani

Candy Pahl

NC State Students and Their Majors * member of Mu Beta Psi National Musical Fraternity | ^ music minor

RALEIGH CIVIC SYMPHONY Jessica Acito, Criminology Eric Burns, Chemistry Michael Cartwright, Microbiology Connie Chen, Technical Communications grad student Joshua Choi, Environmental Science Ryan Cinoman, Math Alex Combs, Math Ph.D. Nadia Drabick, Polymer and Color Chemistry Miranda Forman, Fiction graduate student Nicholas Freeman, Aerospace Engineering and Computer Science Ellen Goertzen, Equine Nutrition grad student Madison Hargreaves*, Agricultural Business Management and Economics

Sarah Catherine Hudson, Business Administration Philip James, Mechanical Engineering Woongchan Jeon, Economics Brant Johnson, Microbiology Ph.D. Jaeho Kim, Chemical Engineering Suhyun Lee, Business Administration Gary Martin, Aerospace Engineering graduate student Max Martin, Architecture Paige Maxon, Biomedical Engineering Michael Mugrage, Meteorology Maggie Rahmoeller, Math Ph.D. Michael Scanlan, Meteorology

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P rogram N otes  TOTALLY BEETHOVEN ...continued

Stephen Smith, Computer Science Angelina Song, Plant Biology Divya Tangella, Psychology Joseph Thai, Chemical Engineering Alexandra Thompson, Biological Sciences Nathanael Welford-Small, Engineering Sean Wells, Computer Science Kenny Yi*, Communication

NC STATE CHOIRS

Cara Adrian, Biology Roma Agrawal, Computer Science Azlyn Arnett, Paper Science Cassandra Backman, Zoology Justin Baker, Civil Engineering Katherine Baker, Business Tyler Bass, Business Administration Charlie Belk, International Relations Ariana Betts, Animal Science Conner Bolen, Engineering Michael Brews, Chemical Engineering Hadley Bryan, Human Biology Logan Buchanan, Business Administration Krystal Carter, Environmental Technology Melissa Clason, Geology Amanda Clayton, Economics Tyler Clayton, Computer Engineering Scott Clouse, Electrical Engineering Jordan Coleman, Aerospace Engineering Dixon Crews^, Computer Science Blair Downs, Zoology Emma Eble, Graphic Design Elizabeth Eichen, English Education Zach English*, Mathematics Andrew Farkas, Engineering Calvin Ferguson, Engineering Lauren Frederick, Industrial Engineering Alexandra Gardiner^, Zoology Brenna Garner, Environmental Technology Nate Gay, Undergraduate Studies Martin Gerlach, Electrical Engineering Anna Griffin, Religious Studies Nicolai Gritta, First Year College Ellyse Hampshire, Marketing Kamaria Hardy, Computer Science Joshua Harford, Biomedical Engineering Lexi Hergeth, Business Administration Alexander Herndon, Biomedical Engineering Zoë Holmes, International Business Amanda Holton, Education Kathryn Hornaday^, Biological Sciences Jacqueline Iadicicco, Zoology Georgina Ishak, Human Biology Aruna Iyer, Microbiology Teylor Jenkins, Computer Engineering Woongchan Jeon, Economics Josh Johnstone, Mechanical Engineering Larissa Jones, Biochemistry Bobby Keefe, Textile Technology & Polymer Chemistry Allison Kenlan, Environmental Sciences Christine Kidd, Political Science * member of Mu Beta Psi National Musical Fraternity | ^ music minor

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Jisu Kim, Fashion and Textile Management Maylon Kirby, Business Administration Catherine Kubtschek, Undeclared Tanner Lalonde, Management Blair Lamason, First Year College Hayley Lemmons, English Zachary Leonard, Mechanical Engineering Arina Loghin, Cultural Anthropology Megan Lomonaco, Engineering Jeanne Lunsford, Engineering Iosif Makhatadze, Computer Science and Statistics Lucia Malaver, Psychology Rachel Mann, Business Admin./Spanish Aaron Martin, Electrical Engineering Zakarya Masmoudi, Religious Studies Emilie Mathura, Biology Laura McCusker*, History Matthew McEntire, Human Biology Candace McKoy, Middle Grades Lang. Arts and Social Studies Ayana McLemore, International Studies Kallie McNamara, Spanish Education John Millsaps^, Computer Science Areon Mobasher, First Year College Cailin Moore, Biology Jeffrey Nesbit*, Animal Sciences Joanna Ngnepi, Finance Anna Owens, Middle Grades Science Education Flore Paka, Business Pamela Pareja, Sociology Lauren Presley, Undeclared Paulina Ragunas^, French Taylor Russell^, Biochemistry Tiana Salas-Ali, Engineering Peter Sherk, Psychology & Biology Chan-Su Simmons, Computer Science Makayla Smith, Animal Science Anna Solini, Physics & Nuclear Engineering Leanne Stoltzfus, Textile Technology Elf Tarney, Zoology Jasmin Telfer*, Animal Science Emma Thiria, Chemical Engineering and PSE Tracy Thomasson, Horticultural Sciences Madison Thompson, First Year College Arielle Vari, Nutrition Science Clare Vestal, History Victor Walker, Electrical Engineering Haley Wells*, Polymer and Color Chemistry Mitchell Weston, First Year College Emily White*, Zoology Colin Williams, Business Administration Kenny Yi^, Communication Rosie Zitawi, Psychology & Communications

NC STATE JAZZ COMBO

Carter Harris (Tenor Saxophone), Electrical Engineering Graduate Studies Kyle Santos (Trumpet), Computer Engineering Daniel Salo (Piano), Biomedical Engineering Steven Ray (Guitar), Engineering Kevin Quick* (Bass), Psychology/Sociology Chad Mangum (Drums), Mathematics Graduate Studies