用“Canto”庆祝拉丁文化

Echoing through the hallways of the Jack H. Miller Center for the Musical Arts this week are the sounds of Latino students performing Latino works: the sonorous tones of singing in Spanish punctuated by instruction and conversation in both English and Spanish — and plenty of laughter.

Fourteen Latino students from West Michigan high schools are participating in¡Canto! A Latinx Vocal Intensive. Under the direction of Eric Reyes, assistant professor of music instruction and director of choral activities at Hope College, these students are learning a selection of choral music from throughout Latin America, including ensemble and solo pieces from Colombia, Argentina, Mexico, Peru, and other countries.

Eric Reyes teaches during the ¡Canto! intensive

“This music is underrepresented in general. Regardless of who it is sung by, it’s not sung very often or often enough,” said Eric Reyes. “So one level of the program’s impact is just the fact that the music is being sung.”

雷耶斯说,这种音乐不常被演奏的一个原因是,音乐中有多少文本、西班牙语以及节奏的复杂性都是独特的挑战。然而,通过教授拉丁裔学生,大部分的复杂性就消失了。

“It’s been unique for me as a conductor to see what comes naturally to them, the things I don’t have to thoroughly teach,” Reyes said. “The Spanish language itself is familiar because of the various forms in which they’ve grown up — whether they speak fluently or partially, they naturally understand the text and understand a lot of the connections between how the spoken text matches up rhythmically.”

“The cool aspect of doing this here is that it’s being sung by people who are from this culture. It’s kind of a rediscovering of our roots and origins,” Reyes said.

“I’ve been in choir for a while, and we usually focus on music in Latin or music that doesn’t have to do with the Spanish heritage side of things,” said Felix Cruz, a senior from Holland Public High School. “It’s a whole new world when we dive into stuff like this.”

In addition to musical training,¡Canto!students are participating in a wide range of seminars, including history guest artist interviews by Latino artists, exploration of Latin rhythms, and a panel discussion lead by Latin leaders in the Holland community. In a history seminar, they talked about the histories of the countries the music comes from and how they’re seeking to rediscover who they are as a people before colonialism.

雷耶斯说:“在某种程度上,我们在这里有机会重新发现我们作为拉丁裔人是谁,并接受我们历史的复杂性。”“There’s that mixture — thatmestizo, we call it — of cultural identity, where, okay I’m American, but maybe I’m also Colombian or also Mexican, and we get to tap into that musically and get to celebrate it and not have to hide it. It gets to be in the forefront, and that’s an empowering thing.”

¡Canto! students on Hope’s campus

Many of the students had never seen the pairing of classical music and Hispanic culture before now.

“I grew up listening to more modern music, and I’m also into classical orchestral music,” said Eileen Perez, a sophomore at Fennville High School. “Just knowing that there’s classical music in my Hispanic culture is very eye-opening.”

The two-week intensive will culminate in a free concert on Friday, July 1, at 6:30 p.m. The performance is preceded by a salsa dance presentation and class for the entire community.

“Even here in Holland, Michigan, where it’s something like 35 percent Latino, we’re able to raise our voices and celebrate that Holland is this diverse place. Amidst the strong Dutch roots, there are also a lot of other cultures here that coexist and support each other and celebrate the things we have in common.”

Talan Marquez, a sophomore at Fennville High School and one of the students in¡Canto!, spoke highly of the program instructors and the other students.

“I’ve gotten to meet some new people, unique individuals — I haven’t really met people like the ones in this group before,” Marquez said. “The teachers are really nice and they’ve already helped me out a lot with my vocals.”

In addition to working under the direction of Reyes, students also receive private vocal instruction from Dr. Sarah VandenBrink, assistant professor of music instruction at Hope. Christina Krause, an accompanist in Hope’s music department, is the program’s collaborative keyboardist.

克鲁兹说:“我真的很感激他们在这里所做的工作和投入的时间。”

¡Canto!is a collaborative effort of Hope College and Latin Americans United for Progress (LAUP). It is funded through an award from the “There’s No Place Like Home” initiative, which was established in February 2020 through a grant from The Andrew W. Mellon Foundation.


这是其中一段‘Canto!ensemble pieces, “La Llorona,” popular text, with music by José Barros, arranged by Alberto Carbonell (Colombia), performed by the Houston Chamber Choir:

New Practice Organ Adds Versatile Voice to Hope’s International Roster of Instruments

The new practice organ installed at Hope earlier this fall has added even more variety to the distinctive and storied international roster of instruments that provide learning opportunities for students at the college.

Built for the college by Casavant Frères (Casavant Brothers) of Saint-Hyacinthe in Quebec, Canada, the organ joins compatriots from Germany, the Netherlands, the United Kingdom and the United States as well as another by Casavant.

位于迪纳特纪念教堂或杰克·h·米勒音乐艺术中心,学院的六个机构都被认为是具有独特特征的个体,它们适合于特定的角色,即使它们共同服务于教育。作为专门用于练习的两种乐器之一,最新到来的乐器拥有两种不同类型的能力。2015年,Casavant Frères在安装为杰克·h·米勒音乐艺术中心音乐厅定制的管风琴时,通过交谈,霍普开始注意到这一点。

“他们设计了一个练习乐器的原型,在这个原型中,你可以改变琴键的重量,”Huw Lewis博士说,他是音乐系的教授和系主任,也是一位国际知名的管风琴手。“所以这种很小的乐器,可以让你感觉你在演奏一个小乐器,或者可以调整机制,让你感觉你在演奏一个更大的乐器。”

在音乐厅的高质量的管风琴让刘易斯毫不怀疑,练习乐器将是一个杰出的附加程序。他说:“音乐厅的管风琴非常棒,前来演奏的每一个人都对它印象深刻,对演奏它感到兴奋。”

新的器官由大卫·范·戴克医生于60年捐献以纪念他的妻子,珍妮特·库普曼62年的范·戴克。珍妮特于2020年12月23日去世,她本人也是一位颇有成就的管风琴手,曾在伍德隆基督教归正会(Woodlawn Christian Reformed Church)和许多其他教堂担任过管风琴演奏家。

刘易斯指出,它一直是一个必不可少的补充。音乐专业的大多数学生都带着他们的乐器。钢琴家和管风琴手是例外,虽然霍普有多架练习钢琴,但学院的几名管风琴学生(目前有9名)不得不凑合着用一架。

What of the other four? That’s where their specialized roles are both a blessing and a challenge. Because they’re all different and in different venues, they serve students well by providing a heady mix of performance experiences. Their particular locations, however, also mean that they’re often unavailable.

例如,迪纳特纪念教堂里有霍普的美国制造的历史悠久的E.M.斯金纳大风琴、荷兰佩尔斯和范列文画廊的风琴,但教堂里会举办各种各样的活动,包括不只是所有的礼拜仪式,而且当学生们在地下室上课时,巨大的管风琴练习声会造成问题。Lewis在他的工作室里有一架英国制造的J.W. Walker and Sons风琴作为教学乐器,学生们也用它练习,但这个工作室也是他的办公场所。杰克·h·米勒音乐艺术中心的罗伯特·卡瓦诺合唱室里有一件珍贵的乐器,是已故的罗杰·e·戴维斯(Roger E. Davis)重建的,他是一位长期任教的音乐教授,最初把它放在他的家庭工作室里,但这间合唱室是用来,嗯,合唱练习的。音乐厅的高需求同样限制了其受人尊敬的卡萨旺特风琴作为一个选择。

Until this fall, that left the venerable German practice organ that’s also in the music center.

“It’s impressive that a college of Hope’s size has instruments from so many different traditions, and while the high amount of activity here is also a positive quality of the college, it also means that they and the spaces they’re in are much in demand,” Lewis said. “To have as many students as we do and only one organ that they could depend on to practice has been quite a challenge, especially during peak periods like exam time. So we’re exceedingly grateful to David for his gift and what he has done for our students.”

Welcome Home, Dr. Sarah VandenBrink

“I’m curious to know what the post-show blues will feel like as a music director,” said Dr. Sarah VandenBrink as we chatted in the sun a few days ago.

Dr. Sarah VandenBrink

Currently the Theatre Department is wrapping up rehearsals for the musicalOrdinary Days, which will be presented virtually Friday-Sunday, April 16-18, and Thursday through Saturday, April 22-24.

Dr. VandenBrink serves as music director. She is in her first year as a faculty member at Hope, but this is not her first hurrah on campus. Aa s 2011 graduate of Hope College, Dr. VandenBrink was a double major in Vocal Music Performance and Vocal Music Education.

This track is incredibly rigorous, as many students that focus on just one of these are forced to carry an overload of credits each semester. Yet VandenBrink would not have had it any other way:. “I know people say you have to choose, but I love both. I have to teachandperform,” she told me.

作为Hope的一名学生,VandenBrink几乎做了所有的事情。她曾担任教堂唱诗班的联合主席和Delta Omicron希望分会的音乐活动总监。她还参加了全国歌唱教师协会(NATS)和大急流城歌剧院(OGR)的比赛。范登布林克几乎每年都能在全国大学生入学考试中获得第一或第二名。在OGR,她三年级第二,四年级第一!除此之外,范登布林克还在泽兰的第二归正教会实习。

Dr. VandenBrink completed her final semester student teaching at The Julia Reynolds Masterman Laboratory and Demonstration School in Philadelphia. From there she returned to the area to teach at Hamilton Elementary School. Though she loved her experience teaching children, there was something missing.

“所以我去读了研究生,”她告诉我。She and I had to laugh at her use of a trope of life that is said by one of the characters inOrdinary Days.

Dr. VandenBrink moved to Rochester, New York, and started her graduate studies at Eastman School of Music. At the conservatory she earned her masters in Vocal Performance and Music Literature. Yet VandenBrink missed teaching, so she decided to stay to complete her doctorate in Vocal Performance and Vocal Literature with a minor in Vocal Pedagogy. “I had finally found my home, because I love to teachandperform.”

现在范登布林克医生回到了霍普医院。在她的前两个学期的课程中,她已经影响了许多学生,并表现了无数次。她很感激我们学校鼓励学生和教师参与到生活的许多方面。

“I knew after I left the conservatory that I preferred the liberal arts atmosphere,” she says. “I love that liberal arts teaches the whole person, rather than just the focused area.”

Not only is she inspiring students in the music department, but she is also music directing the theatre production,Ordinary Days.

她说:“我发现,看着学生们学习自己的性格,并把它们变成自己的性格,真的很鼓舞人心。我以前从来没有这样做过。”能看到这一切真的很令人兴奋。”

Dr. VandenBrink leads rehearsals for Ordinary Days

这部音乐剧几乎完全是唱的,一些数字非常有节奏,在音乐上很难。Dr. VandenBrink has been hard at work with the cast and crew ofOrdinary Daysover the past few months as they have prepared for the performance, which opens this coming Friday, April 16.

While this is Dr. VandenBrink’s first time music-directing a production at Hope, she has also previously starred on the DeWitt stage. During VandenBrink’s senior year, the Theatre Department produced the operaStreet Scene与音乐系合作。现已退休的戏剧教师约翰·塔米执导了这部作品,凡登布林克称这是她大学生涯中的亮点之一。She also had a coaching session withOrdinary Daysdirector Dr. Daina Robins during theStreet Sceneprocess.

AsOrdinary Days下个周末就会慢慢结束,那些“演出后的忧郁”很快就会被所有参与者感受到。虽然向这个伟大的项目挥手告别很难过,但范登布林克博士很兴奋能继续在霍普的艺术部门留下自己的印记。在我们谈话的最后,我们发现自己在谈论我们的灵感。她强调她的学生对知识的渴望,她的同事的研究和音乐选择,以及她发现的新的和不知名的作曲家每天都让她兴奋。

她还谈到了沟通在音乐中的重要性,她说:“对我来说,唱歌一直都是为了沟通,也为了找出这首歌创作的原因。这就是我受到启发的原因。”This truth can be seen in so many works, and is incredibly important to the success ofOrdinary Days.

Ordinary Daysis a virtual event and tickets are free.Go hereto learn more.

Instrumental Decision-Making

To perform at a high level in nearly any field requires outstanding talent and training, and for many the equipment is also crucial.

The talent is intrinsic — you either have it, or you don’t. The training requires dedication and even passion — a commitment to devoting thousands of hours to pursuing mastery even while recognizing that there’s always more to learn.

But how does someone on that path — say, a professional musician — choose when the equipment not only matters but nearly becomes an extension of oneself? Not whatshouldsomeone use, but what does thejourney看起来像什么?

Earlier this year, flautist Dr. Gabe Southard of the Hope music faculty became one of just 64 musicians around the world to benamed a Pearl Flute Artist by Pearl Musical Instrument Company该公司是一家总部位于日本八町的全球长笛制造商。这一认可反映了他作为演奏者和教育家的高水平,但也反映了他最近决定改用珍珠笛,此前他几乎在整个职业生涯中都在使用另一种乐器。SoThe Arts At Hopeblog asked him to share a bit about his process.

First, congratulations on being named a Pearl Flute Artist. What does it involve?

The main aspects are, of course, upholding a high level of performance and educating as a flutist and using Pearl flutes. In addition, I will be posting performances on social media regularly. I have some cool ideas about this, including a series designed to help high school students learn music for Michigan’s Solo and Ensemble concerts; attending conferences, especially the National Flute Association conferences as an attendee and performer; and maintaining a national stature. In return, Pearl endorses me and provides support for clinics I will present.

你前往该公司位于美国田纳西州的工厂挑选你的新长笛,并定制一款。对于专业音乐人来说,这样的访问是典型的吗?

It is fairly typical, although my first step was to try a couple flutes from Flute World in Farmington Hills, Michigan. The people there were incredibly helpful and sent me flutes to try at home. Once I had narrowed the field down a bit, I wanted to visit the main Pearl site since they had a huge variety of flutes and headjoints to choose from.

我们待会再讨论你的新乐器,但一般来说,你在笛子里寻找什么?你怎么知道一种乐器适合你?

That’s a good question and I think it is a little different for each flutist! Like some other wind instruments, there are really two parts of the instrument to consider when trying flutes out: the body and the headjoint. When I was trying flutes from Flute World and when I was in Tennessee, I first focussed on the body of the flute – things like: how is the response of the keys; how does the flute resonate when I am playing it; is it comfortable?

Once I decided on a body (about which I still had a few choices to make), I then tried somewhere between 15-20 headjoints on it. Headjoints have several different features that appeal differently to each flutist, mostly due to lip shape, breath capacity, etc. I tend to like a more free blowing headjoint with a square cut embouchure hole. Once I settled on the headjoint, in this case a “forte” style one from Pearl, I was able to make the final decisions, which included any extra keys that I wanted to my flute — for example I requested a C-sharp trill key and a split-E mechanism among other things — and the material I wanted the flute to be made of. I have always preferred a solid silver flute, so that is what I ended up getting (with a .997 purity level) but other flutists will play on gold or even platinum flutes.

是什么促使你在过去的一年里更换了长笛?这似乎不是一个容易的决定。

I had been playing on my old flute for about 30 years and decided it was time to see what else was out there as far as professional flutes. For some time I have had the feeling that my previous flute had been holding me back in its technical action and in sound production. Plus, my style of playing has changed significantly as I have become more experienced and in some ways, outgrew the ability of the flute to catch up. That feeling was confirmed when I tried different flutes, especially the Pearl ones.

How did you connect with the Pearl company specifically?

我尝试了几种牌子,很快就发现Pearl的质量最高,而且这些笛子和我的球杆风格很匹配。基于我在2016年圣地亚哥NFA大会上的表演,Pearl一直与我联系,想成为一名Pearl艺术家,所以这似乎是一个自然的匹配。[Editor’s Note: He was a semifinalist in the convention’s Piccolo Artist Competition and won the Convention Performers Competition.]

定制长笛的原因是什么?

当我在Pearl试用长笛时,我记录了我喜欢的每一种长笛的各种选择——比如长笛本身的含银量,焊接或轧制的音孔,各种增加的键,比如升c颤音和分裂E键——然后把它们按我的顺序放在一起。

The crafting required several months, and in the interim I played on another flute from the Maesta series, also a beautiful instrument that is now my back-up flute. I liked it so much that I fully expected to be blown away — pun intended! — by the custom-made flute when it arrived. I received the new flute in early March, and have already used it in a recital I presented on campus and for recording sessions for a CD, and if anything it’s even exceeded my expectations.

Spotlight on Detroit ’67

Dominique Morriseau’sDetroit ‘67is set to stream from the Knickerbocker on February 26-28 and March 4-6. This piece was originally presented as a staged reading for the inaugural season of the Many Voices Project and will now be a fully-realized production. Co-sponsored by the Theatre Department and the Center for Diversity and Inclusion, the Many Voices Project seeks to expand the repertoire of voices heard on the stages of Hope College. By transferringDetroit ’67to a main stage production, the Theatre Department is amplifying its intent of bringing these voices to the forefront and marking a new intentional wave of inclusion of underrepresented voices at Hope College.

Tia Hockenhull rehearses

As anticipated from its title, this play is set in 1967 in Detroit against the backdrop of the Detroit Riot, also known as The Great Rebellion. Motown music runs through the veins of the characters whom Tia Hockenhull ‘23, Ka’niya Houston ‘23, Rubben Jerome ‘23, Alex Johnson ‘22, and Elayna Sitzman ‘23 bring to life. The music is a binding force when siblings Chelle (Hockenhull) and Lank (Johnson) come into contact with the outsider Caroline (Sitzman). As racial tensions run high around them, the siblings must find ways to balance their individual desires with the community and time they live in.

I had the pleasure of speaking with Alex Johnson and the stage manager Lydia Konings ‘24 about their experiences and thoughts surrounding this important production.

Tia Hockenhull and Alex Johnson

Johnson is no stranger to the Theatre Department’s main stage, previously appearing inInto the WoodsandThe Shakers of Mt Lebanon will Hold a Peace Conference This Month.然而,约翰逊承认:“我认为我从来没有像在这部剧中那样与一个角色如此亲密。我和兰克之间有很多相似之处,尤其是他对待音乐的方式。”

This link to his character comes from Johnson being a musician at Hope. He is also excited that “the whole cast from the reading is the cast for this show, and it has been so cool to see us grow from the reading to now, especially in the physicalization of characters.” However, there is no need to worry if you watched the staged reading because this upcoming production is a completely new experience. Alex ensures that “being without a script is so different from the staged reading and helped us actors make new choices and made everything more dynamic and organic.”

Lydia Konings

Making her Hope College debut as a stage manager, Konings describes her experience as a “whirlwind to be SMing in Covid-times that has been a good learning experience.” She describes her journey with stage management as “Bob Ross’ happy little trees” — an accident that now seems like it was always supposed to happen. She is especially excited to call the light and sound cues for a live-streamed production.

Additionally, she has found herself engaged in the fact that “everyone involved feels the weight and responsibility of the message this play is putting out into the world. I think the Hope Theatre Department is working towards producing more diverse playwrights which I appreciate as a person of color.”

科宁斯和约翰逊都强调这是一部必看的作品。前者强调了这样一个事实:“1967年发生的事情的后果仍然非常真实,尤其是过去一年发生的一切。制作这样一部电影真的很令人兴奋,也有点害怕。”

Johnson reciprocated her views as he highlighted the fact that “[Detroit ‘67] is a fictional story, yet it is so realistic in the context of that time and also the context of this time. When you look at the rebellion and protests that happened in Detroit and other cities during the late ’60s, there are a lot of parallels between them and the protests happening this summer. Obviously, there are different circumstances, but unfortunately, a lot of the same stuff is going on.”

So, listen to these talented members of the cast and crew and mark your calendars and register for free tickets forDetroit ‘67attickets.m.icarseries.com.

Reflections on a Virtual Theatre Festival

参加第三地区肯尼迪中心美国大学戏剧节是霍普学院戏剧系每年一月的传统。世界杯荷兰vs厄瓜多尔走地我们学院全年都参与到艺术节的活动中,教职员工经常在我们的五个州的地区担任节目的回应者,我们的两名教职员工此前曾担任该地区的主席,而米歇尔·Bombe,希望戏剧系的主席,目前担任整个组织的全国主席。

每年1月,三区总是在8个地区中第一个举办节日,通常是在暴风雪期间。虽然没有暴风雪,但由于新冠疫情,原定于今年在印第安纳州曼西的鲍尔州立大学举行的节日改为虚拟节日。

All previous regional festivals have meant a “road trip” for students, staff, and faculty members to the five-day event. The festival offers a host of activities, including five to eight invited productions from the region’s colleges and universities, exhibitions and awards in the various specialty areas of theatre (acting, arts management, design, directing, dramaturgy, playwriting, stage management, theatre criticism), workshops, and guest speakers.

Bombe说:“这对每个人来说都是一个非常困难的时期,对戏剧制作人来说也是如此。”“作为KCACTF的全国主席,我参与了这个节日的计划。去年夏天,我们不得不做出了一个艰难的决定,即8个地区的庆典都不亲自举行,而是以虚拟方式举行。我们知道创造力仍然会找到一种存在的方式,我们想要确保提供一个平台来庆祝这种工作。

“So, we asked the question, in this time of pause, could we offer programming that would allow our industry to return stronger and more equitable? Thanks to generous dedication and funding from the Kennedy Center, we were able to offer national programming to all eight regions and it was so delightful to see it launch at Region 3, which initiates an 8-week cycle of festivals across the country.”

Assistant professor Richard Perez described the impact of this adjustment to a virtual festival, held January 5-9, 2021:

“For many of us, the yearly KCACTF Region III Festival signals an opportunity to kick off the new year by reconnecting with peers, hearing great speakers, seeing exciting theatrical works and being inspired by the young talent in our region. While some of those components were missing this year because of the move to an online platform, there was a different kind of excitement present — the excitement of an art form that can continue to inspire even in the face of a world pandemic. Because we participate in a craft that is contingent upon our abilities to adapt, the courageous women and men who lead Region III did just that.”

For Hope’s Theatre Department, this meant an invitation to present its November 2020 production ofThe Thanksgiving Play在这个节日。Despite the fact that all invited productions had to be shared via pre-recorded performances, Perez, the director ofThe Thanksgiving Play, found the experience rewarding:

“Especially during this time of heightened awareness around racial (in)equity, it was an honor to bring a play that encourages us to be better allies to those who need it most.”

Grant McKenzie, left, and Adam Chamness, right, inThe Thanksgiving Play

Cast member Grant McKenzie ’24 echoed these sentiments:

“The response toThe Thanksgiving Play, as well as the opportunity to have it screened on such a level, was such an extreme honor, and a reminder to me of the reason why we keep creating even in difficult times and under strange new circumstances. As cliche as it is, KCACTF made me feel more invigorated and inspired as an artist, and I’m excited to hopefully attend in person someday.”

助理教授埃里克·范·塔塞尔(Eric Van Tassell)是这部作品的风景和灯光设计师。He too was enthusiastic about the video presentation of the play:

“The highlight of this year’s festival for me was getting to revisit our production ofThe Thanksgiving Play并与本地区更广泛的社区分享。世界杯英格兰队vs丹麦队足彩电影节的回答者对所有参展作品进行了反思和反馈,对我们的工作给予了很高的评价。令他们印象深刻的不仅是我们在大流行期间应对新技术挑战和安全限制的能力,还有我们的演员和导演如何不让这些新障碍阻碍一场高质量的、有趣的、发自内心的演出。世界杯荷兰vs厄瓜多尔走地希望学院对这部作品以及我们在我们地区的表现感到非常自豪。”

Indeed, the production received the Golden Keyboard Award (shared with the University of Toledo), recognizing the technical and digital proficiency of the production as well as its creative adherence to safe COVID protocols. (This was a new award, temporarily replacing the usual Golden Handtruck award, which recognizes the safe and efficient load-in and load-out of invited productions at their respective venues during in-person festivals.)

Department chair Bombe summarized:

“I deeply appreciate celebrating student achievements at the festival. For me personally, however, the regional festival is always a time to be inspired by talented artists and recharge my batteries and return to my campus with renewed enthusiasm to work with the students. And though it was disappointing not to gather in person, I still felt that the festival captured a way to celebrate our student artists and gave me so much hope for our industry as we move to come back stronger and more equitable. I am thrilled that we were able to share our work onThe Thanksgiving Play, which I think echoes the mantra I like to describe about our work at Hope: Theatre that makes a difference!”

Madison Meeron ’21 is pictured giving her online, solo performance of “When I Look at You” from the “Scarlet “Pimpernel.”

戏剧系在艺术节上也受到了学生个人成就的表彰。Nominated for her performance in the department’s February 2020 production ofDoubt,Hope graduate Katie Joachim ’20 advanced to the Irene Ryan Acting Scholarship semi-final round, and a number of other nominated Hope students participated in this event. Madison Meeron ’21 was a finalist in the Musical Theatre Intensive, which culminated in pre-recorded Zoom performances by all thirteen finalists at the January 9 closing of the festival.

Madison shared these thoughts:

“It was a riveting experience to be selected as a Musical Theatre finalist. I had a blast getting to workshop my song with guest artists Farah Alvin and James Gray. They were delightful individuals and really pushed me to look at my song’s text in ways I hadn’t before. I’m eager to use the skills learned through the MT Intensive in my future auditions/endeavors, and I would like to encourage future students to audition for this program. You won’t regret it!”

Valerie Dien’22 recently served as the stage manager for the Theatre Department’s outdoor production ofTwelfth Nightin October. Her festival attendance included building upon her interest in stage management:

“我非常喜欢这个节日,希望我几年前就参加了。我在剧院的各个领域都很有名,我能够学习并与一些在戏剧/表演领域最优秀的人才建立联系。对我来说,最大的亮点是参加了科迪·雷纳德·理查德(Cody Renard Richard)领导的舞台管理研讨会,他曾为百老汇、太阳马戏团(Cirque du Soleil)和最近的2020年vma(虚拟音乐大奖)担任舞台管理。这个研讨会非常棒,因为它允许我亲自问科迪一些问题,并与其他上升阶段的舞台管理人员讨论舞台管理技巧。这也让我注意到,我在霍普的舞台管理指导是非常全面的,这让我觉得自己有能力在讨论中坚持自己的观点,以及我对舞台管理的思考方式,而不是在研讨会上讨论的内容。”

(As a side note, it is fun to know that Cody Richard spent two seasons with the Hope Summer Repertory Theatre, first as a stage management intern and then as the assistant production stage manager, in 2007 and 2008. We theatre folk always say it is a small world!)

Of particular significance is KCACTF’s growing commitment to confronting issues of access, racism, and inclusivity. Several regional and national initiatives are working to increase the voices of under-represented populations within the organization and discipline.

The Region III Festival had a clear focus on these timely matters, as articulated by Bombe:

“就我个人而言,我受到了妮可·布鲁尔(Nicole Brewer)在反种族主义戏剧培训中发表的全国主题演讲和研讨会、戏剧亲密教育、我们见你美国白人戏剧小组(We See You White American Theatre Panel)以及后续讨论的启发。我们部门投入了深思熟虑的时间和精力,以满足全国共享的宣言的要求,该宣言的标题是‘我们看到你是白人美国剧院’,所以共享的对话和资源与我们在校园里所做的工作高度相关。”

2022年第三地区KCACTF节将于明年1月再次在波尔州举行。希望学院戏剧系期待与各地区的同事和朋友们再次相聚,共同庆祝学生们的创作成就。

Necessary Viewing: The Thanksgiving Play

1990年,在美洲土著居民歧视问题国际会议上,开始讨论将10月12日的哥伦布日改为美洲土著日或土著人民日。30年后的今年,密歇根和其他12个州不再庆祝哥伦布日。然而,我们州并没有追随南达科他州的脚步,正式宣布这一天为美国原住民的节日。

在艺术领域,特别是戏剧领域,我们在争取土著的公平和平等方面还有很长的路要走。麦克阿瑟奖得主、拉科塔戏剧家拉丽莎·法瑟斯撰写了希望学院剧院即将上演的戏剧,世界杯荷兰vs厄瓜多尔走地The Thanksgiving Playas a satirical response to the racism and prejudice she has experienced within show business.

With its script-required all-white cast (Adam Chamness, Cecelia Casper, Grant McKenzie, and myself) and directorRich Perez,The Thanksgiving Playis set to premiere via live stream on October 30th, four weeks before the holiday itself.

Video captures the Pilgrim puppet voiced by Cecelia Casper

The Thanksgiving Play罗根是一名前女演员,也是一名崛起的高中戏剧导演,她试图创作一部终极的、政治正确的小学感恩节戏剧。演员阵容包括一个现代嬉皮士,一个痴迷于剧本的历史老师,和一个愚蠢的洛杉矶女演员,洛根的日子比她想象的要艰难。

A play that addresses topics such as political correctness, misogyny, and racism towards Indigenous people inside and out of the entertainment industry will surely foster many interesting discussions.

我个人很荣幸能参与这部话剧的创作,它在今天,明天,以及长远的,可预见的未来都是非常必要的。还有什么比讽刺更能让人们以开放的心态对待敏感的话题呢?喜剧打破了我们的隔阂,让我们舒服地坐在座位上。fashorse出色的写作运用幽默来吸引我们,让我们接受她的社会批评。

如果观众按照我的理解来看待这部戏剧,它应该既能感受到欢笑的喜悦,也能感受到在戏剧和主流媒体上诚实地看到印第安人的表现时的不安。它应该抓住你,让你直面自己的种族偏见,同时用一个小时的真正搞笑的喜剧来娱乐你。当然,这是一种奇怪的混合情绪。但这也是一个有效的方法。

喜剧对我来说是天生的。在这一点上,像喜剧的时机安排和把一个笑话带到生活中几乎像是我DNA的一部分。我最喜欢的喜剧表演部分一直是一个好的笑话从观众那里获得的能量。

Grant Mackenzie rehearses, play puppet in hand

Due to the coronavirus pandemic, all performances ofThe Thanksgiving Playwill be live-streamed with an empty house. It feels daunting, but also obviously necessary. At first, rehearsals felt totally stunted by the fact that we couldn’t touch or get within six feet of each other.

The cast is made up of two freshmen (Casper and McKenzie) as well as my fellowSmokefall校友(Chamness)。我认为要创造出真正的化学反应是不可能的,因为在排练内外了解彼此是如此困难。直到排练了四五个星期,我们才意识到我们从来没有见过彼此完整的脸。

However, the rehearsal process has been one of the most fun and rewarding processes I’ve ever experienced. Each one has felt like more fun than work. I find myself totally engaged and ever searching for different ways to make my character, Alicia, come to life.

So, addThe Thanksgiving Playto your list of upcoming events. There are eight shows overall: Oct. 30, Nov. 5 and 6 at 7 p.m. and Oct 31, Nov. 1 and 7 at both 1 p.m. and 4 p.m. Have a (COVID-safe) watch party! Or, watch it alone as a break from your busy week.Thisis how you should rake in the holiday season.

Heather Cornell’s Dance Story Now Housed at NYC Public Library, Continues at Hope College

Heather Cornell is literally and metaphorically a mover and a shaker in the world of dance. She has been an ensemble founder and a sought-after solo artist. She is a choreographer, director and producer. She has learned from and performed with giants of the tap dance genre.

Heather Cornell, assistant professor of dance instruction

在长达40年的职业生涯中,康奈尔大学在世界各地的舞蹈舞台上留下了不可磨灭的印记。And now, because of it, she has landed in two educational places:

In theNew York City Library Public Library for the Performing Arts at Lincoln Centerand at Hope College.

康奈尔是世界著名的踢踏舞演员和教育家,今年刚成为霍普舞蹈系的舞蹈教学助理教授。(来吧,给她加油,惊叹她教学或表演的视频数量之多。)

20世纪80年代初,作为一名来自加拿大安大略省的现代舞演员,康奈尔第一次来到纽约,很快就迷上了踢踏舞。她曾与巴斯特·布朗、库克·库克、查克·格林、埃迪·布朗和史蒂夫·康多斯等爵士乐大师合作,并受到爵士大师雷·布朗的指导。她最终与人共同创立了美国著名的踢踏舞乐团Manhattan Tap,并赢得了国际赞誉。将近20年的时间里,康奈尔一直担任乐队的编舞、导演,当然,她还是舞者,后来她又自立了20年,开始了成功的独舞生涯。

纽约公共表演艺术图书馆(NYC Public Library for the Performing Arts)在2017年发布了一项调查,询问舞蹈界的人:“谁在国际踢踏舞界产生了巨大的影响?”,康奈尔的名字被提及最多。另外九名还活着的踢踏舞者加入了她的名单,该图书馆将利用这个名单来扩大踢踏舞的数字口述历史。在一个规模庞大、但在图书馆中代表性不足的舞蹈领域,康奈尔大学(Cornell)成为了首先要与之交谈的对象。

舞蹈系主任兼副教授马特·法默说:“这对希瑟来说是一个巨大的荣誉,因为是图书馆找到她,让她录制这张专辑。”

在由舞蹈口述历史档案管理员凯西·梅(Cassie Mey)策划的口述历史系列中,康奈尔与自己也是一位颇受好评的艺术家的学员安东尼·莫里格拉托(Anthony Morigerato)坐了下来,作为她的面试官。在30个小时里,他们进行了初步采访,然后在2018年两人在林肯中心图书馆的录音棚里坐下来进行最后8个小时的录音。

康奈尔在谈到口述历史系列时说:“因为tap (history)有这样一种口述历史——它被浓缩在很少的不那么全面的书中——这是一个非常重要的项目。”“我们当中有一小群人被认为是踢踏舞复兴时期的女性。那是因为我们在上世纪八九十年代有公司,在某种程度上帮助复兴了音乐会舞台上的艺术形式。”

她谈到了那段历史,还有更多the nine tracks available nowthrough the NYC Public Library catalog.

“Honestly, I love this age, or this moment in a young artist’s life when they are wanting to open up who they are as human beings. It’s just something special to be around.”

康奈尔称自己为身体打击乐手,即那些有节奏、精准的脚步动作为乐曲增添或创造音乐感的人,她跳舞时使用不同的声音纹理,如木头、皮革和沙子。而且,她总是只听现场音乐跳舞,从不听“罐装”的音乐。

她说:“这是我很早对自己的承诺(跟着现场音乐跳舞)。”“我喜欢Hope的地方在于,在这里,这不是我的负担,而在其他院校,这很困难,因为不同学科之间没有这样的融合和开放。”

“For me, that’s my dream: to be at an institution where there are no boundaries between the departments,” she continues. “Everything that I do in my life and in my career has been collaborative. That’s the most important element of what I do. From my experience here at Hope, just in the first six weeks, I feel like that’s one of the things that’s really nurtured here. And it’s great.”

现在,她用积累的飞行里程在密歇根州霍兰德教书和创作,康奈尔觉得她在纽约之外找到了一个良好的艺术家园。在Hope,她计划回报年轻的艺术家,就像她的tap导师曾经给予她的那样。

“The fact that Hope considers tap dancing as a very serious art form is huge for me,” she says. “The fact that there’s an openness in this environment that I haven’t experienced in other post-secondary environments is huge for me. And the fact that there’s a willingness here to allow for people to nurture who they are and get bigger in the process is also huge. Honestly, I love this age, or this moment in a young artist’s life when they are wanting to open up who they are as human beings. It’s just something special to be around.”

Personal Reflections on Twelfth Night in a Pandemic

新冠肺炎疫情让艺术产业陷入了停滞。演员、音乐家、技术人员、艺术管理人员以及其他许多人都处于一种不确定的状态。世界杯荷兰vs厄瓜多尔走地希望学院是少数几个幸运的实施了安全协议的地方之一,允许学生和教职艺术家在这个艰难的时期一起表演一些神奇的东西。One of these spectacles will be the Theatre Department’s outdoor and socially-distant production of William Shakespeare’sTwelfth Night.

Sebastian (Lili Fraser-Shade), left, and Viola (Emi Herman), right

I think it is a common misconception that theatre just happens. One day a group of actors show up to a performance and magically know all their lines and movements. A silver lining to the new Covid-19 restrictions is that we can showcase our work from start to finish to the Hope College community. This means students and faculty passing the entrance of the DeWitt Center have witnessed every stumble and every triumph in the rehearsal process. Yet another silver lining is that this play will be live-streamed! Not only can people watch it safely from their homes, but we can reach an even greater audience than ever before.

As an actor in this production, it has been a wonderful rollercoaster to get to this point. I started my journey to become Viola last semester under the direction of Johamy Morales and was over the moon about being able to continue into this semester. I was skeptical at first about acting with the restrictions of being outdoors and with masks on, but I soon remembered that both of those are traditions of theatre. I also realized that connection can still happen at a six-foot radius, and being closer to a scene partner now makes me feel like I must kiss or fight the person. What may have seemed like disadvantages have also turned into helpful tools because we had our set on day one and the audience not being able to see our facial expressions makes us actors use our physicality in ways we never have before.

From left to right: Clown (Madison Meeron), Antonio (Abby Doonan), Olivia (Sofia Muñoz), Malvolio (Riley Wilson), and Orsino (Mackenzie Hester)

However, working outside the DeWitt entrance is definitely more nerve-wracking than any other rehearsal process I’ve been a part of. I feel like I must beperforming每次排练都把它当成最终作品。我的同事们可以看到我每天晚上5点到8点,每周4天,周末有一场特别的日场。当然,现实生活中的这些更高的赌注只会增加这个过程,因为莎士比亚只会在高风险的情况下创作他的角色。公开的排练也迫使我比以往任何时候都更相信自己作为演员的选择。我想让那些走向宿舍的人回头看看。如果他们不这么做,我是否尽职尽责?我能让我们未来的观众参与进来吗?

I am so thankful that we are able to continueTwelfth Nightin person and that Hope College has been safe during this unprecedented situation. Working on a Shakespeare play is a beast, and I am so fortunate to get the opportunity to play Viola and tackle this beautiful play in a way that very few people get to experience.

For more information about viewing Twelfth Night in person or online,click here.

Photo credits: Leslie Olivarez

In the top featured photo: From left to right: Sir Andrew (Lisbeth Franzon), Antonio (Abby Doonan), Fabian (Emily Mann), First Officer (Jack Slevin), Viola (Emi Herman)

The Inauguration of the Many Voices Project

TheMany Voices Projectis a play-reading series that Assistant Professor of Theatre Richard Perez and the Hope College Theatre Department have launched in cooperation with the Center for Diversity and Inclusion. Over the course of this academic year, four plays representing culturally diverse characters and concerns will be presented as concert readings:Fadeby Tanya Saracho on September 25,Detroit ’67by Dominique Morisseau on October 16,Smart Peopleby Lydia R. Diamond on March 5, 2021, andExit Strategyby Ike Holler on April 9, 2021.

Professor Perez answered a number of questions about the project through an email exchange with Dr. Daina Robins, Director of Theatre.

Dr. Daina Robins, left; Professor Richard Perez, right

What is theMany Voices Project?

It is a concert play-reading series inspired by a need – a need to expand the repertoire of stories told on our American stages. While Hope College’s Theatre Department has always strived to be an inclusive body, we feel the time has come to be even more intentional in our efforts to support underrepresented voices. Those voices include but are not limited to — African American, Latinx, American Indian, Asian American, persons with disabilities, women, and the LGBTQ communities. If we are to become the just and equitable society that so many of us long for, then we feel we must create space for every voice to be heard and honored.

What led you to initiate this project?

我的同事们早就知道我与有色剧院的专业协会,以及致力于倡导弱势艺术家的组织。在上学期与戏剧系主席Michelle Bombe的一次谈话中,她提到我可能会考虑在校园里开始一个阅读系列,突出更多不同的剧作家。巧合的是,我已经和当地一家致力于这种工作的剧院公司合作了,所以把更多这样的工作带给霍普似乎是一个自然的过程。

你希望用它来完成什么?

  1. Broaden the appeal of the Theatre Department to students who don’t presently feel represented by our season selections.
  2. Attract more students of color and underrepresented populations on campus to audition for productions at Hope.
  3. Introduce our community to more diverse stories and world views.

What will be the biggest challenges you anticipate in producing these play readings?

I think initially casting may be a challenge. Traditionally, getting actors of color to audition for Theatre Department productions has been tough. But then again, I have heard from those very students that they are not interested in plays that don’t really represent their experiences. So, it will be important for us to look outside the traditional ways of casting.

我们希望,随着我们建立起更加包容的声誉,人们对这个部门的兴趣将会增加。但是,我们有责任确保我们不仅提供这个阅读系列,而且开始以更多样化的角色制作完全舞台化的作品。

就像任何新的剧场冒险一样,我也认为找到我们的观众需要时间。由于这些阅读最初将在网上进行,这增加了挑战。但我相信,一旦关于作品的性质和材料的多样性的消息传开,我们的观众就会呈指数级增长。

What do you most look forward to regarding these readings?

I’m looking forward to introducing our audience to a new generation of extraordinary playwrights. Their creative voices are as diverse as their cultural backgrounds and the themes they are writing about couldn’t be more relevant.

我也很兴奋能让更多的观众更容易接触到戏剧。我想有些人觉得戏剧是精英主义。我想打破这种假设,让每个人都能接触到这种艺术形式。

The plays you have chosen at times contain quite explicit language, language that we当我们制作完整的戏剧作品时,请谨慎使用。为什么这种语言对这些戏剧来说是必要的,至关重要的?

我们特意选择了代表不同社会经济背景的各种人物的故事。虽然其中一些角色有时会使用明确的语言,但它是真实的社区经验。世界杯英格兰队vs丹麦队足彩If we were to portray only the segments of society that speak in an eloquent and agreeable vernacular, it would undermine the very mission of theMany Voices Project, which is to expand the stories we see on American stages.

“I am also excited about making theatre more accessible to a wider audience. I think some people feel theatre is elitist. I want to dismantle that assumption and make this art form accessible to everyone.”

读者将是谁?有兴趣作为读者参与的人如何加入这个项目?

The readers will be our students, faculty, and actors who are appropriate for the roles. I am absolutely committed to making sure that the characters of every role are filled with an appropriate body.

If someone on campus wants to get involved with the project, I encourage them to contact me atperez@m.icarseries.com. No experience necessary.

How will audiences view these readings? In person — or via Zoom? How will they find out how to “attend” the readings? Will you charge admission or require pre-registration for audience members?

由于Covid-19,初步阅读将通过Zoom在线。阅读资料是免费的,但需要事先登记。海报和社交媒体上将会有报名的二维码链接。Below is the registration link forFade,the first play-reading in the series. .

阅读结束后,你会和观众进行阅读后的讨论吗?如果是这样,它们将如何构成?

我将主持演出后的讨论。每次阅读结束后,我们会向观众提问,观众可以在平台的聊天功能中提出他们的问题。根据观众的数量,我们有时可以使用平台上的“举手”功能,并以这种方式开始对话。最后,我期待着生动的对话和观众对这些引人注目的戏剧的反应。

Don’t miss the first reading —Fadeby Tanya Saracho, Friday, September 25, 2020, 7 p.m.

剧本出版商这样描述该剧的剧情:“当墨西哥出生的小说家露西亚获得第一份电视编剧工作时,她觉得自己在白人男性主导的舞台上有点不适应。露西亚很快就和周围唯一的拉丁裔人成为了朋友,一个叫亚伯的看门人。随着阿贝尔和露西亚分享他的故事,类似的情节开始出现在露西亚写的电视剧剧本中。”

Register for the link to Fade