SC First Novel Prize -- Hit This Up, Soda City Writers!

Sharing this news from our friends at Hub City Press and The Humanities Council of SC and the SC Arts Commission -- Heads up, Soda City Writers The South Carolina Arts Commission, Hub City Press and The Humanities CouncilSC announce a call for submissions for the biennial South Carolina First Novel Prize. Guidelines, eligibilty requirements and the application are available at www.SouthCarolinaArts.com. The application deadline is March 3, 2014.

The competition judge is Ben Fountain of Dallas, Texas, who won the National Book Critics Circle book prize in 2012 for Billy Lynn’s Long Halftime Walk. His other honors include the PEN/Hemmingway Award, a Pushcart Prize, two O. Henry Awards, two Texas Institute of Letters Short Story Awards and a Whiting Writers Award.

Ben Fountain photo courtesy of Hub City Press

The winning author will receive a book contract with Hub City Press, an award-winning independent press in Spartanburg, S.C. The winner will receive a $1,000 advance against royalties, and Hub City will publish at least 1,500 copies of the book.

The First Novel Prize provides significant promotion, including an invitation from The Humanities CouncilSC to appear and sign books at the 2015 South Carolina Book Festival in Columbia.

Susan Tekulve of Spartanburg was winner of the 2012 competition. Her book, In the Garden of Stone, was published in May 2013 and was nationally reviewed by such publications as Publishers Weekly, Kirkus Reviews and Library Journal. Additionally, Tekulve has toured bookstores throughout the Southeast and participated, or will participate, on panels at the Southern Book Festival, the South Carolina Book Festival and the High Country Festival of the Book.

Matt Matthews of Greer was the winner of the 2010 competition. His book, Mercy Creek, was published in 2011. Brian Ray of Columbia was the winner of the inaugural novel competition. His book, Through the Pale Door, was published by Hub City in June 2009. Both books have been widely and favorably reviewed across the Southeast.

The South Carolina First Novel Prize is funded by the South Carolina Arts Commission, Hub City Press and the Phifer/Johnson Foundation of Spartanburg, S.C. The Humanities CouncilSC is a founding partner.

For more information, visit www.SouthCarolinaArts.com or call (803) 734-8696.

Grammy Award winning Parker Quartet returns in November

  Parker Quartet - photo courtesy of Ellen Woodoff

The USC School of Music announces the continued residency of the Parker Quartet November 19 – 25, 2013.

During the November residency week the internationally acclaimed Grammy Award-winning string quartet will offer two public concerts, a public master class, chamber music coachings, seminars, and outreach programs to public schools in Columbia and Charleston. Dr. Robert Jesselson, Carolina Distinguished Professor, will be joining them on cello to play the famous Schubert Cello Quintet during a free recital on Sunday, November 24.

Recently named the Blodgett Quartet-in-Residence at Harvard University, the renowned Parker Quartet includes members Daniel Chong and Ying Xue, violin; Jessica Bodner, viola; and Kee-Hyun Kim, cello.  

The Boston Globe praised the Quartet’s “pinpoint precision and spectacular sense of urgency.” The New York Times hailed them as “something extraordinary.” The Quartet began touring on the international circuit after winning the Concert Artists Guild Competition and the Grand Prix and Mozart Prize at the Bordeaux International String Quartet Competition in France. Chamber Music America awarded the quartet the prestigious biennial Cleveland Quartet Award for the 2009-2011 seasons. In 2012 the Parker Quartet was the recipient of a Chamber Music America commissioning grant, enabling the ensemble to commission and premiere Capriccio, an hour-length work by American composer Jeremy Gill. Performance highlights from recent seasons include appearances at Carnegie Hall, 92nd Street Y, Philadelphia Chamber Music Society, Library of Congress, Concertgebouw in Amsterdam, Wigmore Hall in London, Musikverein in Vienna, Monte Carlo Spring Festival, Seoul Arts Center, Rockport Chamber Music Festival, Mecklenburg-Vorpommern Festspiele in Germany, and San Miguel de Allende Festival in Mexico.

The residency will resume in 2014 with a return of the Quartet in March and October 2014. Among the March programs and outreach, the Quartet will coach eight high school quartets during a special Chamber Music Day at the USC School of Music. Area high school students will get a unique opportunity to work with the world-renowned Parker Quartet through mentoring, intensive coachings and master classes, leading to a performance and competition that evening.

Donors to USC Chamber Music (minimum donation of $50 per person) can attend the Nov. 19 Champagne Reception, the November 19 concert at no charge, and a private reception with the artists on Nov. 24. Call Teah Weiss at 803-777-4006 for more information.

 

Chamber Residency Concerts and Events:

 

Tuesday, November 19, 6:00 p.m.

Donors’ Champagne Reception Sponsored by Friends of the USC School of Music.

 

Tuesday, November 19, 7:30 p.m. Chamber Innovista: Parker Quartet Concert School of Music Recital Hall (813 Assembly Street Columbia, S.C. 29201) Program: Schubert “Quartettsatz”; Adès “Arcadiana”; Beethoven Op.127 Adults $15; senior citizens and students $5. Capitol Tickets: www.capitoltickets.com, Koger Box Office, or 803-251-2222.

 

Sunday, November 24, 5:00 p.m. Parker Quartet Recital FREE USC cello professor, Robert Jesselson, joins the Parker Quartet for this concert. Program: Mendelssohn Op.44 No. 1 D Major; Schubert Cello Quintet School of Music Recital Hall (813 Assembly Street Columbia, S.C. 29201)

Sunday, November 24 (following the concert) Meet the members of the Parker Quartet at a private reception. For donors to USC Chamber Music. Call Teah Weiss at 803-777-4006 for more information.

Chamber Residency Coaching and Master Classes: Coaching and master classes are free and open to the public.

Wednesday, November 20

1:25 – USC chamber groups coaching

School of Music Recital Hall (813 Assembly Street Columbia, S.C. 29201)

Friday, November 22                            

7:30 - Master Class School of Music Recital Hall (813 Assembly Street Columbia, S.C. 29201)

Saturday, November 23                      

2:00 – 4:00 Coaching USC chamber groups

School of Music Recital Hall (813 Assembly Street Columbia, S.C. 29201)

Monday, November 25                        

1:10 - Individual instrument master classes for violin, viola and cello.

School of Music building

Chamber Residency Outreach:

 

Wednesday, November 20

Outreach to Columbia public schools: Chapin High School and Blythewood High School

 

Thursday, November 21    

Outreach to Charleston School of the Arts

Saturday, November 23                      

10:00 “Informance” for Suzuki at USC and USC String Project children

School of Music Recital Hall (813 Assembly Street Columbia, S.C. 29201)

For more information contact Ellen Woodoff at ewoodoff@mozart.sc.edu

Grant Show, in town to play Dracula for the Columbia City Ballet, talks with Jasper (pt. 2)

  dracula_logo

 

In Part 1 of our interview with Grant Show, he discussed the challenges of taking on a dance role as the titular Count in Dracula: Ballet With a Bite, presented by the Columbia City Ballet this Thursday, Friday and Saturday, October 24-26 at the Koger Center.  Discussion now turns to his career, and how a role in community theatre long ago led to a career as an actor.

Jasper:  I take it you're on a break now, since you have a new series (Devious Maids, on Lifetime.)  Congratulations - how's that going?

Grant Show:  Thank you.  It's going great.  We finished our season real strong.  We started out OK, and had this really nice build, as far as the audience, which I think is a really good sign.  I think the show is really great - I never really had any doubts about it.

Jasper:  So it's officially coming back for another season?

Show:  Oh yeah, definitely.  We go back to work in January.  It'll be back on the air I think the beginning of April.  We're starting earlier this year than last year. Last year was a summer show, and this year it's going to be more of a spring show, in 2014. The cast has been pared down quite a bit, but it was massive, that cast. It had like 18 members, and I think we’re down to 12, which is a big cast anyway.  They've told us a little about what's going to happen next year. I'm excited about it.    My character Spence, and Rosie, who are sort of star-crossed lovers throughout, are broken up in the end, and it takes Spence down a really bad path. He ends up becoming a hot mess. (laughs) I'm looking forward to it.  That was the way it was described to me: he's a hot mess. (laughs more)

spence rosie

Jasper:  You're often described as "television star Grant Show," or "Grant Show from Melrose Place," or from your new series...but you actually began as a stage actor.

Show: Well yeah, I had done a lot of stage.

Jasper: You studied theatre in college, at UCLA.

Grant Show, as Rick Hyde in "Ryan's Hope"

Show:  Well yeah. My first real job (as Rick Hyde, on Ryan's Hope) was a television job, and then I did a lot of back and forth, gosh, for ten years maybe.  And then once I got Melrose Place, once you're on a show, it's really hard to do theatre.  After I left Melrose Place, for the next three or four years I did a bunch more theatre (including Wit on Broadway, and The Glass Menagerie, as the Gentleman Caller, with Elizabeth Ashley at The Alley Theatre in Houston)  and then I moved out to California, and it's very difficult to do both. Your agents don't want you to do theatre.  There’s no money in it. They don't believe the long term, about how it develops you as an actor, as an artist.  They just don't get it.  They don't see any advantage in doing theatre.  They're not doing it, but for us, it's fun.

Jasper: You actually took a break from television after your first series, and went off to London to study at LAMDA (the London Academy of Music and Dramatic Arts) - what was going through your mind at that point?

Show:  I knew that what I was doing, on a daytime soap, wasn't what I wanted to do.  And I also knew that I wasn’t really that good of an actor yet. There was something they were doing over there, and I wanted to go see what they were doing.  I don't even know how much I learned, but it was fun.  I had a good time.  It was like a year of summer camp for actors.

Jasper: Similar to your undergrad experience?

Show:  No, more intense.  A lot more intense. We worked every day, seven or eight hours a day, for nine months.  I couldn't have not learned something - I had to learn something.  What, I couldn’t tell you.  But it was great.  If you have the opportunity...I knew I wanted to do it for at least a year before my contract was up. So I saved up my money, I was young, I was 27, so let's go have fun.  And I did.

Jasper:  Did you always plan on being an actor?

Show:  No.  I was going to be a pilot.  I had planned on flying for the Air Force. But we were poor, and I was in a public school, and you're not going to get into the Air Force Academy out of a public school, so the only real private education I could get was at a parochial, or religious, school.  Very early into being there, I realized I didn't like people telling me what to do. So I left there, and quit that whole plan.  I was well on the way - Eagle Scout, Senator's letter of recommendation... there's a whole bunch of steps you have to have.  I had gotten it all stacked up already, but I just needed to get the right education.  I realized "Yeah, not for me - the military's not gonna do it for me."  So I kind of goofed off for a long time.  I did some plays in high school, just as something to do.  I was a couple of years out of high school, not knowing what I wanted to do, and I did a community theatre play, and I was like "You know?  If they'll pay me to do this, I like this."

Jasper:  What was the show?

Show: Oh, it was some musical revue.  And I don't sing. It was just something that somebody put together, it wasn't a big thing.

Jasper: But you enjoyed it enough, to pursue that as a career?

Show:  Oh yeah. And I've been very, very, very, very blessed.

Jasper:  Do you know what ran on cable not too long ago?  Ice (a made-for-tv natural disaster movie that ran on ABC in the summer of 2000, about Californians struggling to escape and survive a sudden Ice Age.)

Show:  Oh my godddddd.

Jasper:  You know, one of your co-stars in that movie was also a famous screen Dracula -  Udo Keir, who was Andy Warhol's Dracula.

Show:   Yes, yeah I know that. God, they missed the boat on that (Ice.)  That could have been a good, good, fun movie. I just think that....it was okay....

Jasper:  It was actually pretty good.

Show:  It was okay.

Jasper:  The story was actually...

Show:  It was okaaaaay.

Jasper:    Just done on a miniscule budget, but a pretty cool idea.

Show:    It just missed. You never get any time on those things. You get it, and you've got a couple of weeks, maybe, at most,  and they fly you up, and then you start working on it, and it's just work work work work.  And after we're all done, I'm like "Aaaah, god, we could have done this, we could have done that..." I  had all these thoughts in my head about what we could have done.   It's nature of the beast.

Jasper:  We're also fans of Burn Notice, and big Bruce Campbell fans. Any stories about working on that series?

Show: Aw, he's great. (thinks) Nothing all that crazy happened. I loved it.  You know, Jeffrey (Donovan, the star) and I tested opposite each other for that role that Jeffrey ended up doing, so it was probably going to be between me and him. And when they asked me to come in and do a few episodes, I was like "No, I'm not going to come in and play a co-star to someone I read opposite!  I'm not going to be his supporting actor.  They were like "Why don't you read the script, and see?"  And it wasn't just a supporting actor to him, it was a pretty big character, and I had a lot of fun doing it.  I just love those guys. Matt Nix, the creator - he's great. He's terrific.  I talked to him about his whole writing process, and he was really super-supportive, and ready to talk - he's just a good dude.

c

Jasper:  Apart from your new series, which isn't even new any more, do you have anything else in the works?

Show:  No, that's it.  Katherine and I bought a house on the Marina peninsula that is 90-some years old, that hasn't been touched in 40 years. We're remodeling that, so that's kind of nice.  But I go back to work in two months. So there's not really enough time for anything.

Jasper:  So nothing on the side?

Show:  This.  This is it right now.

Jasper:  Have you visited Columbia before?

Show:  No.  I've played golf in Greenville.  Columbia is great though. I haven't really seen much of it. I've seen from the hotel to the studio, and from the studio...to the hotel.  That's all I've seen.  I keep waiting for someone to give me some barbecue. I love me some pork.  But I'm just so busy - this is really kind of a lot, this is (laughing) kind of ridiculous trying to get me ready to do this in four days. So that's all I'm doing. So then I get home, and I'm in my room, doing the steps, and it's not the newest building in the world.  So the floors are all wood, and all creaking around, and I'm sure the person below is like "Yaaaaaa - damn you!  Stop it!  What are you doing up there?"

Jasper:  Thinking about arts now in the broadest sense - what do you see as the role of the arts, and acting, and drama, from a societal viewpoint?

Show:  In the biggest, broadest sense, it's just a sort of visceral understanding that no man is an island, that we're all in this together.  In a real broad sense, that's it - we're all here together.

Jasper:  What do you see happening in the future with the performing arts, especially at the local level, with local playhouses, local ballets, local opera companies that are struggling in the current economy?

Show:  It feels like you can see the light at the end of the tunnel.  I'm not in it that much, though, I'm not in the trenches. I mean I know you guys just lost a ballet company (in Charleston.) But maybe that's an opportunity.  I believe it's an opportunity for William. He's definitely going to pick up the slack there.  I think it's unfortunate that it's the first place (arts) that money is taken away from, but it's a fact of life. Live theatre, or ballet, if they can't survive because no one's going to see them, then maybe they're not relevant anymore.  I believe they are. And I believe they will.

Jasper:  Finally, what are some favorite roles you have played?

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Show:  Both of them are in television shows.  I did a series, gosh, almost ten years ago now, called Point Pleasant.   Marti Noxon (an executive producer on Buffy the Vampire Slayer, Grey's Anatomy and Private Practice, and consulting producer on Glee and Mad Men) was the producer.   I played this guy who had sold his soul to the Devil.  He was basically the Devil's Pope. It was all supernatural crap, and he was just really fun.  The guy could do anything. He didn't give a crap about anybody.  He was a true villain, and that was really fun to play. And then the opposite side of the spectrum, the character I played in Swingtown, Tom Decker - he just wanted to make sure that everybody knew they were invited to the party.  He was the guy that says "you're good enough, you're pretty enough, and damn it, people like you.  Come on in - let's have sex!"  He was really fun, to just be free to just be welcoming to everyone, and your  whole goal is to try to make everybody else feel good about themselves. That was really fun.

Jasper:  And is there any role that you've always wanted to play?

Show:  (without hesitation) Yeah - James Bond!  I think I was born in the wrong area (i.e. America), and I missed my boat on that one.  But what guy doesn't want to play James Bond?

~ August Krickel

................................

Dracula: Ballet With a Bite

 

Columbia City Ballet presents Dracula: Ballet with A Bite at the Koger Center, running from Thursday, Oct. 24 - Saturday, Oct. 26, at 7:30 p.m. Tickets can be purchased at Capitol Tickets, online at www.capitoltickets.com, or by calling (803) 251-2222. University students are encouraged to take advantage of special discount student pricing on Thursday, Oct. 24: all tickets are $10 with a valid student ID.

 

Sudden Cardiac Death Syndrome: It is as Bad as it Sounds — Part two of An essay in two parts by Bentz Kirby

Bentz Kirby

"So, when I feel disturbed about the deficiencies in my brain I remind myself that most do not survive this event and those who do are often in a vegetative state.  Indeed I am fortunate." -- Bentz Kirby

For part one of this essay read here.

(Continued from Monday, October 21, 2013)  May has filled me in on these events to the extent she can and how these events lead up to my survival.  I have no complete memory of the time after I pulled the car over until I awoke on Sunday.  Based upon her report and the fact I am alive, I am convinced that several miracles did occur. The first miracle is one I have already mentioned -- that I chose to take a different route than I originally planned. This placed me in the right place and right time to have the people who did assist me to be present.  Also, it was only a ten minute trip to St. Francis, the hospital in Greenville with the best heart surgeons.  If I had been in Pumpkintown on the way to Table Rock most likely the people necessary to resuscitate me would not have been available.   Second, May realized that EMS was not going to arrive quickly enough and got out of the car and starting waiving her arms.  A number of people stopped to assist.  Fortunately at least two men stopped who knew how administer CPR. At some time, the Easley Police arrived and they took over the CPR compressions.  This kept my blood circulating and oxygen going to my brain for the time I completely was gone.  Third, an off duty EMS technician with an AED machine arrived. If you do not know what an AED is it is a portable Automated External Defibrillator.  It is something that should be in all public areas and schools to be available in the event of a sudden cardiac arrest. The paramedic was able to direct those providing CPR and to apply the machine to me three times.

Cpr-2

Fourth, I may owe some gratitude to ESPN and the Clemson Athletic Director as Clemson played their game that week on Thursday night on ESPN.  Had it been the usual Saturday afternoon game, traffic in Easley would have been at a standstill.  Most likely neither the paramedic nor the EMS ambulance would have been able to fight the football traffic and arrive in time to assist me and to get my heart beating again.  It is difficult for me to appreciate Clemson, but in this instance I am at least glad they played their game on Thursday.

Fifth, I consider the fact that it was only ten minutes to the hospital once my sinus rhythm had been restored.  My cousins had come from the family reunion to meet May at the hospital and they reported that no one was in the Emergency Room at St. Francis.  The Emergency Room was empty, even though it was a Saturday afternoon.  Additionally two of their surgeons were available and I was immediately wheeled into the operating room.  I take this as a miracle since two of their top heart surgeons were waiting for me when they brought me in.

May is a little fuzzy on the details as she was understandably upset during this time.   However she does recall the police and the ambulance with the paramedics arriving.  Among other things, May reports they applied an AED and administered Epinephrine to stimulate my heart.  She does not recall how long all of this took.  During this time period, she realized the EMS personnel were not going to take me to the hospital if I was not revived with a steady pulse.

Additionally her thoughts at this time were that I needed to breathe and that she was not ready for me to be gone.  As May said, “We had not discussed anything about this” before that moment.  Really though, do people sit down and discuss their death that often?  She also remembers that the police moved her away from me so that the paramedics could work on me.

According to the hospital notes, this all transpired in about seven to ten minutes.  To you, this may not seem like a series of miracles but it does to me.  Especially since I am here writing this for you to read.

After I had begun my recovery, May began to research SCDS.  Neither of us had heard of it before.  May found a site where people who were survivors post narratives about their experience with Sudden Cardiac Death.  The survival rate for this SCDS is around two percent (2%) so if it happens to you, the odds are against survival. Interestingly I have been told the best place to have this event is in a hospital with a defibrillator machine present.  I read many of the stories on the site May found and one thing is clear, almost all of my fellow survivors experienced a series of fortunate events which contributed to their survival.

As stated above, when I regained consciousness I awoke to find tubes down my throat and in all my extremities. I found my arms and legs had been restrained.  Additionally my chest had a number of burns on it from the AED machines. My breast bone also felt extremely painful from the CPR and would continue to hurt for months later.  From the little I do recall, I was very confused and could not talk or communicate.  I later came to understand that this was from damage to the language side to my brain.  I am still recovering and it is estimated it will take me about two years to fully recover.

Once my sinus rhythm had been restored, the EMS took me to St Francis in Greenville, SC.  Unlike the movies, they would not allow May to ride in the ambulance with me.  In fact, the Police initially would not let her leave the scene because she was so upset.

My cardiologist told me that my brain would not have survived had it not been for the persons who administered CPR and the paramedic with the AED machine.  This kept enough oxygen in my blood to prevent complete decimation of my brain.  So, when I feel disturbed about the deficiencies in my brain I remind myself that most do not survive this event and those who do are often in a vegetative state.  Indeed I am fortunate.

I also want to tell you that if you know of anyone in the hospital for a health reason and you can visit them, please do.  It makes a real difference.  My first moment of joy was waking up to see May’s beautiful face and to know I was still with her.  It is a lonely feeling to have a serious illness and be stuck in a hospital bed.  The presence of a friend makes a true difference to the person who is ill.  Fortunately, I got to see everyone but one person who came by to see me.  And, even though my memory is clouded by the sedatives, I recall all the visits by everyone.  Especially my two friends from Thomasville (GA) High School who proved that 40 years does not necessarily break the bonds of friendship.  I am convinced that one of the things that truly is worthy of taking from the Bible is Matthew 25 where Jesus instructs us to “visit the sick”.  We do need each other and you are more important than you realize.

Bentz and Anna

Also, a symptom of the post-traumatic shock from this event is the anxiety I feel about the effect of this event on May and my daughter Anna.  I cannot imagine how it must feel to watch someone you care about suddenly drop dead.  My brother died from cancer, but we had a lot of time to prepare for that experience.  I just hope they are coping with their feelings.

bentz and may

There is much more to this story and I hope to write more about my experience in the future.  Before closing, I am constrained to say a word about the subject most people seem curious about, “what it is like after you die.”  I get many questions, even almost a year later like -- “What did you see? Did you see a bright light? Did you see a tunnel of light?  Did you feel the presence of an angel? A dead relative?”  Well it is difficult to recall what went on in my brain during the time in question.  The most I can say I recall is being in a room with four doors and a presence asking me which door I was going to choose.  My response was that I am not going through any door as I was going back to be with my wife, May.  Regardless of what science tells us about the chemical effects the process of dying has on us as humans, I am convinced that if I did not feel so attached to May, that I would have chosen to leave the earth.  How is that for co-dependence?  But, I was determined to get back to her.  To the extent I had a choice, I am sure I made the correct choice.

As a result of the lack of oxygen I have significant damage to my brain, especially the speech center.  However, my situation is greatly improved and I find that writing and singing are two activities which help my recovery.  (Although writing this has taken about 10 times more than it would have previously.)  As a result of my situation and in appreciation for all of those who helped me in my time of need, I would like to promote a benefit to purchase some AED machines to be placed where they are needed.  Unfortunately, I need to conserve my energy to heal and cannot organize such an event at this time.  However, if there are any among you would like to promote such a benefit, I will be happy to assist your endeavor.

For more information contact http://associationdatabase.com/aws/SCAA/pt/sp/survivors

Bentz & Cindi ("smoking" a candy cigarette at Annie's & Kyle's wedding) -- Happy to be able to publish my friend's story. Keep on writing, Bentz. You are loved. -- cb

Sudden Cardiac Death Syndrome: It is as Bad as it Sounds -- An essay in two parts by Bentz Kirby

  Bentz Kirby

Part 1

On October 27, 2012, I went through some unexpected changes when I experienced an event known as Sudden Cardiac Death Syndrome (SCDS or Sudden Cardiac Arrest). It is as bad as it sounds!. I have had difficulty dealing with the psychological effects from this event, so I am writing this blog in hopes it will assist me in my recovery and my understanding of what happened, and is happening, to me.  Due to my post traumatic stress it has been difficult to arrive at a point I can begin to allow the numerous emotions and thoughts percolating in my body to begin to surface.  That is to say, I have difficulty dealing with both thoughts in my brain and the feelings in my heart and body.  I am not sure how to allow them to come to be fully actualized so that I can deal with them in a healthy way.  It has taken a long time for me to begin to open myself to letting the feelings out, but I have finally begun the process through counseling and this blog.

Saturday October 27, 2012, was a beautiful day and my wife May, daughter Anna and I had traveled to a family reunion in Travelers Rest.  It was for my father’s family.  The reunion had been very pleasant experience.  My relatives had enjoyed the barbecue and the green bean casserole I had prepared.  We had enjoyed both the company and the wonderful food they prepared.  At my insistence, we decided to visit my brother’s memorial stone in Westminster, South Carolina.  We were in the upstate and Westminster is a good ways from Columbia so it seemed like the thing to do.

My brother died on September 11, 2009, after a long struggle with Stage IV lung cancer. His body was cremated and his remembrance marker is located by a beautiful stream at Ramsey Creek Preserve in Westminster.  I have not visited the site since the date when we scattered a portion of his ashes in the small stream and I did not make it there on that day.  My plan was to sit at his memorial, remember the good times we had, and play him his favorite song, Black Muddy River.

I certainly did not have any foreshadowing I was about to drop dead in a few moments.  Still when we left the reunion, I made a decision which likely saved my life.  Table Rock is one of my favorite places in the world and I travel to it or by it any time I am able to drive that way.  While a detour by Table Rock is often substantially out of our way, I love to take a side trip there despite longer drive. I figured it was best not to tell May how much time this detour would add to the trip.  She does not like spontaneous departures from our planned trip.  From there we would be able to catch Highway 8/11 across the upstate and enjoy a scenic ride across the foothills of South Carolina.  As I prepared to pull out of the church parking lot, the voice I call intuition told me not to go that way.  For a change, I listened to the intuitive message.  I decided to abandon those plans.   Reviewing the map, I decided to travel the quickest route from Traveler’s Rest to Westminster.  That route was through my old home town, Easley, and I figured we could detour by my old home on Pope Field Road.  This would satisfy my desire to detour and it would take less time. My seemingly random intuitive thought was we could go to Table Rock on a different day.  For some reason, I felt like I needed to get to Westminster by the quickest route.  This decision saved my life.

October 27, 2012, was the date of the Carolina versus Tennessee football game. As usual when we are traveling during a Gamecock game, I found a station to tune in to the broadcast. Unfortunately, I tuned in at almost the exact time Marcus Lattimore’s knee was blown out by a Tennessee defender.  My reaction was anger and dismay as I was sure it was done intentionally.  (I have no love for the Tennessee football team even without the injury to Marcus Lattimore.  Orange makes me sick to my stomach.)  In any event, the game was very tight and I was disturbed as it looked like Carolina might blow the game.  As we approached Easley, my long standing love/hate relationship with Gamecock athletic teams was moving towards the hate end of the spectrum.  Fortunately May was asleep and did not have to hear my ranting at Todd Ellis and Tommy Suggs.

photo courtesy of fitsnews.com

Suddenly I began to feel light headed and faint.  Initially this did not alarm me because it was not unusual for me to feel faint both due to my high blood pressure and the numerous medications which I take for this condition.  However, this time the feeling did not dissipate.  It began to wash over me in waves and I remember thinking this must be more serious than I thought. I had no previous recollection of the feeling lasting this long.  My initial thought was I needed to see if this dizziness was going to stop.  I did not want to go to a doctor in the middle of this trip.  So, I drove on for a few moments.  It now seems odd to recall that my last thought before I went into cardiac arrest was trying to decide if I could gut this out or if I needed to go to the doctor.  Well, the answer was obvious, just not to me in that moment.

After realizing this was more serious than I thought, I decided to pull over to the side of the road and ask May to take me to the hospital or an emergency care facility.  I have a vague recollection of her waking up and asking me what was going on.  In my mind, I said, “I do not feel well and you need to take me to the hospital or a Doctor’s Care.”  However, she says I actually said, “Something is wrong with my eyeballs” and I then drifted off into indecipherable mumbling.  At that point, I slumped over and my heart stopped and I was dead.  May was in the process of calling 911 as I collapsed and my head fell over on my chest. She was understandably anxious and alarmed.  Rather than continue the 20 questions with the 911 operator she dropped the phone and got out of the car waving her arms.  Fortunately, a number of people stopped their cars to help.

At least two men were attempting to help May figure out what to do until the EMS could arrive.  First they had to determine how to position me.  One man wanted to lay the car seat down and the other wanted to get me out and lay me down on the ground.  May sided with the “get him out of the car guy”.  Once they had gotten me from the car May noticed that not only was I non-responsive, I also had voided my bladder.  This is not a good sign.  At some time during this process a woman who came up and told May she was an off duty paramedic.  She took control of the situation and began directing the two men on the CPR.  She cut my shirt and jeans off.  (She cut off my shirt from the College World Series where Carolina won back to back baseball championships.  I was not real happy about this when I was awake and realized the shirt was ruined.  However, but I am attempting to understand that it was necessary.  I still have the shirt in my closet.)  She used the AED machine she had in her car on me about three times to attempt to help me regain sinus rhythm.  During this time, the EMS ambulance and the Easley police arrived.

usc college world series

I do have some hazy memories of these moments.  The strongest is recalling the odd feeling of anxiety and foreboding I had just before I drifted out of consciousness.  It seemed as if I was in a nightmare designed by Kafka.   My recollection is how I felt completely alien and as if I had gone insane and lost control of my body.  I have no recollection of thinking I was dying, which I was. I do recall voices off in the distance which sounded like they were in an echo chamber.  I was attempting to talk to these people but I recall I finally gave up and drifted off into the unconscious.

The next day I awoke in the hospital with tubes and wires in and about my entire body.  My arms and legs were also restrained.  May informed me that I had been combative once I was resuscitated and I was restrained to protect me and any of the doctors, nurses and other health care professionals working on me.  It is difficult to describe the surrealistic feeling I had at that time.  I do recall bits and pieces of the Paramedics and Police talking about and discussing me even though I cannot recall the exact conversations.  I also have some fleeting memories of hearing me being moved inside the hospital and some of the ambient noise in the hallways of the hospital. These memories are from the time period after my heart beat had been restored.  I also have memories of drifting in and out of awareness while I was being discussed at the hospital.  I could not understand any of the discussions, I just knew they were talking about me.  It was a frightening moment and I am sure that my inability to communicate and to understand had a lot to do with my combativeness.  I simply did not like all these strange people touching me and sticking, probing, taping, and holding me without my permission or understanding.

I do not recall what happened throughout Saturday afternoon and night. I awoke Sunday in a dream-like state with my memory virtually wiped clean.  My pressing thought was not about my health or even where I was or what happened.  May was there with me so I felt I was in a safe place.  Her presence was reassuring and I felt as if nothing had happened.  It did not occur to me what had transpired and that I had been gone from this planet.  I felt like everything was fine and only wondered why I was in the hospital  The most pressing question I had was not what happened to me, but was “who won the game, Carolina or Tennessee.”  That is right; I wanted to know who won the game more than I wanted to know what had transpired.  It seems like I would have been interested in knowing where I was and what had happened, but I just wanted to know the result of the game.

Bentz and his beloved May, photo by Sean Rayford

I could not talk due to the tubes down my throat, so I asked May for a paper and pen.  My arms were restrained and I was under anesthesia as well, so I could not write well. The first thing I attempted to write out in my chicken scratch hand writing was “Who won the game?”  I was happy to hear that Carolina had beaten Tennessee.  Once the tubes were out and I could talk, I repeatedly asked the nurses for the score because I could not retain the information.  Eventually they got smart and wrote it on the blackboard so I could remind myself of the score without their assistance.  Other than that, I felt safe because May was with me and I knew that I was alive.

 

Check back tomorrow for part 2 of Bentz's personal essay.

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"This creature, this man, this person, this thing" - Actor Grant Show talks about playing Dracula for the Columbia City Ballet (pt. 1)

mm I very nearly miss actor Grant Show as I arrive at Drip on Main to talk about his upcoming role in the Columbia City Ballet's Dracula:  Ballet With a Bite. Dressed casually in workout clothes, looking down at his smartphone, he could be any young urban Main Street or Vista professional, stopping off for coffee after a jog or a visit to the gym, and not a visiting star from Hollywood on a break from rehearsal.  His publicity photo as Dracula doesn't do him justice.  He's the leanest, wiriest, tannest, fittest guy you can imagine, looking not much older than his character Jake Hanson did from 1992-1997 in the popular Fox series Melrose Place.   Since then, he's starred in a number of series (Point Pleasant, Swingtown, Accidentally on Purpose) cable television movies (Sex and the Single Mom, Natalee Holloway) and feature films (last year's The Possession) and has had recurring roles in series like Big Love, Burn Notice, and Private Practice.  Currently one of the stars of Lifetime's hit Devious Maids, which will return for a second season next spring, Show will portray the the blood-sucking Transylvanian Count in three performances this coming Thursday October 24 through Saturday October 26, at 7:30 PM at the Koger Center.   He shared some thoughts about this production, and his career this past Friday afternoon, the day before the production opened out of town in Savannah.

Jasper:  How did you first become involved with Dracula?

Grant Show:   Because William Starrett is pretty persuasive, as I'm sure everyone in Columbia already knows.  My wife, Katherine LaNasa (currently seen as Lizzie Ambrose on A & E's Longmire)  was a dancer. She danced with William in Europe. She stopped dancing professionally when she was in her 20's - she danced from when she was about 16 to about 26.  So I've known William for a couple of years now; William came out for our wedding.

Jasper:  You're a newlywed, correct?  Congratulations!

Show:  A year.  We're just past newlyweds now.  Thanks!   Katherine and William are doing a reality show, not in the sense of a "Housewives" reality show - it's more of  docu-reality show, what a documentary used to really be, about the Company.  So we've been a lot more in touch with him in the last couple of months.  They shot it a long time ago, and they're in the middle of making a deal on that.  I'm not a dancer, I've never been.  In my movement class at LAMDA (the London Academy of Music and Dramatic Arts) they called me "the Lorry Driver."  This is a Herculean effort, to try to get me to a place where there is any grace - but that's kind of why I wanted to do it.  I think (William) likes bringing in actors too - he's really terrific.

Jasper:  He's played Dracula himself, he's had dancers in the lead, and he's had actors play the role, so he's done it both ways.

Show:  He's a really creative guy, and creativity is really spurred on by disparate input.  His creativity is sparked when something new comes along, and having to deal with my limitations makes him more creative. Myself as well, me coming in here and trying to figure out what I can do and can't do. And then pushing the limits of what I can do.

dd

Jasper:  Have you surprised yourself?

Show:  I don't know if I'm doing it well yet, but I'm doing way more than I thought I would.   I'm doing lifts!  I didn't think I was going to be dancing at all.  I thought I was just going to come in, (shifting into a Bela Lugosi-style voice) "and be Dracula!" and then kind of sweep out.  But he's got me in full-on numbers, quite a bit - a lot more than I thought.  I'm doing a lot of lifts. When they suggested it to me, I was like "You guys are nuts!  I'm going to take this part and just...walk across the stage?   People study for years before they do that!"  But the girls are so good;  everyone there is so good, that they're making me look better than I am.  And I'm having a lot of fun.  I am, I'm having a great time, just a lot of fun.  The weirdest thing is: I've seen one ballet in my life.  It's not my thing, or it wasn't.  The emotion that comes over me  most often now during rehearsal - not when I'm working, but when I'm waiting to work - is (that) I'm jealous of these people.  I'm very jealous.   I will never have anywhere near the grace that these that guys have.  Even if I decided now that I wanted to, it's too late. I've missed that boat.  And I'm a little bit jealous of these guys, if not a lot jealous of these guys. They're incredibly athletic and graceful and artistic, all at the same time, something I will never have.

Grant Show as Dracula

Jasper:  How challenging is it to do an acting role with lots of movement, but no dialogue?

Show:  It's different.  They're not putting any pressure on me, so there's no fear, I don't have any fear here.  Not yet.  Maybe I will before the curtain goes up tomorrow.  The first three days I was just learning where I was supposed to be standing on the stage.  I got here Monday night.  So Tuesday, Wednesday, and Thursday... maybe a little bit Thursday afternoon, I started to act, but  there's really been no acting, it's just been "What do I do next, what do I do next? "  and listening to the music.  The cues are very different. There are some visual, but mostly, it's auditory cues, so re-training myself for that, that's difficult, and today was really the first time that I was able to go "What kind of choices am I going to be making?"  And of the choices I've already made for this character, for this creature, this man, this person, this thing, can I incorporate them, will they work?  It is challenging. And I don't have a lot of time  to do it.

Jasper:  That's not bad for three days.

Show:  I feel OK , considering. Unfortunately people in the audience aren't going to know that there's a "considering"  They come to see a show.  They don't come to see a show with a caveat of "Oh, well he's only had this much time."  They just want to see a good show.  One thing that is very challenging is, that if you're in a scene in a play, or a tv show, or a movie, or whatever, you can do that scene, with whoever you're working with;  it generally doesn't have more than two or three people at the most. You can do it again, do it again, do it again.  You can try different things, and keep trying.  But (here) you've got the entire company. If I want to work on one little moment, you've got to get the entire company together, you've got to cue the music up, you've got to move into it, so you really only get two or three shots at it in a day, in a whole day.  So that's really difficult and challenging - it's new.

grant_show

Jasper:  You said "this character, this creature, this man, this person, this thing." So which is it?  How are you approaching the role?

Show:  Well you have to play it as a person, as a man.  The closest thing that I'm kind of, playing with, is that he's really kind of a sexual predator.  But there's also some things that are child-like about him, that maybe a sexual predator has as well, so that's kind of what I'm playing with.  Are you (the audience) going to see any of this?  I have no idea.  These are just thoughts in my head.

 

 

In Part 2, Grant Show discusses his current series Devious Maids, how he broke into acting then took a break to develop his craft, as well as favorite roles, roles he was very nearly cast in, and roles he would love to play.   Columbia City Ballet presents Dracula: Ballet with A Bite at the Koger Center, running from Thursday, Oct. 24 - Saturday, Oct. 26, at 7:30 PM. Tickets can be purchased at Capitol Tickets, online at www.capitoltickets.com, or by calling (803) 251-2222. University students are encouraged to take advantage of special discount student pricing on Thursday, Oct. 24: all tickets are $10 with a valid student ID.

~ August Krickel

 

 

About Columbia Dance & this JUNK show on Friday night

JUNK Jasper loves dance -- and really, why wouldn't he? Dance is a physical interpretation of ideas, expressions, and emotions that run the gamut from joy to sorrow, piety to provocation, intrigue to explanation, and more. Whether executed by highly trained artists who emphasize technique and the curriculum and pedagogy under which they formed their world view about what dance should be, or the hapless and random movements of a toddler trying to find her first groove in the middle of a street concert, witnessing dance can be a transformative experience. The experience of dancing for oneself can border on the religious.

As we've said before, Columbia is in no short supply of dance.  Ballet companies, both professional and civic, abound. Local universities offer impressive dance departments with internationally known instructors. Smaller companies directed by unusually talented and experienced professionals -- like Caroline Lewis-Jones, Terrance Henderson, and Miriam Barbosa -- pop up throughout the season with fascinating shows, although these tend to be sparsely attended due to lack of funding for promotion. Erin Bolshakov down at Vista Studios has created an entire sub-culture around her art form.

Clearly, Columbia is a dancing city. We've had world class dancers come from our midst to grace the great dance stages throughout the world. Many of the dancers who have made Columbia their home have done so after dancing on some of those stages.

And yet, ...

For some reason we seem to lack the concomitant energy and verve that one might expect from the kind of dance city that we live in.

Why is that?

This is a question Jasper will be asking of you, our dancers, our artistic directors, our dance audiences, our sympathetic artists from other disciplines over the next few months.

Where are we going as a dance center? Are we going anywhere? If we aren't as dynamic as we should be, from where does our stasis come?

In the meantime, we invite you to engage with a dance company touring through our midst that is anything BUT static. JUNK.

Check it out at Harbison Theatre on Friday night.

Here's a little something about Junk.

junk

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After selling out multiple shows in its first signature season including contemporary dance masters Pilobolus, Harbison Theatre at Midlands Technical College is bringing the Philadelphia-based dance troupe, Brian Sanders’ JUNK, to Columbia. The company will perform the show Patio Plastico Plus on October 18 at 7:30 p.m. Note: this engagement is one night only.

Far from traditional, the troupe uses found objects from pogo sticks to plastic jugs to create an onstage world that straddles contemporary dance and theater.

Sanders, formerly of the MOMIX company of dancer-illusionists, is known for creating athletic dance pieces that are in turn intense and moving, then light and comical.

“Last year, audiences LOVED Pilobolus. I did, too!,” says Director of Theatre Operations, Katie Fox. “The athleticism and storytelling held us all transfixed.” She continues, “For some, it was their first experience with live contemporary dance.”

JUNK has been jumping over boundaries, setting a new path in modern dance performance since it was founded in Philadelphia, Pa. in1997. The clever and creative repurposing of found objects presents an array of choreographic obstacles to be used and manipulated. Dancers perform with props as if they were animated partners, presenting technique that is both physically beautiful and witty.

Says Fox, “This show is so clever! Waiting for the preview show to begin in New York, we heard what sounded like ducks quacking backstage. When the dancers emerged, they danced an entire piece with ‘quacking’ two-liter bottles strapped to their feet!”

Patio Plastico Plus is a show of seven pieces performed in two, 40-minute segments with a 15-minute intermission. The segments, illuminated by dazzling light and rhythmic, mood-shifting music, are performed in quick, powerful bursts with little to no pauses.

This performance will leave a smile on the faces of both the new and the experienced dance fan. Tickets for Patio Plastico Plus are $30 and can be purchased at www.HarbisonTheatre.org.

 

Project 63 at USC's McKissick Museum - by Deborah Swearingen

David Wallace photographer In the midst of the 50th anniversary of 1963, the University of South Carolina’s McKissick Museum has teamed up with the city of Columbia mayor’s office to present Defying the Quiet: Photography of the Civil Rights Movement. The display is part of an initiative called Project 63, which aims to create a more complete record of the civil rights movement, particularly in Columbia. Typically, the civil rights movement is centered on events that took place in Alabama and Mississippi, but the project is working to add more to what is already known about the movement here in Columbia.

The photographs in the exhibit were taken primarily by three photographers: Cecil Williams, a professional African-American photographer; David Wallace, a local Caucasian business owner of the time who was interested in what was going on; and The State newspaper. Museum exhibitions curator Ed Puchner hopes that when the photographs are displayed, the variation in perspective of the three photographers will be evident. He also says that it will be interesting to see how the photographs taken by the newspaper were used to shape social movements.

Cecil Williams - photographer

Cecil Williams - photographer

Social change was certainly prevalent throughout the ‘60s, and the photography combines personal involvement in the civil rights movement with personal emotion. Photographical documentation of Henrie Monteith Treadwell, the first African-American to be admitted into the University of South Carolina, is included in the exhibition.

The photographs in the exhibit will be separated by event. As most have never before been seen, the museum will have a place for those who visit to identify anyone they may know in the pictures.

David Wallace - photographer

David Wallace - photographer

Among numerous other clips, film footage of marches for freedom, speeches by Gov. Hollings (SC governor 1959-1963), and interviews with those involved in the movement will be cycled through.

“We like the idea of there being a lot of different voices,” Puchner said.

Defying the Quiet will officially open October 18th and will stay open until January 17th. It is located on the second floor of the McKissick Museum in the South gallery and is free to the public. On October 22nd, there will be a gallery opening reception from 5:30 p.m. to 7:30 p.m. where Cecil Williams will be signing books. All are invited to attend.

David Wallace - photographer

To learn more about Project 63, visit http://columbiasc63.com/index.html.

- By Deborah Swearingen, Jasper intern

 

The Space on Which You Stand: Photo Exhibit memorializes the old Ward One Community of Columbia -- by Jackie Mohan, Jasper intern

 Four photos held by Koslov's hanging system in the People section of the exhibit.  

Today in Columbia, at the corner of Blossom and Main, stands the Honors Residence Hall, South Carolina Honors College students bustling about inside its sunny yellow walls, laughing in the dining hall, playing Frisbee in the courtyard.  It is hard to imagine that the land where that building now stands was once home to a much different community dating back to the Reconstruction era, the Ward One community.  When urban renewal swept the region in the 50s and 60s, the physical community was virtually destroyed.  This past June, University of South Carolina student Sarah Koslov began to rediscover the Ward One community, past and present, and help remedy this situation.

“We wanted to make an exhibit about social change,” Koslov, student curator of the exhibit, explained about her work with the Honors College.  As she explored ideas, Dr. Ed Munn Sanchez, Associate Dean of the Honors College, recommended that she talk to Dr. Bobby J. Donaldson, Associate Professor of History and African American Studies, who works with a community called Ward One.  This led Koslov to the current historical Ward One Organization of Columbia, an association for the residents from the original Ward One community founded by Beatrice Richardson in 1991.

“The Ward One Organization still strives to have a presence and a name,” Koslov said.  Since the Ward One Organization is comprised mainly of residents from the original community, many of the members are getting older.  Just weeks ago, the organization lost one of its unofficial historians and most beloved members, Ms. Agnes Perez.  Because of this, Koslov said, “There is a sense of urgency in trying to get a permanent legacy established.”

In her research, Koslov contacted numerous people connected to Ward One.  Two Honors College students, Paige Fennell and Ashley Nichole Bouknight, had previously done Honors theses related to the community, so their work served as a basis for her exhibit.  She gathered information and, most importantly, photographs of Ward One residents from the past theses, Dr. Donaldson, and Ward One Organization members, especially its President, Mattie Anderson-Roberson, former resident of Ward One and the first woman in South Carolina to receive an athletic scholarship to further her education.

“There was an industry aspect to Ward One … but this exhibit is more about the people and personality of Ward One,” Koslov explained.  Her final project is a historical photo exhibit, The Space on Which You Stand, with five sections: People, Neighborhood, School, Church, and Ward One Today.  Each section features a text panel with historical information and photographs of the old Ward, focusing on its people and the close-knit community they built.  Ward One was an impoverished community but, as one resident recalled, “We were poor.  We just didn’t know it.”  The photos and panels are hung by cords in a hanging system that Koslov installed when she designed the new, reusable exhibit space.

“This is just a small effort to increase public awareness of Ward One,” Koslov said.  “It is a project very near and dear to my heart.”

Members of the Ward One Organization.  On the left, President Mattie Anderson-Roberson beside Ms. Agnes Perez.  On the far right, Dr. Bobby J. Donaldson

The exhibit opens Wednesday, October 23, at 4:00 pm in the Honors Residence Hall room B110 with a reception following.  The exhibit is free and open to the public and located in USC’s Honors Residence Hall, located at 1215 Blossom Street, on the first floor.  The exhibit will be up through the rest of this semester.  For more information about the event, email Sarah Koslov at Koslov@email.sc.edu or visit: artsandsciences.sc.edu/opening-space-which-you-stand-photo-exhibition.

Part of the historical Ward One Organization’s efforts to raise public awareness included the addition of a website for Ward One, designed by Honors College graduate Jade McDuffie for USC’s Discovery Day in 2012.  To learn more about Ward One, visit: wardone.wix.com/wardone.

“Ward One is no longer a physical community,” Koslov said.  “It is a community based on nostalgia and memory.”  However, the community is as strong as ever.  Their quest to raise awareness and remembrance continues as the Ward One Organization’s mantra declares, “We are not done with the old Ward One … Gone, but not forgotten."

-- Jackie Mohan, Jasper intern

Columbia Jewish Book Festival -- a Book Fest for Everyone!

cola jewish book fest poster  

Columbia is not only a writers' town, it's a readers' town, too. And Jasper is always delighted to hear of interesting and engaging literary events.

For example, The Columbia Jewish Book Festival coming up on Sunday, October 20th through the 25th. Award winning author Mary Glickman is this year’s featured presenter. The festival also features film screenings, workshops, and children's activities and is open to all.

The Festival kicks off Sunday, October 20 with a screening of Shalom Sesame's "Mitzvah on the Street" followed by a showing of a film adaptation of Mitch Albom's novel "Have a Little Faith" at 3 pm.

Monday, October 21 features keynote speaker Mary Glickman at 8 pm. Mary is a South Carolina resident and her first novel, Home in the Morning, is in development for film by Jim Kohlberg, director of The Music Never Stopped (Sundance 2011). Her second novel, One More River, was a Finalist for the 2011 National Jewish Book Award in Fiction. She will be available to sign books after her talk.

A workshop about writing and publishing children's books is scheduled for 7 pm on Tuesday, October 22. This workshop will be led by Elaine Schiller August and Ronit Elk, both published children's authors. Participants are encouraged to bring their questions and any of their own manuscripts.

All events are free for JCC members; a donation of $5 is requested of non-members. The book marketplace is open to all. The Columbia Jewish book festival is supported by The Columbia Jewish Federation, The Jewish Cultural Arts Committee, The Kligman Fund for the Jewish Cultural Arts, the Katie & Irwin Kahn Jewish Community Center, and Thou Shalt Read.

Festival events will be held at The Katie & Irwin Kahn Jewish Community Center  at 306 Flora Drive, in Columbia. For more information go to www.jcccolumbia.org.

Symphony Review: The South Carolina Philharmonic's Premiere of Joan Tower's "Red Maple"

mw1_tower “I don’t do movements.” This blunt statement by Joan Tower belies the expansive seventeen minutes of Red Maple, her most recent work. Scored for solo bassoon and orchestral strings, the piece eschews splashy colors, heavy-handed percussion, and fanfarish settings, and comes across as an understated, even restrained, work. Allowing the bassoon to “shine,” as Tower puts it, is her primary concern. Commissioned by the South Carolina Philharmonic and the virtuoso bassoonist Peter Kolkay, Red Maple premiered on October 4, 2013, at the Koger Center for the Arts in Columbia, SC. Also on the program were a few war-horses – Tchaikovsky 4 and the “Triumphal March” from Verdi’s Aida that certainly offset the general quiet and initial nigh-solemnity of Red Maple.

mw1_kolkay

 

Peter Kolkay is one of the few among bassoon superstars (let that phrase reverberate for a minute) able to fill a concert hall while maintaining a luscious, mellifluous sound. In this respect, Red Maple succeeds wildly. The work opens with a descending three-note chromatic motif and an extended, languorous, almost-plaintive solo in a fairly high register – perhaps a reach back in time to the inner movement of Gordon Jacob’s bassoon concerto or the slower passages of Taafe Zwilich’s concerto. Kolkay’s robust, confident, and energetic performance carried the work – and if there was any doubt about Kolkay’s aptness for luminosity in lyricism, let it be laid to rest here and now.

The string orchestra accompaniment in Red Maple was alternately stately and buoyant, and well-played under Nakahara’s baton – yet, simultaneously, the scoring of the work seemed almost risk-averse. There were very few moments of percussiveness or novelty in timbre; retrospectively, the accompaniment plays it safer than what Tower normally brings listeners in large-form works. Very rare indeed is a string harmonic in Red Maple, and very rarely is the full potential of color between the strings, or between bassoon and strings, realized and exploited. Technical moments favored the soloist, of course, but even some of the flashier writing for the bassoon seemed restrained, delicate: in essence, everyone performed purely idiomatically, and this instilled in some listeners the idea that, perhaps, Tower had some tentativeness about the ensemble or the work in general. The strings remain in safe and comfortable ranges; other special effects are totally absent, from both soloist and strings. Granted, concerns of orchestration are paramount when composing for a bassoon and an ensemble, but the approach here is conservative at the peril of potentiality.

This is not to say, however, that the work was lacking: rather, Red Maple has a slow burn that gently draws listeners in and engages imaginations as it unfurls. The formal scope of the work, is an interesting conceit and clever play on the concerto form: just as autumn rushes in and sets forth a sense of urgency, so too does Red Maple, with an acceleration of contrasting ideas. The extended solo gives way to stilled string writing; from this slowness emerges faster sections, and these temporal variations alternate, each alternating section appearing to shorten in duration as the work moves toward its terminus. Tower works in three separate cadenzas and touches upon classical expositional ideas, and along the way there is a great deal of vivacity, with multiple gigue-like sections and rhythmically propulsive passages. An urgency-at-the-coda, last-breaths-of-Fall idea permeates the bassoon solo, as well: as the work progresses, the level of technical skill in the bassoon increases, departing with a flurry of smoldering flourishes that summarily test the mettle of the soloist. Kolkay blazes through these sections with vigor and aplomb.

Rare is the orchestra and the music director that takes a chance on a new premiere – let alone for a bassoon concerto. The South Carolina Philharmonic, music director Morihiko Nakahara, and bassoonist Peter Kolkay should be celebrated for employing Tower to create a new work, along with a consortium of other ensembles. Tower, likewise, should be thanked and saluted for taking up the challenge, especially for a premiere in a sleepy (yet culturally alive) town in the Deep and Dirty South. Red Maple will surely go into leaf as time wears on as Kolkay reprises his stellar performance beyond Columbia, SC. - Tom Dempster

USC Department of Theatre and Dance's Lab Theatre Brings Unique & Exciting Season - by Joanna Savold, Jasper intern

yellowman-1 USC’s Department of Theatre and Dance is always striving to provide unique and challenging performances, and the department’s Lab Theatre – set in the intimate “black box” theatre space on 1400 Wheat St. – has a lineup this fall that is no exception.

 ~~~

This weekend the Lab will be presenting Yellowman. The Dael Orlandersmith play revolves around the romance of Alma and Eugene, two youths who grew up in rural South Carolina. USC undergraduate students Brandon Byrd and Raven Massey will be portraying the lighter-skinned Eugene and the darker-toned Alma, respectively. The characters will, through Orlandersmith’s poetic lines, confront the internalized racism and discrimination in their community and themselves. But these issues are not confined to the performance; Director Patti Walker is sure the play will compel the audience to look inward as well and – in realizing harbored prejudices – enable real change.

The department admits that the simple act of staging a production that requires African American cast and characters is a vitally important step towards giving students representation in the artistic community. Walker also chose to alter the number of cast members in the play, in a conscious effort to give more African American actors opportunities through the Lab production. The originally two person cast now counts in at ten, with eight talented undergrads besides Byrd and Massey who will play characters in the protagonists’ community: Tiffany Failey, John Floyd, Jalissa Fulton, Natasha Kanunaido, Eldren Keys,Jon Whit McClinton, Tiera Smith and Olander Wilson.

Yellowman will open October 10 and run through to Oct 13, showing nightly at 8 pm. Tickets are $5 at the door, and seating is first-come, first-serve, so get there early for the best spots in the house.

 ~~~

This isn’t all the Lab Theatre has to offer this year; on November 22 and 24, students from across campus will be performing original acts created in the time-starved intensity of a play festival. Under the supervision of Robyn Hunt, this unique project will follow in the improvised footsteps of other play festivals, such as Paula Vogel’s creation at Brown University and the Sandbox One-Act Play (SOAP) Festival in Seattle. Within a week before the first performance night, interested students will ‘draw’ or be randomly assigned roles in the performances; actors, directors, stage managers, and playwrights will all be determined by chance. And then the fun begins. Participants will have only a short window of time to create a script, set a scene, and rehearse before finally performing their original shorts for a live audience. After the Friday night performance, they’ll do it again! A host of brand new acts will accompany the second night of the festival, offering audiences two unique nights with new plays by students each night.

Hunt says the goal of the festival is to create “brand new theatre,” to have performances that are completely fresh and different from what theatre-goers have experienced before. Like the festival’s title, whose words all ears took captive, the acts will capture the audience in the excitement of something just invented. Hunt looks forward to seeing students collaborate on the project, which is open to USC students of any major, grad and undergrad.

whose words all ears took captive will also be $5 at the door and is scheduled to start at 8 pm on November 22 and 24. Neither will be a night to miss!

For more information on the Lab's productions or USC's theatre program, visit the Department of Theatre and Dance's website: http://artsandsciences.sc.edu/thea/

-- Joanna Savold, Jasper Intern

 

Jasper's Two Cents on TwoSense

 

TwoSense Live

The Southern Exposure New Music Series kicks off its 2013-2014 concert season on Friday, October 11, with a 7:30 PM concert featuring the cello/piano duo TwoSense. A lineage of performances tracing its route through Carnegie Hall, Alice Tully Hall, the Barbican, and Bang on a Can All-Stars, cellist Ashley Bathgate and pianist Lisa Moore will perform a concert of new and contemporary works by composers Martin Bresnick and Kate Moore, and two premieres of works by Jack Perla and Paul Dresher. The program spans from mercurial, angular pieces to jazz and world-music-inspired eclecticisms, all to be revealed by a duo of performers with wildly positive critical acclaim.

Before the evening’s concert, TwoSense will give a variety of talks and masterclasses, including a discussion of commissioning and performing new works from 1:10-2:00 PM in the USC School of Music Recital Hall (as a composer, I approve this message), and the composer Martin Bresnick will be giving a masterclass and composition talk from 2:30-4 PM, also in the USC School of Music Recital Hall. In addition, area artist Adrian Rhodes will have visual artwork on display in the gallery at the USC School of Music prior to the main event.

The concert and the events are part of the Opera-Tunity Foundation’s Celebration of Women Artists. All events are open to the public and free.

-Tom Dempster

Meet the 2nd Act Filmmakers - Pt. 4

2nd act single cam It's finally Film Festival Week!

I know this because I saw Jasper film editor and director of The 2nd Act Film Festival on television this morning telling Mr. Anderson Burns and the world the world that it was so.

Accompanying Wade was the talented Ebony Wilson who is not only one of The 2nd Act Filmmakers but who also just so happens to be celebrating her birthday today.

Here's a screen shot of Ebony from her film The Meeting that she'll be premiering Thursday night along with films from nine additional juried filmmakers --

Happy Birthday, Ebony! Smile!

And here are the remaining filmmakers whose work you'll be seeing on Thursday night! (Previous blog posts have featured the rest of Jasper's 2nd Act Film Fest squad.)

 

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Our Kickstarter campaign is complete -- and we made it! Thanks so much to all of you who contributed to this project. It means a lot to all of us involved.

Keep in mind that seating is limited so you may want to both get your ticket in advance  AND get to the theatre when the doors open at 6:30.

Special thanks to our sponsors:

Precision-Sponsor_Weblogo-finaldraft-wb_lo-res

WXRY_Web2nd act sponsor

 

 

Important Stuff About The 2nd Act Film Festival -- What you may not know ...

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  • The 2nd Act Film Festival was created to help bring a sense of community to Columbia, SC filmmakers.

 

  • The 2nd Act Film Festival was created to complement and support the already existing independent film structure in Columbia -- i.e., The Nickelodeon and those (like us) who love and support it.

 

  • 30 filmmakers applied to participate in the festival -- 10 were chosen.

 

  • Jurors included representatives from USC, the Nickelodeon, POV, One Columbia, and a private production company.

 

  • The 2nd Act Film Festival does not and will not charge local filmmakers to participate. (This is in keeping with Jasper Magazine's policy of never charging artists to perform, participate, publish, or exhibit.)

 

  • All participating filmmakers now have their screenplays registered in the Library of Congress as part of a compilation of all the screenplays published via the generosity of Muddy Ford Press.

 

  • Through the generosity of Coal Powered Filmworks, all participating filmmakers now have their films compiled with those of other participants on a limited edition DVD.

 

  • Both DVD and Screenplay Book will be available for purchase at the festival on 10/10.

 

  • Reserved seats to the festival can only be obtained via our KICKSTARTER campaign -- and that ends Sunday night.

 

  • Non-reserved seats can be obtained in advance via Eventbrite.

 

  • This film festival is a labor of love directed by Wade Sellers under the auspices of Jasper Magazine.

 

  • We did it for you, the filmmakers, and the Columbia arts community that we love.

 

  • We hope you'll join us on our mission to make Columbia, SC the greatest arts destination in the Southeast.

 

Thanks,

Cindi & Wade

 

Jasper Goes to Hopscotch: Day 3

Cousins - Raleigh Times Outdoor Stage

I got things started off at around 12:30 the final day, ready to kick things off at the wonderful outdoor stage right next to Raleigh Times, a wonderful beer bar that had outside tables and open doors that left the music waft right in.

First up was Cousins is a Triangle-area alt. country band that actually reminded me a bit of local favorites American Gun, although a bit more twangy and Southern rock-oriented (at one point I thought they were going to dive into the Allman Brothers’ “Whipping Post”). I hadn’t heard of them before and couldn’t find much information online, but really enjoyed the band’s electric, near punk rock charge combined with well-crafted tunes.

Lowland Hum - Raleigh Times Outdoor Stage

A Greensboro duo with a very Civil Wars-type vibe (all slow simmering romantic longing and tempestuous divvying up of the lead/supporting vocal parts) that were also pretty good. They had an interesting twist that I’d never seen before--explaining that they liked to listen to records while reading the lyrics in the liner notes, they offered little pseudo-hymnal books for listeners to follow along with, provided they return them afterwards.

Some Army - Deep South Bar

Another Triangle band, although one I was actually pretty stoked to see. They played a few shows in Columbia awhile back that I missed, but heard a bit of buzz about. Some Army is a pretty straightforward indie rock band, but one that loves the propulsive, sad-sack anthems of The National and the soaring choruses of early My Morning Jacket or a more contained, less overtly Brit. rock Coldplay. The band’s arrangements are also rarely straightforward, moving from folky harmonicas to psychedelic leads and layered keyboard arrangements, all undergirded by a rhythm section which is the key to the momentum and big moments that the band seems to effortlessly offer up. One of my favorite sets of the festival.

Doug Paisley - Raleigh Times Outdoor Stage

Paisley is an interesting folk singer/songwriter from Canada who a friend tipped me off to a few weeks before the festival. Although more alt. country-ish on record, live he has a quiet, soulful vocal presence and tightly wound guitar passages that served as a vehicle for his sharply observational songs. Think Guy Clark meets James Taylor, with a touch of Tim Easton thrown in good measure.

Mandolin Orange - Raleigh Times Outdoor Stage

This Gillian Welch and David Rawlings-style Americana duo (again, from the Triangle) has been putting out increasingly steady records over the last few years, building on the initial strengths of their guitar/fiddle/mandolin simplicity and their organic blend of two very different vocal timbres. As the songs have gotten more and more impressive, so have the arrangements, and the group now gets a full backing band and some help from a lead guitarist, creating a full-bodied sound that doesn’t detract from their original strengths, much like Welch and Rawlings were able to do on Soul Journey. My favorite moment of the set was a new tune called “Adam’s Song,” which was written in response to the Amendment One battle over gay marriage North Carolina recently faced.

Spiritualized - City Plaza

Spiritualized is, quite simply, a great band to see live. Mixing the psychedelic excess of the Polyphonic Spree with the rough and tumble melodic beauty of Velvet Underground, J. Spaceman’s rollicking and tumultouous recording and performing adventure is a fairly unique experience. Their set was a triumphant way to close out the City Plaza main stage for Hopscoth 2013.

Ryan Gustafson & the Dead Tongues - Memorial Auditorium

Gustafson has long been a folk-rock staple in the Triangle scene, and in the past I’d had him pegged as more of an alt. country guy, but this performance, featuring his local all-star cast in the Dead Tongues, had me thinking more of Lou Reed (either that or I was just on a kick where I compared everything I heard to Reed and/or the Velvets) and Bob Dylan, but it was wonderful to hear his graceful, well-spun compositions echo off the walls of such a gigantic room.

Scout Niblett - Kennedy Theater

One of the mini-themes of the festival for me, as it turns out, was women singer/songwriters who played solo or minimalist sets with electric guitars. Niblett, in a manner similar to Angel Olsen, Lady Lamb the Beekeeper, and Waxahatchee, had a sparse sound that helped her set feel all the more intimate for it. But whereas Olsen gave off notes of French folk in her fragile performance on Thursday, Niblett’s British accent came through (she’s from Staffordshire, England) in a few places, which in my mind gave it a more formal and brittle quality despite these sad, serious, and heartbroken tunes.

San Fermin - Fletcher Opera Theater

“This is what the National would sound like if they were a Christian band.” - Jonathan Sharpe. I’m not sure whether he meant it as a compliment or an insult.

Low - Fletcher Opera Theater

One of the sets I was most excited for when the weekend started, and, despite a late start time, it didn’t disappoint. The most amazing part of seeing Low play their songs is just how little they need to do it. I feel like even though they play quiet, elegant music, it’s cinematic in scope. Still an electric guitar, keyboards, and Mimi Parker’s barbones drum kit was all that was needed. Well, really all that was needed was Parker and Alan Sparhawk’s two voices.

John Cale - Memorial Auditorium

To be honest, I don’t know Cale’s solo music very well, so I mainly settled on this set based on his pivotal position in the Velvet Underground, where his use of the electric viola had a big impact on the group’s sound. Cale had a rocking band with him that tore through some driving, jammy art rock songs with touches of electronica, and I got the sense (again, I don’t know the material that well) that most of the songs were off his new solo record Shifty Adventures in Nookie Wood. It was a surprisingly cool set, although Cale stayed perched behind a keyboard the entire time I was there, a little disappointing for an experimental musician know for his instrumental innovations.

Sleep - Lincoln Theater

How many people picked Sleep as the last band to see at Hopscotch just to make jokes about “Sleep then sleep”? Who knows, but as band Sleep’s legend precedes themselves--a doom metal/stoner rock band who a decade ago recorded their third album as one continuous 60-minute song (“Dopesmoker”) that their major label refused to put out and took years to emerge in its intended form, the band reunited in 2009 after a decade long break from the project. I was really going for the experience, and I was not disappointed--the trio played riff-heavy, eardrum-rattling riffs and moved along at their own pace, plodding through psychedelic sounds and distortion while de-emphasizing lyrics and vocals. It was a suitably immersive sonic experience to end a festival that want to kick your butt and remind you how much awesome music is out there in the world.

Meet the 2nd Act Filmmakers - pt. 2

2nd act multiple cams We're taking the time leading up to the debut of Jasper's first ever film festival to introduce you to our filmmakers and let you in on a few of the behind the scenes machinations that go into putting on a film festival.

We've had a ball, but it hasn't all been easy.

We started out with 30 potential filmmakers who were interested in being a part of the festival. We gave them all specific instructions on what they should send us to let us -- and our jurors -- know they were ready to participate in a festival of the caliber we were hoping to create.  We were overwhelmed by the applicants! Luckily, we brought in some big guns to make the very difficult decisions of who to invite to participate -- Lee Ann Kornegay, Simon Tarr, Bradley Powell, Caletta Baily, and Janell Rohan.

Film editor and festival director Wade Sellers and I were so happy to have these guys in the studio so that we didn't have to make the cuts. It was a long and (sometimes) tense Saturday afternoon. But when the work was done and the finalists were all accounted for, we knew we had a special group.

Meet two more of our awesome filmmakers below.

 

Michael McClendon

Jason

 

We hope you're as excited as we are about this new young group of independent filmmakers who call Columbia, SC their home. There's some extremely impressive talent here.

Please help Jasper support these filmmakers and the growth of their community by joining us on our Kickstarter campaign. There are some pretty nifty prizes available -- including reserved seats at the festival.

2nd act kickstarter

Move to Kickstarter by clicking here. Thanks!

 

Math, science, history, unraveling the mysteries - a review of "Arcadia" at USC's Drayton Hall

Pictured, from left: James Costello, Melissa Reed, Leeanna Rubin, Trey Hobbs Caption: Theatre SC presents Tom Stoppard’s award-winning Arcadia, a witty and hilarious  intellectual puzzle about the unquenchable thirst for knowledge, September 27 - October 5 at  Drayton Hall Theatre.  Set at an English manor in both the early 19th century and present day,  Arcadia introduces us to two groups of characters -- the property’s original residents and a  modern-day band of scholars trying to unearth their forebears’ hidden secrets.  “... one of the most  exquisite plays of the 20th century” (The Independent).   Photographer: Jason Ayer Depth of talent both onstage and behind the scenes is showcased in Theatre South Carolina's production of Sir Tom Stoppard's Arcadia, running now through Saturday at USC's Drayton Hall Theatre. Often hailed as the most important work from one of the giants of contemporary theatre, Arcadia is both witty and cerebral, tackling esoteric issues through the seemingly frivolous interactions of some very eloquent, highly intellectual characters. It takes a lot of concentration to follow and fully appreciate every issue raised, and something will almost certainly go over the head of any given audience member, but the comedy and conflict of the ostensible plot, and more importantly how they're presented by some extremely capable MFA students, makes this a worthwhile endeavor for enthusiasts of drama, literature, and even physics and mathematics.

You'd be reading this a day or two sooner if I hadn't found myself attempting again and again to summarize what the play is about, and failing each time. Ultimately Arcadia is a play of abstract ideas, but I must stress that it's also rather enjoyable just as a surface comedy of manners. That surface plot alternates from 1809 to the present day in parallel scenes set at Sidely Park, the expansive estate of the Coverly family.  In 1809, aristocrats and poets (including an unseen Lord Byron) engage in flirtations and assignations; two centuries later, modern scholars attempt to unravel some of the secrets from that past via varying methodologies, and with varying success. Especially in the first act, Stoppard recreates the erudite, droll banter that we associate with 19th- century wits like Wilde and Shaw.

James Costello, as tutor Septimus Hodge, is perhaps best among the "historical" cast at capturing the affected manner and flowing speech of an earlier era, and his curly hair and rakish sideburns fit his character perfectly. He gets some of the play's biggest laughs, as when a jealous husband (an underused Josiah Laubenstein) demands satisfaction, and he notes that the wife in question required the same. Melissa Reed, as precocious Thomasina, is a bundle of academic genius, ladylike manners, scientific curiosity, and teenage hormones.  While a freshman actor could have been cast to signify Thomasina's youth, Reed is fairly petite, and has the mannerisms of a young teen down pat, so the audience benefits from the skills and insight of an adult convincingly playing a child.  Kate Dzvonik, as Thomasina's imperious mother, is a younger, sexier Lady Bracknell, as if played by a Dynasty-era Joan Collins. Dzvonik's bio indicates that she is a native of Kazakhstan, and you definitely realize that this isn't a British accent you hear, but the character is fairly blustery and histrionic, so Dzvonik wisely takes her time enunciating each word with precision. It's not a big issue, and who's to say that Lady Croom wasn't raised by some great-aunt in the court of Catherine the Great?  Make sure you follow everything she says, however, because hidden in her rants are some important plot details that re-surface later.

arcadia-3.jpg Pictured, from left: James Costello, Melissa Reed Caption: Septimus (James Costello) tutors precocious child-genius Thomasina (Melissa Reed)  while trying to avoid a scandalous confrontation in Tom Stoppard’s Arcadia, presented by Theatre  SC September 27 - October 5 at Drayton Hall Theatre.  Photographer: Jason Ayer

Among the modern day cast, Leeanna Goldstein Rubin commands the stage with a serene, nearly-unflappable stage presence as Hannah, a writer researching the estate's history as it pertains to literary figures.   Cory Lipman, as Thomasina's many-generations-removed relative Valentine, perfectly embodies a man of science whose passion for learning encompasses far more than sterile numbers. Laurie Roberts portrays Val's nubile sister Chloe, a young woman of great intellect and perception who makes valid points about the unpredictable nature of human sexuality and attraction as a variable in any attempt to quantify human behavior.  Chloe’s interest goes far beyond the academic or theoretical, however; her observations add an important dimension to an ongoing debate in both time periods about the nature of science and order, but the character is somewhat underwritten, and Roberts uses every trick in the actor's hat, from enticing poses to suggestive glances to a sensuous sashay, to enhance her every moment on stage.  Don't discount her dialogue, however, just because it's funny and provocative - as with Chloe's ancestor Lady Croom, much of Stoppard's themes are hidden somewhere in there.  I'll leave it to women in the audience, and especially feminists, to decide if her performance is a little too over the top. Speaking for myself only, I found her to be delightful, and would be quite happy to re-watch her performance on some continuous loop. Although this may not actually have anything to do with the play.

Trey Hobbs, as ambitious academic Bernard, has grown as a performer since doing a decent job in reasons to be pretty three years ago at Trustus. He is the antagonist for the nominal plot: he's attempting to "prove" that Lord Byron killed another poet in a duel at Sidely Hall, while the audience sees the actual events transpire in flashback scenes.  His role is the least sympathetic, but with the most lines, and Hobbs manages to impress as an actor while depicting a less than impressive character. He and the other principals are all second-year MFA students, and have played the leads in most of USC's mainstage productions over the last year. As a group, they're an impressive lot, with Rubin and Reed amazingly different from their roles as Lear's evil daughters last spring.  Scenic design is by Xuemei Cao, with costume design by Sean Smith, both also MFA candidates, and their work is as good as it gets in Columbia. While probably based on the original design from the UK and Broadway, the set is simultaneously elegant yet minimalist, while the costumes look as if they came from real people's closets, reflecting individual styles and fashion sense.  A straw hat worn by Rubin immediately reminds us that a vast (and unseen) country estate stretches outside, while narrow bootleg slacks worn by Lipman define him visually as a hip, contemporary post-grad.  Richly colorful  lighting effects, by faculty member Eric Morris, subtly shift from sky-blue to twilight-violet in the distance, indicating passage of time.

arcadia-2.jpg Pictured, from left: Leeanna Rubin, Trey Hobbs Caption: Two present-day scholars, Hannah (Leeanna Rubin) and Bernard (Trey Hobbs), try to  uncover the intellectual truths (and possibly scandalous secrets) of a 19th century manor in Tom  Stoppard’s Arcadia, presented by Theatre SC at Drayton Hall Theatre September 27 - October 5.   Photographer: Jason Ayer

If you still aren't quite sure what the play concerns, you aren't alone.  Armed with a love of Stoppard (I chose his early hit Rosencrantz and Guildenstern Are Dead for term paper topics in both high school and college) and a thorough study of both the advance press material and the director's guest blog, I still struggled to follow particular references and plot points, or absence thereof, no matter how skillfully the actors prformed the work. Eventually I had to sit down and read the play itself, as well as a couple of essays on its meaning and significance. Guest director Louis Butelli surely realized the material's inherent challenges, and his cast emotes and declaims the wordy text as if they're doing Shakespeare in the Park. They really do knock themselves out, ensuring that the audience has a good time even if a few things are lost in the shuffle, but I'm not sure that it was necessary.  (At intermission, a friend and lifelong theatre enthusiast asked "Why are they all shouting?")

One critic wrote of this work that it is easy to admire, but hard to love, and I can understand that.  Stoppard wants to present a comprehensive world view that encompasses both the sciences and humanities. At one point Thomasina perhaps speaks for the author when she observes that mathematics can define a curve like a bell, so why not like a bluebell, and then why not a rose?  Septimus adds another important point, that knowledge can never be truly lost, since it will ultimately be rediscovered in some fashion, while both Hannah and Valentine suggest that the details are less important than the actual search for knowledge; with the present day characters' research into the lives of their predecessors forming the storyline, we see these theories play out before us as they are proven true.  Bernard's suppositions fall flat, while surprisingly, a tragic, doomed romance is revealed, although never seen.  While everything from chaos theory, fractals, and thermodynamics, to the transition from the Classical to the Romantic Periods (in everything from poetry to landscaping) is fodder for discussion and analysis, I found myself wishing that there had been some greater revelation or conclusion, or a more dramatic and engaging resolution for the main characters in each era.  Four of Stoppard's works have won Tony Awards for Best Play, and many have enjoyed long runs on Broadway; Arcadia only ran for a few months, and lost the Tony to Love! Valour! Compassion! (also an enjoyable work, but not necessarily the greatest drama ever.) However admired it may be, critical reception has always been mixed. And it runs close to three hours with intermission added in. But that's the material.  This production, and these supremely gifted MFA students, do a great job.

By the time you read this, there will be only four more performances: Thursday and Friday nights at 8 PM, and Saturday at both 7 and, believe it or not, 11 PM. (One wonders if the script's cosmic implications and shifts in time might be impaired or enhanced by an altered state of consciousness.)  Is it for the general public?  Well, probably not.  Arcadia is a thoughtful and thought-provoking play, for people who want to be challenged while they are entertained.  But you absolutely won't see anything like this anywhere else in town, and as above, performances and production values are excellent.  Call the box office at 777-2551 or visit http://artsandsciences.sc.edu/thea/2014/arcadia.html for ticket  information.

~ August Krickel