Zambello directs Little House on the Prairie
The beloved children’s book series Little House on the Prairie has been brought to the stage in a musical version by internationally recognized opera and theater director Francesca Zambello ’78. “I wanted to make a musical from these poignant stories the moment I rediscovered them as an adult,” Zambello told Playbill. “Our musical focuses on the independent spirit of the teenager, Laura Ingalls Wilder, and her struggles to become an adult; alongside the story of the land — as it becomes the American West.”
    The world premiere starred Melissa Gilbert — known to millions as daughter Laura Ingalls in the long-running television series — as Ma. Even before it opened at the Guthrie Theater in Minneapolis in August 2008, it broke box office advance sales records, prompting an extension of the show’s run. Little House embarked on a national tour in October. This coming summer, Zambello will direct a new musical version of The First Wives Club at San Diego’s Old Globe Theater.


Little House on the Prairie, the musical, directed by Francesca Zambello ’78 (Photo by Michal Daniel)

Dance-theater group inspires students to push the edge
On a late Wednesday afternoon in Ryan dance studio, a dozen students were gathered on the floor in a circle, intensely deconstructing a short video clip they had just watched, of a frenetic, kinesthetic scene that was part dance, part theater, part music. The students — dancers, singers, actors, and one self-described “seeker” — had come for a workshop with the Argentinean experimental dance theater ensemble Grupo Krapp.
    Then the students broke up into groups to invent their own movement scenes, employing the elements they had just discussed, which they would perform on campus in the coming days.
    Grupo Krapp (named in homage to Samuel Beckett’s one-act play Krapp’s Last Tape) spent eight days on campus in early October as this year’s Cathy MacNeil Hollinger and Mark Hollinger Artists-In-Residence.
    “I saw them last summer when I was in Buenos Aires,” said April Sweeney, assistant professor of English in the University Theater, who invited the ensemble to campus. “Their choreography struck me — this space that they inhabit between dance and theater… It really spoke to me, and I thought it was more than bold. It was crazy risky, somehow, and really funny and subtle and smart, and the form was somewhat bleak and hysterical at the same time.”
    Sweeney knew they would be a perfect choice for this year’s Forum on the Arts, whose theme, “Crossing Cultures, Crossing Mediums,” looks at artists who work in interdisciplinary ways, bringing different mediums together and bridging cultures.
    In addition to the Wednesday workshop, Grupo Krapp offered a second open workshop to students, talked with students about their work in informal meetings, and visited several classes, including Core Cultures: Argentina, Intro to Latin American Politics, and a Spanish Literature course given in Spanish.
    They also performed two of their own shows in Brehmer Theater.
    “The students really had a chance to interact,” said Sweeney. “We’re so lucky to have had them here.”


On the fly: Lyndsay Werking ’09, Alice Feng ’12, Sabrina Frometa ’11, and Octavia Chavez-Richmond ’11 create their own movement scene in a workshop with the Argentinean experimental dance theater ensemble Grupo Krapp. (Photo by Andrew Daddio)

Habes named director of Colgate’s Picker Art Gallery
Scott Habes has been appointed director of the university’s Picker Art Gallery. As director, Habes will provide vision and artistic direction for the gallery, taking the lead in shaping its role in the visual arts and education on campus and the central New York region.
    “I am confident that we will see great things from the Picker as Scott is a person of experience, vision, and energy,” said President Rebecca Chopp. Habes comes to Colgate from The Art Gallery at the University of Maryland, where he served as director since 2000. The Art Gallery has received critical acclaim for its innovative vision that serves as an extension of the undergraduate and graduate curricula of the university and as a cultural resource for the region.
    Habes earned a dual BA in art history and economics from the State University of New York at Oswego and an MBA in arts administration from the State University of New York at Binghamton.
    “Scott brings great enthusiasm not only for excellent art, but a passion for connecting it with teaching and learning in ways that will enhance the experience of our students and those in our community,” said Provost and Dean of the Faculty Lyle Roelofs.


The avant-garde jazz ensemble Trio X — Joe McPhee, saxophone; Dominic Duval, bass; and Jay Rosen, drums — had a daylong gig at Colgate, complete with an interview/performance on WRCU, a luncheon with students, and a concert in Donovan’s Pub. The group’s recently released 10th-anniversary box set includes their 2006 live performance at Colgate’s Picker Art Gallery. (Photo by Andrew Daddio)

Composer celebrates
Leave it to composer and trumpeter Dexter Morrill ’60, professor of music emeritus, to mark a monumental birthday with music. Morrill celebrated his 70th year on earth in 2008 with a concert series where his compositions were performed by ensembles across the country.
    The series kicked off last March with the world premiere of his Symphony No. 2 for winds, percussion, and piano, at the Chicago College of Performing Arts at Roosevelt University, and wrapped up in November with his Iron Horse Quintet, performed by the Utica Chamber Music Society at the Munson-Williams-Proctor Arts Institute. In between, his compositions were performed at the University of Texas, Arlington; University of North Texas College of Music; Stanford University; Santa Rosa Junior College; and Le Petit Trianon in Cupertino, Calif.


Lauren DiCioccio ’02 was featured as a local artist of the week in the San Francisco Bay Guardian as her work was on exhibit at the Jack Fischer Gallery. Mount Rushmore: The Four Presidents is from a collection of hand-embroidery pieces sewn on organza and pleather; each is approximately 2" x 2".
“These embroideries are life-size sculptural recreations of 35-mm slides I have collected. I am drawn to slides as precious objects: the fragility of the translucent negative material and intimacy of the scale of a palm-sized slide are particularly endearing. I hope to capture this tenderness in my sculptures. To make these little pieces, I embroider directly onto bridal organza, a very delicate translucent material, and allow the excess threads to pour out the back and hang down the wall.”


Preview



Harlequin Unmasked: Music and Dance of the Commedia Dell’Arte

Feb. 22, 2009, 3:30 p.m.
Colgate Memorial Chapel

Featuring Apollo’s Banquet (Thomas Baird and Paige Whitley-Bauguess, Baroque dancers) with the Rebel ensemble for Baroque music

The poignant characters of Harlequin and Colombine dance their way through Italy, Germany, and France, interspersed with instrumental caprices of the 17th and 18th centuries. The program coincides with the end of the symbolic period of Carnival and the beginning of Lent.

For information on other arts events, visit www.colgate.edu/arts

Open Mic

Sister
BettyJo Roby, ENG 477: Advanced Creative Writing Workshop

Leaves
My year-and-a-half-old sister, Paula, ate some leaves from the thick climbing tree. It was sunny and I was six. The leaves had fallen on the patch of grass in front of our Virginia doublewide. All of us, my mom and my brother and I, missed the instant she stuffed the ovals between her gums, but I noticed the dark green bits on her lips an instant later.
    Mom, Paula’s eating leaves!
My protective-older-sister cry. Within two seconds my mother was frantically snatching all of the leaves she could reach from my sister’s mouth and throat. Then we were on our way to the hospital where my father had just started his workday as a second shift janitor, my mom toting a few sample leaves from the tree in a plastic baggy for identification.
    I was uncomfortable in the waiting room chairs, squirming next to my father, who waited with my brother and me. He had taken time away from his work so my mom could be in the examination room with Paula. My mind fluttered.
    What’s taking so long? Why are they making us wait out here?
    When they finally let us in to see her, my mom was holding my sister and a nurse was removing a plastic bin of stomach acid mixed with tiny pieces of floating black. The doctor comforted my father:
    It’s just a precaution, the leaves probably aren’t poisonous.
We headed home. My father went back to mopping.

Beds
From the time we moved to New York, when I was 7, my sister and I shared a room. At first my brother shared with us. That was crowded. But soon we moved to a house with more bedrooms and Paula and I graduated into our own. We shared a double bed. She moved around a lot at night, so I was often on the verge of tumbling onto the floor. We kept each other awake intentionally, too, whispering, often long into the night, about sister-things: boys, friends, school.
    Sometimes my mom would take one of her late-night walks around the house to check on us, and would tell us to be quiet and go to sleep. Somehow the excitement of being in the same room never completely wore off.
    Around the time I was in seventh grade, we graduated to a bunk bed. I had the larger, bottom bunk. We’d whisper through the dark space that separated us. Some nights she’d climb into bed with me, maybe not ready for us to sleep apart every night yet. Other nights she’d hang her head down from the top bunk, trying to make out my form, her blonde hair waving, wisping like seaweed against the dim nightlight glow.
    After I left for college, she kept the same bunk bed so I had a place to sleep when I came home on breaks. We almost completely stopped using the top bunk, though, and we’d usually just share the bottom bunk when I visited. Now that I’d become my own person and she’d become hers, we could share again. I’d climb into bed between her and the wall (so she couldn’t shove me off in the middle of the night) long after she was asleep. Now it was inconvenient to whisper together: she was an early rising high school student and I was a college student on break, so we had opposite schedules. She’d want to stay up to talk to me when I’d come in, but she was too exhausted from her day of school, work, and play practice. Her own person or not, I was still the protective older sister. I’d urge her to close her eyes:
    You need to relax; you can’t live your life like it’s a race.
    I LIKE to be busy, she’d reassure me. I’d just keep telling her to go to sleep, lying with my spewing brown hair tangling with her blonde in the space between our pillows, lit by the florescent alarm-clock glow.

Paula
I watched my little sister being born. I had just turned five years old, and couldn’t go to sleep. My mom had midwives for three out of her four children, excluding only me due to complications, so she was in labor in her bedroom. Midwifery was legal in Virginia. I wandered sleepily into the room, and my father let me stay.
    There were boxes of ready-to-eat snacks on the couch, granola bars and the like; I remember that. I’m not sure who was supposed to eat them, because my mother didn’t seem to want to eat anything, and my father seemed distracted. Maybe they were for the midwife. I sat in a chair across the room, and remember the perfect view of my mother’s stretching vaginal canal like a silent movie.
    I remember the color red: the blood and the top of my sister’s head protruding bit by bit out of my mother. I remember that, as fascinated as I was initially, eventually I began to fidget, and then doze. It was after nine, after all. I woke up, however, excitement temporarily alerting me for long enough to see my newly born sister. My parents had her name picked out: Paula, after my grandfather, Paul.
    Small.
    She was that, and also still red and bald and naked. More herself than she could ever be again.
    She slept in my arms.