University Press (Beaumont, Tex.), Vol. 78, No. 35, Ed. 1 Wednesday, March 6, 2002 Page: 3 of 6
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University Press • Wednesday, March 6,2002 • Page 3
Ul^entertainment
Review
LU opera
packs house
for varied
program
Rachael Sims
UP staff writer
As the lights of Rothwell
Recital Hall dimmed and the
audience began to hush, director
Don Ball walked on stage
Saturday evening to introduce
“An Evening at the Opera,” per-
formed by the Lamar Opera
Theatre, a company made up of
Lamar students.
There was hardly an empty
seat in the house and the presen-
tation was excellent.
The program consisted of
arias from 10 operas ranging in
time from Gluck to Menotti. All
singers were accompanied by
Scott Feldhausen and Pam Goza
at two pianos. Some accompani-
ments were played by one person
and some accompaniments were
arranged for duet piano.
Kym Guidry opened the pro-
gram, performing a selection for
Olympia (the doll) in
Offenbach’s “Tales of
Hoffmann.” Since Olympia is a
wind-up doll in the opera,
Guidry’s stiff movements made
the part she played realistic as
she told her story. She was aided
by Richard Reeves, performing
as Spalanzani, the man in love
with dolls, who wound her lip as
her “energy” was depleted.
Later in the program, the
pair reappeared when they gave
a very fine performance as Lucy
and Ben in Menotti’s “The
Telephone,” which was the most
contemporary work presented on
the evening’s program. They
staged the entire piece, showing
emotions and movements with
ease as they moved across th6
stage telling their story. The story
is of a man in love with a woman
who is distracted by the tele-
phone. In an attempt to try to ask
her to marry him and catch his
train on time, Ben leaves Lucy to
call her on the telephone. This, he
assumes, is the only way to get
her attention. The audience
laughed hysterically at the one-
liners in the scene.
Other, more serious, works
were included on the program.
In a selection from Mozart’s
“The Magic Flute,” Ofelia
Adame, Kim Holman and Leslie
Prihoda, performed the personal-
ities of their characters for the
audience’s delight as a rubber
chicken with a bell attached to it
was passed to Papegeno, per-
formed by Tommy Millner. The
only flaw in this performance was
that the three women did not
blend well with one another to
produce one piece of music.
In excerpts from Mozart’s
“Don Giovanni,” Justin Ray
Sanders Jr. accurately portrayed
a cunning gentlemen after an
engaged woman’s heart in “La ci
darem la mano.” Sanders, as Don
Giovanni, is seemingly unsure of
his attempts to recapture
Zerlina’s affection because of the
evil doings of Elvira, but he
escorts Zerlina, performed by
Lauren Millner Cox, off stage
with her arm in his.
In selections from Mozart’s
“The Marriage of Figaro,”
Adame performed her selection
with exceptional projection and
clarity. Every audience member
was able to feel her words. Her
portrayal of the wishes of her
character to have her love
restored to her less she perish
was easilygrasped by the audi-
ence.
Certainly an upbeat ending
to the evening was the “Toreador
Song” from Bizet’s “Carmen,” a
full-cast performance with the
number’s gusty tempo. This left
the audience alive and well as the
work’s Spanish rhythms always
do — a good ending for a good
evening.
IIPMIke Tobias
Cargill exhibits6 world of happy things9
Mike Tobias
UP staff writer
As armed forces fought for freedom in a
beleaguered third-world country last week-
end, Southeast Texans were given the chance
to witness first hand what mankind can do
when it is creating as opposed to destroying.
In a remote, former industrial building on
Franklin Street, known to many as The Art
Studio, Inc., a gathering of the artistically
inclined came together Saturday evening at a
gallery opening dubbed “Claythings.”
The local artist responsible for the man-
made, hand-made pieces of work was none
other than Beaumonter Dave Cargill.
Upon entry through the Art Studio’s front
doors, one’s eyes are immediately drawn to the
first piece at the top of the stairs, a clay image
of mother and infant, titled “Blue Mother and
Child.”
To the left, a doorway leads to an open
room where many more Cargill “Claythings”
lurk, hanging from the walls, raised upon
pedestals and displayed in glass cases.
Among these works is what appears to be
Cargill’s mission statement for this particular
exhibit. According to Cargill, using clay as a
medium has its own virtues in that it is fast,
fluid and fun.
“The down side is you can lose the whole
thing — alphabetically,” Cargill said. “Break,
collapse, drop, explode...melt...warp. For the
person not familiar with clay, it shrinks both as
it dries and fires. Therefore, it has to be hollow
where it has bulk, making complex shapes a
challenge.”
Continuing through the room, a certain
piece that adorns the center draws the gazes of
onlookers’ like a magnet. “Grand Figure” is
the name of the nude, pink granite sculpture,
and its size takes nothing away from the mes-
sage it contains.
And just what message might that be, you
ask?
“The one thing I can say about my works
is that I like to look at things in a positive
way,” Cargill said. “I think the world is full of
happy things, even despite events such as 9-11.
I’m interested in the simple things in life and
creating a play on reality.”
Looking past the barrage of nudes and
Christian-themed works, a small collection of
“Claythings” stands alone next to a set of
stairs. Set up as a make-shift gym, many little
“Claythings” appear to be working out. Cargill
has gone so far as to suspend one of his clay
works upside down, making it appear to all as
exercising on a set of Olympic rings.
Continuing upstairs, the sculptures change
from single nude and Christian “Claythings” to
more family-themed works.
One of Cargill’s works sure to make the
non-sentimental sentimental is his piece titled
“Grandkids.” One can make out with great
detail the entire scene from both behind and in
front of it. A grandfather walks jubilantly with
his arms around his two grandsons on his right
and his granddaughter on the left.
It’s safe to say that inspirations for his
works lie with both his own family and his
close relationship with God.
“I think God plays a role in everybody’s
life,” Cargill said. “We, as a whole, have gone
through many things in life — tragedies like 9-
11. But in the end everything seems to work
out just fine.”
According to Cargill, he has done works
for Catholic, Methodist, and Baptist churches
in the Golden Triangle. Other Cargill works
can be seen outside the Beaumont Civic
Center.
Lamar students walk by a Cargill original
everyday, as he is also responsible for creating
the bust of Mirabeau B. Lamar in the
Quadrangle on campus.
One, however, interprets the message
Cargill places in his works. His visual commu-
nication of simple shapes and scenarios reflect
that of a man who holds true the values of
every American — family and spirit.
In spite of 9-11 and the devil,” Cargill says,
“life is wonderful, and that is the way I choose
to see it in my work. I am blessed, and I rejoice
in the opportunities I have to make
‘Claythings.’”
Le Grand Bal
Exhibit
to feature
silent
auction
on Friday
Le Grand Bal Art
Exhibition opened Feb. 27
and continues through
Friday in the Dishman Art
Gallery at East Lavaca and
MLK Jr. Parkway on cam-
pus. The multi-media exhibi-
tion features painting, sculp-
ture, photography, jewelry,
stained glass and other
works, contributed by Lamar
students, faculty members,
alumni and members of the
community to benefit the
Lamar College of Fine Arts
and Communication.
Le Grand Bal, spon-
sored by the Lamar Friends
of the Arts, will include a
silent auction of the works
from 7 to 9 p.m. on Friday,
open to Bal patrons. For
reservations, call 880-8137.
Lamar faculty
to present
Irish music
celebration
A celebration of Irish music and
literature, to be presented by Lamar
University faculty artists on Sunday at
the Art Museum of Southeast Texas,
will feature the Southeast Texas pre-
miere of “To Wake the Dead,” written
by Pulitzer Prize-winning composer
Stephen Albert based on texts from
James Joyce’s “Finnegan’s Wake.”
The concert — celebrating St.
Patrick’s Day a week early — begins at
2 p.m., preceded by a reception at 1
p.m. with food, a video and folk music
played on authentic Irish instruments.
Nick Rissman, assistant professor
of music, conducts the ensemble of
music faculty members, with Debra
Greshner as soprano soloist and a spe-
cial guest appearance by Randall
Wheatley, assistant professor of the-
atre.
The reception and concert are
open to the public without charge.
For additional information, call
Rissman at 880-8079 or the Lamar
University department of music, the-
atre & dance at 880-8144.
v
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Chand, Daniel. University Press (Beaumont, Tex.), Vol. 78, No. 35, Ed. 1 Wednesday, March 6, 2002, newspaper, March 6, 2002; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth500921/m1/3/?q=Lamar+University: accessed June 5, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Lamar University.