Megaphone (Georgetown, Tex.), Vol. 90, No. 12, Ed. 1 Thursday, November 16, 1995 Page: 6 of 12
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6
SURROUNDINGS
page
NOVEMBER 16. 1995
Chorale provides
strong performance
Carrie Hale
Megaphone Staff
Following their stun-
ning performance last week-
end, the SU chorale is prepar-
ing for yet another performance
at a candlelight service in the
Lois Perkins Chapel on Decem-
ber 7 at 7 pm.
Chorale will sing mostly
Christmas music at the perfor-
mance in the chapel, as op-
posed to the religious music
that they have been perform-
ing.
Two performances
were held for the enjoyment of
the public last weekend in the
Alma Thomas Theater, Sunday
at 4 pm and Monday at 8 pm.
On Tuesday, the group of 44
singers had the priveledge of
performing at the Bishop’s lun-
cheon that was held in the SUB
Ballroom.
“We have been practic-
ing for this all year,” said first-
year student Katherine
Altobelo. “This was a summary
of all that we have been work-
ing on this year.”
In the first two concerts,
eleven pieces were performed.
Tuesday’s performance was
much shorter and was only
performed for a closed audi-
ence. All of the music had a
religious theme; the lyrics were
in either German, Latin or
French, so a translation was
provided for those in
attendence.
“I think that perfoming
in these concerts was a great
experience for us,” said first-
year student Summer Barnett.
“This experience will show up
in our upcoming perfor-
mances.”
Dr. Kenneth
Shepppard, Chair of the De-
partment of Music, directed the
pieces and deserves much of
the credit for his work with the
group. Although most of the
s* y*
music was
performed
acapella, Pam
Rossman,who
teaches piano
classes at SU,
provided
exellent ac-
companiment
in four of the
eleven pieces.
One
of the high-
lights of the
concerts was
Hayden’s
“The Heavens
are Telling” in
which there is
an ongoing
dialogue among three charac-
ters: Raphael (senior bass Matt
Grove), Uriel (senior tenor
Hayden Riley), and Gabriel (se-
nior soprano Jennifer Webb).
The fianle music pro-
vided a dramatic conclusion
with a two-part chorus in
......
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Members of the SU chorale, directed by Dr. Kenneth Sheppard, performed Sunday in the
Alma Thomas Theater. The group's next performance will come at the December 7
Candlelight Service. (Photo by Gordon Winner)
Beethoven’s “Hallelujah.” An
incredible 27 pages and 139
measures in length, many of
the members found this music
to be the ihost challenging of
the pieces in the performances.
During the perform-
ances, the audience and mem-
bers of the chorale found the
experience to be fulfilling.
“Not only was this con-
cert both conducted and per-
formed beautifully,” said
Altobelo, “but it was also ex-
tremely moving for everyone
involved.”
Austin stage hosts Ostrovsky's Diary of a Scoundrel
Sergey Gordeev
Megaphone Staff
Alexander Ostrovsky
(1823-1886) may have well
been pleased at Different
Stages’ effort to bring to Austin
the complexity and cleverness
of his cultural satire on 19th
century Russian society. The
Diary of a Scoundrel, one of his
most famous works, opened in
Austin last weekend and will
continue to show tonight,
tomorrow and Saturday nights
this weekend.
The play features Yegor
Dmitrich Gloumov (Matthew
Patterson), a cleveryoung man,
who, with the help of his
mother, Glafira Klimovna
Gloumova (Barbara Frances),
decides to enter the high society
of Moscow by using his wit and
manipulating a newly-
discovered wealthy distant
relative, Neel Fedoseitch
Mamaev (Mike Groblewski).
“My dear Mama, you
know me,” he confesses to the
mama and audience, “I’m
intelligent and malicious,
envious of everyone better off
than myself. In fact, I take after
you.”
The young man does
not neglect any means of
ascending the societal echelons.
He knowingly writes scathing
criticisms for Ivan Ivanovich
Gorodoulin, a young man of
importance in the city who then
publishes them as his own. He
writes a thesis on the dangers
of liberalism—a topic he
violently disagrees with, yet
pretends to absolutely
support—for Kroutitzky
(Richard Craig), an old man of
importance in the city, whose
views on government are so
stagnant and senile that even
he himself cannot make sense
out of them. Gloumov also
deceives Kleopatra Ilvovna
Mamaeva (Gay Gaughan-
Hurst), the wife of Neel
Fedoseitch Mamaev, into
thinking that he is in love with
her, just to use her influence in
getting a good Civil Service job
and gaining further influence
in Moscow.
Yegor’s diary is the only
outlet for his feelings. In it he
makes entries fully exposing
'his true feelings about the
imbecility of the moldy high-
society idiots who are so easily
deceived by his trickery,
scheming and the constant
“nauseating, toadying flattery,
the only language the elite of
Moscow understand.” He
himself refers to it as the
“memoirs of a scoundrel written
by himself.”
The play heats up when
Kleopatra Ilvovna visits her
heart-breaking protege and, in
his absence, finds the diary. In
it she finds out that in Yegor’s
opinion her face looks like that
of a horse, as well as several
other interesting details
concerning Yegor’s success in
the society. Shattered, she
swears to revenge the
scoundrel.
Saturated with clever
humour, the play, even though
a bit slow in the beginning,
builds up excitement by
drawing the viewer into the
intricate web of designs that
Yegor and his mother create to
get ahead. Subtle but stinging
satire is well-placed throughout
the play.
Quite Ostrovsky-like,
the play surprises the viewer
by turning an easy-going, good-
natured comedy of characters
into a scalding social
commentary that Yegor
delivers at the end to the
stunned group gathered
around the diary after learning
who the “handsome and
charming young man” really
is.
For the most part, the
acting was exceptional, minus
a couple of parts (Gorodoulin
and Kourchaev, a Hussar),
which were carried with a little
more ambition than they
needed, creating an impression
of overacting. Improvisation
worked quite well when, feeling
that the audience was about to
lose its momentum, Kleopatra’s
live-in companion Lubinka
brought in a dog, who
proceeded to lick the make-up
off Kleopatra’s face, thus
considerably amusing the
audience.
Very much like most of
the other plays by Ostrovsky,
The Diary of a Scoundrel also
shows Ostrovsky’s very mature
understanding of human
psychology. Because of this,
even though not widely known
in the West because the
“Russianness” of his plays
defies easy translation,
Ostrovsky still can relate to a
Western audience. Ostrovsky’s
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mature and a bit sarcastic
treatment of such universal
character traits as stupidity,
vanity, succeptibility to obvious
flattery, etc. makes the play
very easy to relate to and fun to
watch.
[megaphone!
rating:
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Megaphone (Georgetown, Tex.), Vol. 90, No. 12, Ed. 1 Thursday, November 16, 1995, newspaper, November 16, 1995; (https://texashistory.unt.edu/ark:/67531/metapth634089/m1/6/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Southwestern University.