ARTICLE ADDENDA

posted to Cue Sheet by James Reel

    It occurred to me this morning that there’s one very consistent exception to my rule about applying the definite article to names of performances spaces, and I unconsciously alluded to it in my last post. Seems that if a space is called “hall”—just “hall,” not “music hall” or “residence hall”—and is prefaced by an individualizing name, it doesn’t take the definite article. Thus: Verizon Hall, Centennial Hall, Toad Hall. Although I can imagine somebody talking about an encounter with “the Monty Hall.”
    Meanwhile, friend of the blog Michael Dauphinais sends this note about my admonition to use “theater” rather than “theatre”:

    Your blog posting mentioning this spelling variant got me thinking. I was taught once upon a time that "theatre" was the general term for the art form and that "theater" was the building. Upon re-examining a few on-line dictionaries, I can find nothing to corroborate this explanation. Most sources seem to view the two spellings as interchangeable.
    Perhaps you should have a British/Canadian spelling day on your blog? Think if the colourful language opportunities. Readers would have something new to analyse. It would be the cat's pyjamas.

DEFINITELY

posted to Cue Sheet by James Reel

    On my way to the studio this morning, I heard C24’s John Zech introduce a piece being played “by Combattimento Consort of Amsterdam.” Apparently, C24 has banished from its satellite feed the use of the definite article (as well as the names of conductors; Zech pointedly omitted them from two other announcements during the 20 minutes I was listening). The disappearance of “the” is a worsening problem. I think it began with the movie Titanic, in which James Cameron was so busy writing stilted dialog that he forgot that people referred to ships with the definite article (think of Mutiny on the Bounty, or how on Star Trek—the original series—they talked about the Enterprise). These days, I’m running across copy all the time that drops the “the,” as in “a performance at Tucson Music Hall” or “Emerson Quartet will perform next week.” It’s as if everybody just got off the boat from some homeland where the articles are so bound up with gender, number and case that they’re too traumatized to bother with the very simple articles in English.
    Here’s a simple rule for how idiomatic users of English ought to employ “the,” specifically in arts writing:
    If the name of a composition, ensemble or place includes a generic term (such as “orchestra,” “consort,” “theater”—and note the proper American –er ending of that last word), preface it with “the.”

• the Tucson Symphony Orchestra
• the “Pastoral” Symphony
• the Tucson Convention Center Music Hall

NEW PLAY, HOORAY

posted to Cue Sheet by James Reel

    Critics never review plays before the official opening night, except when they attend that oddity called the “press preview” (which does not exist in Tucson). Nevertheless, I accepted an invitation from some people putting on a play who hoped for some coverage before the end of the show’s two-weekend run. They were confident that they’d have something good to present to me in their rehearsal hall, and they were right:

    New House, New Dog is a new play by Tucsonan Toni Press-Coffman, billed as "a comedy about pets, painting and aging parents."
    Well, the pets and painting are there mainly for alliteration; they're actually almost incidental to this play, which does, indeed, focus on how adults cope with their difficult, elderly progenitors.
    And comedy? Yes, it's funny, but the humor is based on character and social interaction and reaction, not snappy jokes. And like the theater works of French Romantic playwright Alfred de Musset, Press-Coffman's comedy is just sufficiently uneasy that, by the end, it slides imperceptibly into drama.
    The play opens this weekend; last week, I attended a run-through in a bare rehearsal room minus lights, music and any other stage trappings but the essential furniture and props. Because the production was a work in progress, it can't be subjected to a regular review. But, unfinished as the show was, the script, actors and director had already come together so securely that I'm already as enthusiastic about this work as I was about Press-Coffman's That Slut! (see "Sexual Healing," Sept. 4, 2003).

AND HIS TOYS WERE PAINTED IN CHINA

posted to Cue Sheet by James Reel

    Viennese forensic scientist Christian Reiter, after analyzing strands of Beethoven’s hair, has concluded that the composer died prematurely because he was inadvertently poisoned by his physician, Andreas Wawruch. Cause of death: lead poisoning:

    A dramatic spike in the concentrations follows each of the doctor's five treatments between Dec. 5, 1826 and Feb. 27, 1827, according to Reiter.
    He theorizes that Wawruch, treating Beethoven for pneumonia that December, administered a medicine containing lead, as many medicines did at the time. Within days, Beethoven's stomach became terribly bloated, leading Wawruch to puncture his patient's abdomen four times in the next two months. Gallons of fluid drained out, some of it spilling into the bedding; Beethoven complained about the bugs and the odor.
    Reiter's suspicion is that the sticky poultices applied to the puncture wounds contained soapy lead salts, as they often did early in the 19th century; the salts would have been absorbed into the bloodstream, spiking lead levels.
    He further suspects that Wawruch did not understand Beethoven's underlying health problems, spelled out in the autopsy: a breakdown of the digestive system and extensive damage to the kidneys and liver, which was "like leather."
    Beethoven, a big drinker at a time when lead was commonly added to wines to increase sweetness, probably suffered from cirrhosis. A lead-laced medicine would have sent his liver "over the brink" and to collapse, Reiter said this week.

LATINO PLAYWRIGHTS NEWS

posted to Cue Sheet by James Reel

    This information comes straight from Arizona Theatre Company:

    Arizona Theatre Company announces the selection of Fantasmaville by Raul Garza as the winner of the 2007 National Latino Playwriting Award. Garza was awarded $1,000. Guillermo Reyes’ Allende by Pinochet and Caridad Svich’s Lucinda Caval  were lauded as finalists for the award.
    Fantasmaville humorously examines the love/hate relationship Latino-Americans have with the ghosts of past people and places. When a world-weary Latina, Celeste, and her Anglo husband, Martin, desire to experience a sense of community, they return home to the urban neighborhood where they both grew up.  They resist the surge of gentrification.  Colorful local characters, including an advice-spinning “Mexican Spirit Guide” who takes on the form of a human-sized raccoon, complicate the couple's return.  While facing the threat of a yuppie-centric Dog Park encroaching on her neighborhood, Celeste discovers the secret of her heritage, her purpose, and her longing for a sense of home.
    Raul Garza is a Texas-based writer whose screenplay Digging Up Roots was featured at Teatro Humanidad’s Play Festival. His work has been performed by the Latino Comedy Project at SketchFests in Chicago, San Francisco, Seattle and Vancouver. A veteran of the advertising industry, Raul has created national commercials for clients including McDonald’s, Reebok and Miller Lite, and is co-founder of TKO Advertising in Austin, TX. Fantasmaville is Garza’s first full-length play.  
    “Fantasmaville is a hilarious play about the cost of urban blight on the Latino soul,” said Arizona Theatre Company’s Playwright-in-Residence Elaine Romero, “The judges were won over by Raul Garza's fresh comedic voice.  One gets the sense that Garza intimately knows the characters he writes.  Garza writes with a fluent Chicano tongue, dancing effortlessly between English and Spanish.  With a strong dose of irony, Garza captures the plight of urban Chicanos caught between their treasured cultural past and their assimilated present.” 
    Guillermo Reyes and Caridad Svich, both past winners of the National Latino Playwriting Award, were name finalists for their 2007 play submissions. Mr. Reyes’ play Allende By Pinochet is a historical drama in which dictator Augusto Pinochet writes his own memoirs revealing how he overthrew the Socialist president of Chile, Salvador Allende, but history refuses to accept his version and talks back. Ms. Svich’s play Lucinda Caval is a drama of suspense and identity detailing a woman’s search for her missing brother while a blind architect dreams of an imagined past reconstructed from censored shards of books. 
    Guillermo Reyes is a Chilean-born U.S. citizen, and author of off-Broadway plays such as Men On The Verge of a His-Panic Breakdown and Mother Lolita, and was recently featured in Voices at the River at Arkansas Repertory Theatre. Mr. Reyes is the head of the playwriting program at Arizona State University.
    Caridad Svich is the author of over forty plays and fifteen translations. Her work has been seen at venues across the US and abroad, including Royal Court Theatre, Cincinnati Playhouse, The Women's Project, Salvage Vanguard and 7 Stages. She is alumna playwright of New Dramatists, founder of theatre alliance NoPassport, and contributing editor of TheatreForum. Her website is www.caridadsvich.com
    Arizona Theatre Company's National Latino Playwriting Award annually recognizes an outstanding work by a Latino playwright written on any subject.  Arizona Theatre Company solicits submissions from across the U.S., its territories, and Mexico.  Full-length and one-act plays (minimum length, 50 pages) written in English, English and Spanish, or solely in Spanish are accepted. Spanish language and bilingual scripts must be accompanied by an English translation. The submission deadline for the 2008  National Latino Playwriting Award is December 30, 2008.

LESSONS, ANYONE?

posted to Cue Sheet by James Reel

    My latest contribution to the Tucson Weekly begins like this:

    The Uzbekistan music-education system has established an outpost in Oro Valley.
    This weekend, the Oro Valley Music and Dance Academy will celebrate its grand opening with an instrument petting zoo, dance and music demonstrations, balloon art and the customary ribbon-cutting and speechifying.
    It's a branch of the Music and Dance Academy, which was established in Tucson 12 years ago by Nina Tishkevich. She moved with her family to Tucson in the early 1990s, leaving behind the anti-Semitism and political instability of their native Tashkent, Uzbekistan. There, Tishkevich had directed the music department at the Tashkent Music Pedagogy Center, overseeing 3,000 teachers and 14,500 students in 32 music schools.
    Between its two locations, the Music and Dance Academy employs 35 faculty members; at the end of the last academic year, about 475 students were on its rolls. It's not as grand as the music-education empire Tishkevich oversaw in Tashkent, but still impressive considering that she got her local start, after a stint teaching at a Montessori school, by renting a single studio at the Tucson Jewish Community Center.
    Impressive, and necessary. Schools like this, and private teachers, are increasingly important in the Tucson area. From the 1950s into the early 1970s, Tucson schools enjoyed a golden age of music education, but since then, tighter budgets and changing priorities have taken a toll on school-arts programs. More than ever, students need private arts academies and individual teachers to supplement or personalize what they get in school, or even to replace school programs that have vanished over the years.