Jewish Post, Indianapolis, Marion County, 22 May 2002 — Page 3
Mav 22. 2002 IN 3
Scholars to discuss Critic’s Corner
religion, violence Footlite Musicals’ Mikado’ different
WEST LAFAYETTE — Escalating religious tensions and violence in the Middle East make the coming Colloquium on Violence and Religion scheduled at Purdue University especially pertinent. More than 100 scholars and religious thinkers from Europe, Great Britain and the United States will gather at Purdue June 5-8 for the annual meeting. The main topic of the conference is "Judaism, Christianity and the Ancient World: Mimesis, Sacrifice and Scripture." Presenters will discuss moments in their common history when Jews and Christians perceived themselves to be part of the same religious universe. Rene Girard, a literary critic, cultural anthropologist and religious thinker, will deliver the conference's main address at 8 p.m. Wednesday, June 5, in Fowler Hall. The conference will focus on Girard's research on desire, violence, sacrifice and religion. Other featured speakers include internationally renowned religious studies scholars Michael Fishbane, Louis Feldman, Bruce Chilton, Gerard Rosse and Alan Segal. Sandor Goodhart, an English professor and director of Jewish Studies at Purdue, has served as the conference co-organizer along with Thomas Ryba, a theo-logian-in-residence at the St. Thomas Aquinas Center, and Ann Astell, a professor of English. Goodhart said the featured speakers are five of the world's most prominent scholars of ancient Judaism and Christianity and they will discuss Girard's work. Feldman teaches at Yeshiva University, Fishbane at the University of Chicago and Chilton
is chaplain at Bard College. Segal is at Barnard College of Columbia University, Ross6 at the Mystici Corporis Institute near Florence, Italy. "The richness of Girard's ideas about sacrifice and violence, particularly as they apply to Judaism and Christianity, cannot be overestimated," Goodhart said. "They offer a way of talking about these complicated matters that offers at once clarity and range. Girard's thinking may be among the most important thinking of our time — comparable to that of Freud or Martin Buber." For a schedule and further information, visit the conference Web site at http:// www.sla.purdue.edu/aca-demic/idis/jewish-studies/ cov&r/.
Obituaries llene G. Hughes, 54, is being mourned llene Gail Hughes, 54, died Friday, May 17. Mrs. Hughes, born llene Gail Lederman, was a member of the Indiana Children's Wish Fund Ball Committee. Services were Monday, May 20, at Aaron-Ruben-Nelson Meridian Hills Mortuary, Rabbi Lewis Weiss officiating. Burial was at Lincoln Memory Gardens. Survivors include her husband, Dan Hughes; daughters, Tina Ayres and Tracey Callahan; mother, Rochelle Schuchman Lederman; sisters, Fredie Blyveis and Sue Rekuc, and three grandchildren. Memorial contributions may be made to the Indiana Children's Wish Fund.
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By CHARLES EPSTEIN Having previously seen director Camilla Upchurch's marvelous production of Gilbert and Sullivan's "The Pirates of Penzance" at Footlite Musicals, I really was expecting something special for her production of
"The Mikado," the most popular of the Gilbert and Sullivan operettas. Unfortunately, she left 'tradition" at the curb, and came up with wrinkles that most certainly did not belong in any Gilbert and Sullivan work. There were times I thought 1 was viewing this presentation at the Phoenix or Theatre on the Square, when male chorus members tried to "make out" with male members of the audience. Why the choice was made to eliminate one of the most popu-
lar numbers from this show (The trio of "I Am So Proud" sung by Ko-ko, Pooh-Bah and Pish-tush) instead of the normal cutting of the madrigal is anybody's guess. There was some strange casting also. Wonderful performer John Phillips portrayed the title role of the Mikado, who was supposedly an extremely menacing figure. With Phillips's melodic tenor voice, there was no way he was menacing or frightening. Why wasn't the basso cast in this role? The role of Pooh-Bah (Lord High Everything Else) was portrayed like a Mafioso counselor. Rick Baker as Pooh-Bah had no dignity at all. This role calls for puffed-up grandeur. This tremendous show was conceived as if it were a vaudevillian presentation, which it is definitely not. Katisha's solo in the second act is a dramatic piece of work. Unfortunately, it was presented like a vaudeville routine and singer Amy Reynolds looked foolish trying to accomplish this feat. The very popular "Tit-Willow" a song about a bird, had Ko-ko referring to a woman's breast, which was
completely out of synch. What was impressive besides the glorious sets and costumes, was the high professionalism of the female cast members. Their voices were terrific. The scripts by Gilbert usually leave room for localized comments. In "The Mikado" there is ample room for these asides and changes. Upchurch took advantage of every one of these occasions. Changes were appropriate, clever and funny. The singing voices and acting ability of the three leading ladies Merrill Grant, (Yum-Yum), Kathleen ClarkeHorrigan (Pitti-Sing), and Tina Vatdois-Bruner (PeepBo) were exceptional and extraordinarily pleasing. There was an awful lot of breaking the "fourth wall" and playing front, which put the show out of kilter. Footlite Musicals should be commended for its previous production of "The Pirates of Penzance" and for its spectacular disappointing endeavor of presenting another Gilbert and Sullivan operetta, "The Mikado."
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