Center for the Arts Director Pamela Tatge talks to Private Lessons Teacher Peter Hadley about directing the Wesleyan Wind Ensemble, who perform a spring concert on May 8, 2012.
In 2000, Angel Gil-Ordóñez was the new Music Director of the Wesleyan University Orchestra and Peter Hadley was a Ph.D. student. The two were talking and Angel said, “Peter, Wesleyan needs a wind ensemble and you’re the person to lead it.” They put up a sign for auditions and only one student showed up.
Flash forward, twelve years later (Peter has his Ph.D.): there are 39 members of WesWinds; approximately 50% are Wesleyan students and the remaining members come from the Greater Middletown community. “After that first semester, we decided to be inclusive. We didn’t hold auditions. To this day, we invite people to come to the first rehearsal and they self-select depending on the difficulty of the material.” One of the people he called on for help in the early years was his friend and colleague, Marco Gaylord, head of arts programming for Middletown Public Schools. “I tell Marco what instrumentation we’re lacking and he sends me wonderful students.” One was percussionist/pianist Eli Fieldsteel, now an accomplished composer. “So alongside Wesleyan students and Middletown high school students, we have a doctor, a retired music teacher, and other students whom I’ve taught from CCSU.”
A mother of one of the Middletown students sent me a note last week, and I asked if I might publish an excerpt. It was one of those rare emails that appear on your screen and for a few moments, you are transported:
“All I know for certain is that when I come to Weswinds, I often sit in the dark and cry. I can’t help it. I see my child sitting on that stage and l listen to all the musicians, and feel overcome.”
“As I prepare to go to another meeting where people struggle with why we must reduce arts funding, or why the arts are more needed today than ever, I find myself thinking about how I grew up in a hard place with little reason to think that anything worth having or doing would ever be mine. But because I attended an urban public high school with a strong arts program, I found theater. By my junior year, I had worked in a few theaters around the city and won a full scholarship and a way out. Thanks in part to a (very) little talent. But more importantly, I had access to the building blocks: exposure, context, training and opportunity.”
“I don’t take for granted the wonderment I feel when I sit in Crowell Concert Hall and watch this assorted community come together to make music. Our kids play instruments. And I feel we are all one tiny step closer to grace.”
“The humanities are for all of us. Whatever our kids do in this life, the experience of participating makes them and the world they will encounter the better for it. We can never let it just be the kids of privilege, however talented. Let it also be the children and future artists who beat the odds because at some point they, too, stumbled over the building blocks we positioned along their paths.”
“On May 8, family and friends will be attending the next WesWinds concert. Over the years, we have all come to expect to encounter unusual arrangements, moments that highlight superb musicians, and innovative ways to include all the greener musicians who sign on for the season. Last year Jay Hoggard played with them – and they left the hall after that concert on the balls of their feet, practically levitating up the stairs.”
“Thank you to Wesleyan for all their acts of inclusivity. Each Middletown student who purposefully steps onto campus, begins to imagine their future differently.”
“And thank you, Peter, for being gracious, skilled and undaunted. I’m so pleased that my kids (and the other Middletown musicians) are participating in this wonderful ensemble.”
Here’s hoping you are able to join us tomorrow night!
WesWinds: Sounds In Motion Tuesday, May 8, 2012 at 8pm
Crowell Concert Hall
FREE!
An exploration of form and emotion by the Wesleyan Wind Ensemble under the direction of Peter Hadley, featuring works by Maurice Ravel, Percy Grainger, Johan de Meij, and others.
JoAnna Bourain ’12: How does your creative process work? Why are you drawn to certain subject matters? Do you derive your creativity from your own everyday experiences or is it more abstracted and observational?
Camille A. Brown. Photo by Matt Karas.
Camille A. Brown: My process is different for every piece that I create. I believe that the space is a living organism, so it’s important to have some sort of spontaneity when creating a new work. Sometimes I’m immediately drawn to music, a singer/composer/musician, or something that I’ve heard or was suggested that I research. From there, the music inspires the movement. Other times I have an idea in my head that I decide to explore in space. To be honest, the latter is harder because, now that I have the ‘perfect’ image in my head, the task is to marry the movement and concept with music. It must align perfectly! Since I love injecting aspects of theater in my work, I bring in an actor and dramaturge with whom I have close relationships to work with the company to fully portray characters with integrity. We have acting classes, group discussions; we allow these things to inform where the piece goes. It also challenges me to look at the work objectively. Having those extra sets of eyes from a different perspective is a jewel.
The dancers give the work breath. I am greatly influenced by their choices in space, their approach to the movement, how they grow within the work, making it their own. Their connection to space, the earth, their spirit. It all helps to show individuality within the ensemble works that I create.
As a choreographer, I am interested in that space between dance and theater where interdisciplinary work defies category and takes flight. Music is one of the main driving forces of my work. As an artist, it is imperative that I “drink” the music and move in a way that is the music. For me, there is no separation in my understanding of choreography; I move seamlessly between music, theater and dance. Informed by my music background as a clarinetist, I create choreography that utilizes musical composition as storytelling. I love investigating the silent space within the measure. Singers also influence me — how they each use their vocal tone and modulation informs me in how to use my body in creating multiple levels of expression.
I am interested in telling stories beyond just dance. I have always been fascinated with history — the past, the everyday lives of my ancestors. I love exploring an “understanding” of their lives, tying history to my personal experiences and bringing those things to life. I build dance vocabulary from a very personal place. Characters are facets of my life; my experience is a lens into the past and the present. The work of the company is strongly character based, expressing whatever the topic is by building from little moments, modeling a filmic sensibility.
The work comes from both personal experiences and observational ones. I am generally a private person, so most of the time you will not be able to pinpoint what is my true story versus the observational one. They’re kind of one-in-the-same. I like moving through concepts — becoming a character, and allowing my personal experiences to give a unique, personalized breath to the voice. I inject the personal in the pockets of storytelling.
JB: I have been watching your work online over and over again trying to pin down what is communicated to me in your choreography and performance. Words that come to mind are: power, speed, dynamism, narrative, communication, theater, history. If you had to choose words or messages that you try to communicate in your work, what would they be?
CAB:
Conscious
Theatrical
Unrestricted storytelling
Narrative
Earthbound movement
Spatial exploration
Dynamics
Weight shift
Plié- oh how I love the plié!
Celebrating history with a direct connection to the present
Communication
Healing
Release
Satire/humor
Spunk
Sass
Attitude
Peace
JB: Why do you think people should come to the performance?
CAB: This is a hard question because the answer I give will obviously be from a subjective place. Dance is what I live and breathe every day. It’s my movement through space and life as a whole. I would say people should come to the show to get an intimate view of who Camille is — who Camille A. Brown & Dancers are. Hopefully they will see our personal stories and that will provoke them to share their own. This is what sharing your work is about. I am looking forward to introducing my voice to Wesleyan.
13th annual DanceMasters Weekend Showcase Performance Saturday, March 10, 2012 at 8pm
CFA Theater
$27 general public; $20 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $8 Wesleyan students
The DanceMasters Showcase will feature performances by Pilobolus, Camille A. Brown & Dancers, and Garth Fagan Dance. Ms. Brown is the 2012 winner of the Mariam McGlone Emerging Choreographer Award. Ms. Brown will be teaching a Master Class at 1pm on Saturday in the CFA Dance Studio.
Center for the Arts Director Pamela Tatge talks to Josh Cohen ’14 and Matthew Krakauer ’14 about what they learned from writer Leigh Fondakowski and scientist Barry Chernoff. “SPILL”, Ms. Fondakowski‘s collaboration with visual artist Reeva Wortel, will be performed in Beckham Hall this weekend (Feb. 25 & 26).
"SPILL" portraits and photos by Reeva Wortel.
I went to Beckham Hall on Tuesday as Leigh Fondakowski and Reeva Wortel were loading in elements for SPILL, a new work that Wesleyan and others have commissioned about the 2010 Gulf Coast oil spill. We’ve seen images of Reeva’s portraits, but finally we were able to see the eight foot tall canvasses unpacked. They are life-sized representations of the people whom Fondakowski and Wortel interviewed, people whose lives were changed forever.
This weekend, the stories of oyster fishermen, Tea Party Republicans, families of oil riggers and others will be told in a choral reading format by Fondakowski’s New York-based cast. Wesleyan students also had the chance to meet and interview some of these people when they took a course that Fondakowski and Barry Chernoff, Director of the College of the Environment, co-taught last summer in and around New Orleans.
They learned about the aftermath of the spill through the lens of a scientist and an artist. They toured the beaches and the bayou, understanding the science of what occurred and meeting with scientists about the condition of coastal wildlife. They also learned Fondakowski’s interviewing techniques and how she uses a technique entitled Moment Work to create a piece of theater. When I saw Josh Cohen ’14, a student in the course at Young Jean Lee’s talk this week, he said: “I have to go back to Louisiana. [Fondakowski and Chernoff] introduced me to a world I’d never experienced before. I learned about making theater from the ground up. As a result, it completely changed the way I look at everything. I can’t wait to see Leigh’s play.” He was with Matthew Krakauer ’14, another student in the course: “I learned a completely new way to think about theater. I had one mindset about how theater is made, but this class changed everything. In fact, Moment Work informed how I experienced my entire time there. I can’t wait to go back.”
Tickets for SPILL are extremely limited: only 50 per performance, so if you are interested in attending, do buy your tickets early.
“SPILL” Saturday, February 25, 2012 at 7pm & 10pm
Sunday, February 26, 2012 at 2pm & 7pm
Fayerweather Beckham Hall , Wyllys Avenue
$12 general public; $10 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $5 Wesleyan students
As a member of the Outside the Box Theater Series planning committee, Assistant Professor of Theater Rashida Z. Shaw ’99 said this campus needs to see Javon Johnson. She and Dr. Johnson were Ph.D. students together at Northwestern University, he in Performance Studies and she in Theater and Drama. Because these are sister programs, they had a number of classes together and became friends.
Javon, a spoken word artist and scholar, is now based in Los Angeles, where he has a huge following. He has performed at major venues around the country and has been featured on HBO’s Def Poetry Jam, among other television programs. Next week, he’ll be in residence visiting classes and meeting with members of WeSLAM and other poets and theater students on campus. And on Thursday evening, February 23, he performs in Crowell Concert Hall , as a part of this year’s Theater Department/Center for the Arts “Outside the Box Theater Series”.
“I used to have Javon come and perform in all of my political theater courses and in classes that dealt with solo performance. He has the ability to integrate popular culture with scholarship and political critique – all in a humorous package. Spoken word artists straddle the line between poetry and theater. What I remember most about Javon is his captivating energy – he has a vocal dexterity and a physical range that make his performances interesting not only on a textual level, but you also get caught up in how he is delivering his poems, and that makes you want to know more about who he is,” said Dr. Shaw. “Not all spoken word artists can hit all of these levels.” Dr. Shaw and Dr. Johnson were reunited at Northwestern when they both graduated last June, and Dr. Shaw looks forward to welcoming him to Wesleyan and to Middletown next week.
An Evening of Spoken Word with Javon Johnson Thursday, February 23, 2012 at 8pm
Crowell Concert Hall
$15 general public; $12 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $6 Wesleyan students
Center for the Arts Director Pamela Tatge discusses “RISK!” (Feb. 10) and “SPILL” (Feb. 25 & 26).
Carolyn Cohen ’12 came to the CFA with an idea. She and members or her comedy improv troupe said they wanted to bring Kevin Allison (of MTV’s The State) to Wesleyan to do a story slam with a twist. Mr. Allison has created RISK! – a program that he has taken to college campuses around the country where he pairs luminaries in the comedy scene with students and other members of the community (check out what they did at Brown University here). They all tell stories that show sides of themselves that they never thought they’d dare to share in public (that’s where the “risk” comes in). Tonight, Wesleyan will welcome Mr. Allison and San Francisco-based comic W. Kamau Bell to tell stories alongside Wesleyan students. The 7pm performance will include stories told by Jana Heaton ’14 and graduate student Jakob Schaeffer. The 10pm performance will include stories told by Carolyn Cohen ’12 and Virgil Taylor ’15. Both performances will feature music by Samuel Friedman ’13.
RISK! Friday, February 10, 2012 at 7pm & 10pm
Crowell Concert Hall
$12 general public; $10 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $5 Wesleyan students* *Wesleyan Students may purchase advance tickets to both performances for $8. Students that have already purchased tickets to one of the performances, may add the other performance at the discounted rate. This discounted rate is available through the Wesleyan University Box Office in the Usdan University Center.
SPILL
I also want to encourage all of our CFA friends to save the date to see the first-ever public showing of a play commissioned by the CFA through the Creative Campus Initiative. SPILL is a stunning new work co-created by Leigh Fondakowski (Head Writer, The Laramie Project), and visual artist Reeva Wortel, and is based in part on interviews with people from the Gulf Coast of southern Louisiana in the wake of the Deepwater Horizon oil spill of April 2010, the largest environmental disaster in the history of the United States. The performances at Wesleyan are the first public showing of the performance/installation and will feature life-sized painted portraits of the interviewees, along with a choral reading of the play.
We met Leigh for the first time in 2008 when the Theater Department and CFA brought her to campus to lead a workshop on the Tectonic Theater’s “moment work” in conjunction with a residency by Moises Kaufman (founder of Tectonic). In 2010, the CFA invited her to co-teach an environmental studies course with Wesleyan scientist Barry Chernoff. Together the pair developed the Deepwater Horizon Tragedy: A Scientific and Artistic Inquiry course. By exploring the oil spill from both an artistic and scientific standpoint, students learned the science of the Gulf Coast region and the ecological impact of the oil spill as well as artistic tools and methods that enabled them to understand the science at a deeper level, and make the research and the meaning of that research visible to an audience through their art.
Leigh was so taken by what she saw and heard, she decided to create her own piece in a first-time collaboration with visual artist Reeva Wortel. The text for the work is created from transcripts of interviews with people across the political spectrum – from Tea Party Republicans to life-long environmental conservationists, families who lost loved ones in the explosion on the oil rig, as well as oil-rig workers, clean-up workers, scientists, politicians, priests, and members of the diverse fishing communities along the coast. What emerges is a story as complex as this region’s historic relationship to oil and the oil industry.
There are only fifty seats for each performance so we encourage you to reserve your tickets early. Every performance will be followed by a talk-back with the creators. They are anxious for your feedback as they prepare to take the work to New Orleans for the second anniversary of the spill in April, as well as an anticipated national tour in 2013. We hope you will be a part of the birthing of this new work, and will be able to join us on February 25 or 26.
SPILL Saturday, February 25, 2012 at 7pm & 10pm Sunday, February 26, 2012 at 2pm & 7pm Fayerweather Beckham Hall , Wyllys Avenue $12 general public; $10 senior citizens, Wesleyan faculty/staff, non-Wesleyan students, $5 Wesleyan students
Tonight and Saturday night, the Theater Department and the Center for the Arts present Great Small Works, a New York-based theater collective that creates work about contemporary issues. CFA Intern in Arts Administration JoAnna Bourain ’12 interviewed co-founder Mark Sussman ’85 about his time at Wesleyan and about the production you’ll see this weekend.
JoAnna Bourain ’12: Great Small Works’ website lists the company’s major influences, many of whom I’ve encountered in my coursework at Wesleyan, namely Walter Benjamin, Bertold Brecht and Erik Satie. Tell me about some of your Wesleyan classes that influenced your creative process.
Mark Sussman ’85: At Wesleyan I was a double major in Theater and Religion. The theater side of my education was mostly in directing and design and I knew that after Wesleyan I didn’t want to join the workforce of the American Theater. After working in a collaborative setting at Wesleyan with groups like Second Stage I knew I wanted to have a company and to work collectively in a series.
I bring from my own years at Wesleyan an interest in working in a more collective situation- this comes from the late Fritz DeBoer (Theater Department) who really inspired me. Certain experiences that I had in the Music Department along with the atmosphere within that department were really important to my creative development – both experimental music and world music. Susan Foster and Alvin Lucier co-taught a class that was essentially about site specific performance art, as well as a class by Jon Barlow who taught the work of John Cage and Erik Satie that brought together a really interdisciplinary vision of art. These classes helped me to make connections to my experience in theater. All of those experiences have stuck with me and help me to inform my every day creative processes.
JB: Your website cites that Benjamin’s theory of the ‘state of emergency’ was an early catalyst for the first miniature theater piece. Considering the group’s beginnings in Bread and Puppet (a Vermont-based political theater company directed by Peter Schumann, who is speaking in CFA Hall on April 9) how do politics figure in Great Small Works?
MS: I think we imagine everything that we do as having a political aspect. I think the reason that we are really drawn to Benjamin (who I first read in a tutorial in the Religion Department) was due to the fact that he looked at both aesthetics and politics and their inseparable relationship. If you look at something like the Republican Primary, we see that images play such an important role in how people are politically perceived. In Benjamin’s essay, The Thesis on the Philosophy of History, he talks about the notion of a Marxist view of history in which a state of emergency is used to encourage and create the rhetoric of a crisis where, actually, that state of emergency is a constant in capitalism. It’s a falsification to even think of it as a momentary state of emergency rather than a constant. That idea was we eventually applied to the toy theater.
Jenny Romaine, during the first Gulf War in the late 90s, remembers how the war was portrayed as a catastrophe day after day, and was filtered through us in the everyday banal act of openingTheNew York Times. The idea was to communicate this sense of every day terror as it is read in banal everyday actions.
The toy theater is an outmoded form that is low tech, handmade and has associations with folk theater. It was a form we rediscovered from 19th century Europe that was a popular amateur form you would perform in the home. It was something kids and adults would do together. Very often the scripts were melodramas from London’s West End. The popularity of the form coincided with colored lithography and with mass communication and mass culture; it’s a form that existed between printing, book making and puppetry.
JB: Can you talk a little bit more about translating this particular process, a form that has more associations with the home than with the high-theater, into an actual show? I have read that you use a camera to project the miniature theater onto a screen in order to show the piece larger. This process creates an interesting tension between what the form stands for historically and what it becomes on the stage.
MS: We started these [miniature theater] shows before we were even a company. We found that using the toy theater was a quick and easy way to talk about big ideas- there is a weird inverse relationship between the scale of the show and the ideas. In [Toy Theater of] Terror as Usual, one of the shows we will be performing, we see the performers operating the puppets. In a lot of puppet shows you never get to see the puppeteers. You see us operating the puppets, singing and talking and making sounds. That Brechtian act of revealing the performers is a big part of the show. I think that still works when we use the video camera and the projection when we are creating it before you. The image is taken apart and constructed in front of you. For an audience, this shows how history is created and constructed.
JB: Why do you think that it is important that people see Great Small works?
MS: It’s interesting and fun and unexpected. It is interesting how you see an idea and stories. Much of traditional theater expresses characters differently than we do – we present a story within a larger set of ideas with an analysis. We provide a visually appealing message and a way to comprehend and digest complicated ideas in an accessible form.
Great Small Works Friday, February 3 and Saturday, February 4, 2012 at 8pm
CFA Hall, 287 Washington Terrace
Tickets: $15 general public; $12 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $6 Wesleyan students Each performance will be followed by a post-show discussion.
Cassandra Burrows, John Bell, Trudi Cohen, Jenny Romaine and Xavier will perform the works “Short, Entertaining History of Toy Theater”; “Toy Theater of Terror As Usual, Episode 12: Desert and Ocean”, a surreal serial drama using excerpted texts and images quickly cut from The New York Times, Hans Christian Anderson, Grace Lee Boggs, and Democracy Now!; and “Three Graces”, a “cantastoria” (picture-based storytelling work) in which three mythical graces – Harmony, Strategy and Splendor – float down to earth for an op-art romp inspired by Grace Paley, Grace Kelly, Grace Jones and Grace Lee Boggs.
From now through January 17, share your thoughts about the spring events at the Center for the Arts in one (or both!) of the following ways:
1) Like us on Facebook and write something about our spring events on our Wall.
2) Follow us on Twitter and compose a tweet about our spring events (be sure to mention @WesCFA).
Everyone who writes about our spring events on Facebook or Twitter will be entered to win some excellent prizes, including the following:
We hope that you will take advantage of all that the Center for the Arts has to offer in the coming months:
In keeping with our tradition of welcoming the world to Wesleyan at the CFA, you will have the opportunity to discover one of Australia’s most adventurous contemporary dance companies (Chunky Move); a sizzling jazz guitarist/vocalist from Benin (Lionel Loueke); and an Argentine quartet that celebrates the tango music of Buenos Aires (Fernando Otero).
And in keeping with our interest in the intersection of art and science, the CFA has commissioned two works that will have their first performances at Wesleyan in conjunction with Feet to the Fire: Fueling the Future. SPILL, by Leigh Fondakowski and Reeva Wortel, is a visual art/performance installation that explores the aftermath of the Deepwater Horizon oil spill. The work will debut at Beckham Hall in February. Composer Paula Matthusen, new to Wesleyan’s music faculty, will premiere work divided by time at the Van Vleck Observatory. The sound installation is a reflection of how the scientific definition of energy resonates and clashes with cultural and historical concepts.
Other highlights include the world premiere of a new multi-part suite by jazz vibraphonist and music faculty member Jay Hoggard; the U.S. premiere of Quicksand, a provocative new work by inDANCE, the highly acclaimed Toronto-based contemporary dance company directed by Wesleyan Artist in Residence Hari Krishnan; and a 21st-century examination of Gertrude Stein’s Doctor Faustus Lights the Lights, directed by Theater Department Chair Cláudia Tatinge Nascimento.
We invite you to stretch your imagination, contemplate new ideas and celebrate all that the CFA’s faculty, students, and visiting artists and companies have to offer.
Best wishes,
Pamela Tatge
Director, Center for the Arts
P.S. If you are looking for arts interaction over the holidays, please attend Middnight on Main, New Year’s Eve on Main Street in Middletown.
I was one of the lucky people to have a ticket for The Great God Brown last night, the Theater Department’s production directed by Associate Professor Yuriy Kordonskiy. I can tell you it’s a massive undertaking in which an extraordinary ensemble of our top student actors explore the duality of personalities: our struggles between indulgence and restraint; who people expect us to be and who we truly are; our rational and irrational selves. All played out on an inventive, flexible set that is dramatically lit to move the action forward. As of this writing, there are still tickets for the Saturday matinee.
The Great God Brown By Eugene O’Neill
Directed by Yuriy Kordonskiy
Designed by Jack Carr, Marcela Oteiza, and Leslie Weinberg Wednesday, November 16 through Friday, November 18, 2011 at 8pm Saturday, November 19, 2011 at 2pm & 8pm
CFA Theater
$8 general public; $5 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $4 Wesleyan students
Bebe Miller Company: "History"
The Dance Department and Center for the Arts welcome Bebe Miller Company to the Patricelli ’92 Theater this weekend for three performances. Bebe is a master contemporary dance choreographer who has influenced the work of numerous dance makers who have worked with her over the years. In her newest work, History, she asks the question: how are dances made and how can we give our audiences a window into our creative process? Audiences coming to the ’92 will be invited into an installation and then engage in a performance by veteran company members Angie Hauser and Darrell Jones. In Bebe’s words: “Dance works are made of a complex mix of ideas, physical practice, forgetting, remembering, minor epiphanies and daily discoveries, joined together piece-by-piece in the evolving circumstance of creative research over time. [History is] an archeological dig into our continuously evolving manner of asking questions about people, relationships, and the culture in which we live.” She’s collaborated with long-time dramaturg, Talvin Wilks, and video artist (and Wes alum!) Lily Skove, in the making of the work. Wesleyan audiences will be invited to give Bebe feedback about the work in a Q&A session following each performance.
Bebe Miller Company: “History” Friday, November 18, 2011 at 8pm Saturday, November 19, 2011 at 2pm & 8pm Patricelli ’92 Theater Pre-performance talk with dance scholar Debra Cash on Friday at 7:15pm, Memorial Chapel $23 general public; $19 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $6 Wesleyan students
Joshua Roman. Photo by Jeremy Sawatzky.
Finally, tomorrow night, you’ll have the opportunity to see cello virtuoso, Joshua Roman, at Crowell Concert Hall. Because of his charismatic presence, at age 27 he’s already been dubbed a “classical rock star” by the press. He was the principal cellist for the Seattle Symphony at the young age of 22 and since then has earned a national reputation for performing a wide range of repertoire with an absolute commitment to communicating the essence of the music at its most organic level. This year he was named a 2011 TED Fellow, joining a select group of Next Generation innovators of unusual accomplishments with the potential to positively affect the world. You really have to hear this young man live to understand his power…and you can see what Yo-Yo Ma had to say about him here.
Joshua Roman Friday, November 18, 2011 at 8pm
Crowell Concert Hall
Pre-performance talk at 7:15pm by Julie Ribchinsky, Wesleyan Private Lessons Teacher
$22 general public; $18 senior citizens, Wesleyan faculty/staff, non-Wesleyan students; $6 Wesleyan students
EVENING PERFORMANCES
