“In a media world virtually atomized by electronic devices, a world taken over by commentators and gossips of every stripe, the Daily gives you well-grounded, comprehensive coverage of ideas you care about at considerable length.” —C.FraserSmith “Extra! Extra! Back to the future of newspapers” The Baltimore Sun, August 28, 2005

The Chautauquan Daily, official newspaper of the Chautauqua Institution, is seeking design interns for the 2011 summer season. The internship runs from June 14 to Aug. 26.

Four design interns will be hired. Working together, they will be responsible for designing a 12–30 page broadsheet newspaper six days per week for nine weeks. Workdays are Sunday through Friday for publication dates Monday through Saturday, June 25–Aug. 27.

Design interns will paginate pages in InDesign, placing ads in predetermined locations and creating well-designed pages from stories, photos, headlines, graphics, etc.

Design interns will do some logo development and in-house ad design.Candidates should be proficient in InDesign, Photoshop and newspaper design. Knowledge of AP style and general writing skills are helpful.

Design interns receive a stipend and usually live on or near the Chautauqua Institution grounds.

Formoreinformation,contactMattEwaltat716-357-6434ormewalt@ciweb.org.Toapply,sendaresume,samplesofyourworkandthenamesofatleastthreereferencestothee-mailaboveortoMattEwalt,Dailyeditor,POBox28,ChautauquaInstitution,Chautauqua,NY14722.

The Chautauquan DailyChautauqua, New York

The Chautauquan DailyThe Official Newspaper of Chautauqua Institution | Tuesday, July 27, 2010

Musicians in trainingChautauquaMusic Camps return for 12th seasonPage 10

Together in communionChautauquans gather for ecumenical servicePage 8

Art speaks louder with wordsAnthony Bannon reviews Strohl exhibitionPage 13

Volume CXXXIV, Issue 27Chautauqua, New York 50¢

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by Kathleen Chaykowski | Staff writer

The sun is setting, glistening silver and yellow. You are standing in the sea, and waves wash up around your legs. You sway slightly, and your toes dig deeper into the sand. You wonder where these waves come from, where the energy starts. Looking back at the shore, you see it is merely

a crust. The ocean is the larger living space, and you are part of it now, con-nected to all other shores, all other people, through the droplets at your feet.

If you can imagine the ocean, the Chautauqua Symphony Orchestra’s con-cert at 8:15 p.m. tonight in the Amphitheater will bring you to a familiar place. The concert features a special piece: soprano Janet Brown singing “A Song of Longing, Though …” with words by Tom Beal and music by guest conductor Grant Cooper.

by Jack RodenfelsStaff writer

With projects spanning five continents and more than 30 years of experience, photojournalist Ed Kashi will portray his passion for photography at 10:45 a.m. today in the Amphitheater, where he aims to educate and inspire Chautauquans to take interest in sociopo-litical plights around the world.

Kashi will touch on some of his projects that he is most passionate about — includ-ing documenting the experi-ences of people living in the Kurdish area in Northern Iraq, the negative impact of the oil industry on the Niger Delta region, modernization in India, and the lives of ru-ral villagers in Madagascar.

“It’s going to be a mix-ture of very serious issues — both geopolitical in na-ture and issues close to home,” Kashi said.

Close to home, Kashi will discuss “Aging in Ameri-ca” — an eight-year project completed in 2003 which launched a traveling exhibi-tion, an award-winning doc-umentary film, a website and a book which was honored as one of the top photo books of 2003 by American Photo.

“My goal with ‘Aging in America’ was to paint the portrait of what America will deal with, in the near future,” Kashi explained. “I tried to create a time-less body of work for what I consider one of the press-ing issues of our lifetimes.”

Kashi, a self-described

by Laura McCrystalStaff writer

The most expensive photograph Sotheby’s ever sold went for $2.9 million; it was Edward Steichen’s “The Pond — Moonlight.”

Christopher Mahoney, senior vice president of Sotheby’s photograph de-partment, does not cite this

by Beth Ann DowneyStaff writer

Neil Shicoff wants to start giving back, to both the peo-ple who taught him in the past and those who will give themselves to the future of his art form.

Shicoff, a renowned vocal-ist and actor who boasts a 35-year international career in opera and performance, will

Kashi

Daily file photo

Guest conductor Grant Cooper gestures to the violins during “overture: Aotearoa,” a piece from Cooper’s homeland of new Zealand in Cso concert earlier this season.

Photographer Kashi raises awareness with visual storytelling

See KAshI, Page 4

Brown

“visual storyteller,” since 1979, has had work pub-lished in various publica-tions, including Newsweek, The New York Times Magazine, Time, and MediaStorm, and had five books published.

Perhaps Kashi’s most recognized work includes his work in Niger for Na-tional Geographic Magazine. Chronicling the negative effects of oil development in the impecunious Niger Delta region, Kashi’s work led to a photographic and editorial essay book, Curse of the Black Gold: 50 Years of Oil in the Niger Delta.

“It’s always about raising awareness, touching peo-ple’s hearts, opening their minds and moving them to think,” Kashi explained of his sociopolitical journal-istic work. “I try to illumi-nate stories that I feel people need to know more about, or bring up issues that people don’t know anything about.”

Same ocean, different shores

In the case of love, how many of us have looked up at the moon and thought that our loved one could

look up at the moon at the same moment?— grant Cooper, guest conductor

CSO performs recent composition set to poetry

See Cso, Page 4

Mahoney to discuss ethics behind photography in the auction house

Mahoney

See MAhoney, Page 4

number to brag about the high cost, but rather to d e m o n -strate that there is a serious fine arts market for photography, just as exists for paintings

and other art forms. In this respect, Mahoney

said his Interfaith Lecture today at 2 p.m. in the Hall of Philosophy will be “intrigu-ingly different” for the Chau-tauqua Institution audience. His lecture is titled “Photog-raphy in the Auction House: a Discussion of Ethics.”

In teaching young vocalists, Shicoff is giving back by paying it forward

shicoff

See shICoff, Page 4

arrive on the grounds today and spend the next several days work-ing with students in the Voice Program.

Shicoff shares a common bond with the students, hav-

ing also studied closely with Voice Chair Marlena Malas in the beginning of his ca-reer. He described Malas as both an “enlightened spirit” and a “fantastic technician,” adding that she helped carry him through many roles, as well as many different life experiences.

PHOTO by greg FuNka

Prolonged exposure of a full moon rising over Chautauqua Lake

Monday, July 19, 2010 The Chautauquan Daily Page B1

Upon first glance of the “You Can’t Take It With You” set, audience members might think it appears a bit off. And it’s not because the Sycamore house is deco-

rated with snakes, skulls, a deer head and five different types of wallpaper. It’s because the set is crooked — literally.

The stage is actually raked, or built on an an-gle. And the actors are actually walking uphill and downhill as they travel across stage.

Anytime the stage is not level, it is said to be raked, explained John Zuiker, Chautauqua The-ater Company scenic design fellow. The rake for “You Can’t Take It With You” was built on top of the stage in Bratton Theater. For every foot the rake goes upstage, it rises three-fourths of an inch.

There will be a behind-the-scenes tour of the “You Can’t Take It With You” set at 2:15 p.m. today at Bratton Theater for those interested in learning more about the rake and other scenic elements in the play. Production manager Joe Stoltman said that Todd Proffitt, CTC director of operations, will talk about the history of Bratton Theater, and CTC design fellows will discuss de-sign aspects of the show. If the crowd is small enough, it can tour backstage as well, Stoltman said.

Originally, all stages were raked because the angle of the stage allowed the audience members, who sat on a flat surface, to see what was happen-ing, Zuiker said. Eventually, the seating area for the audience became raked and the stages became flat. The terms “downstage” and “upstage” origi-nated from the raked stage, he said. That’s why downstage is toward the audience — because the actors were actually walking downstage as they moved forward. The same applies with upstage: It is located at the end of the stage, away from the audience.

Director Paul Mullins, along with guest set de-signer Lee Savage, chose the raked stage because it complements the unique characteristics of the Sycamore family, Mullins said.

“We wanted it to be a real place, but we wanted that place to be theatrical like that family,” he said.

Zuiker added that the rake helps portray that something is off in the Sycamore house because “a rake offers a less literal version of the world.”

The rake helped the designers make the base-ment in the Sycamore house seem more realistic, as the actors have to walk down stairs to step off the stage.

A raked stage is rare in theater today, perhaps because there are many challenges a rake poses. Zuiker said the rake can sometimes cause actors pain, such as knee pain. This is less of a problem for “You Can’t Take It With You.” Since the run of the play is short, the actors’ bodies can with-stand the trauma for a short period of time.

The most extreme rake Stoltman ever worked with was built for a nine-week production of “The Winter’s Tale” — the stage was raked 1 3/4 inches over a foot.

“It was brutal,” he said. “It was bad for just the crew to walk on it. It was a brutal, brutal rake. … It’s difficult for actors to deal with that kind of stuff.”

Aside from actors, raked stages pose challenges with moving set pieces. Zuiker said it is difficult to have moving sets because the wheels on the set pieces tend to roll. To stop this, designers have to ensure that the wheels on moving set pieces are locked. One piece that needs special treatment in “You Can’t Take It With You” is the xylophone. It has to be level for Ed to play it, so it needed to be counter-raked.

Despite the challenges it presents, the design-ers knew the raked stage was the right choice for the CTC production.

“You make the choice for a very specific reason, and oftentimes the limitations are outweighed by the reason you make the choice,” Zuiker said.

Forced PerspectiveAn optical illusion used in stage scenery that

creates a sense of depth in a 2-D object or painting.

‘Heads’If heard on stage in a theater, it means

someone has dropped something from above that could hit you in the head. Watch out!

CTC gives a behind-The-sCenes look aT The Crooked seT of ‘You Can’T Take iT WiTh You’

sTorY bY Kelly Petryszyn

PhoTos bY emily Fox

Props from the set of CtC’s “you Can’t take it With you.”

rachel mewbron, who plays Alice sycamore, does yoga before a performance.

Fisher neal uses several types of gel to style his hair for his role as mr. Henderson.

A figure illustrating the “you Can’t take it With you” set

Julia ogilvie has her hair curled for her role as essie Carmichael.

A crew member assembles the set before a performance.

source: Production manager Joe stoltman

Stage left, stage rightTerms from the actor’s vantage point onstage. As audience members facing the stage watch actors travel right, the actors are actually on stage left. Vice versa for stage right.

ProsceniumThe arch that is in front of the stage.

V O C A B U L A R Y

V O C A B U L A R Y

Actors and members of the stage crew prepare for a performance of

“you Can't take it With you.”

The Chautauquan Daily

2010

1874

— a h istory in photosweek five | “p icture th is: photography”

The Chautauquan Daily

A welcome personalityRobert Finn reviews Grant Cooper and CSO’s Tuesday performancePage A7

OFN Run’s oldest femaleFlorence Kost delights in being the only one in her age groupPage B3

Before-and-after view of dance evolutionCarolyn Jack reviews Wednesday’s ‘Evening of Pas de Deux’Page B2

Volume CXXXIV, Issue 30Chautauqua, New York 50¢

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WWW.ChQdAILy.COMTheDailyonlineisallChautauqua,allthetime—viewselectstoriesfromtheprintedition,plusbig,beautifulphotosandplentyofexclusivemultimediacontent.

The Official Newspaper of Chautauqua Institution | Friday, July 30, 2010

Simple truths unite contrasting operasby ALisonMATAs | STaFF wrITer

PhOTOS by RACHeLK iLRoy

these operas, the stories are about everyday people. Consequently, the production is fairly violent and ex-tremely passionate.

“This is real visceral opera. This is blood and guts singing,” said Jay Lesenger, artistic/general di-rector for the company. “I think it’s just darn good entertainment.“

In Rustic Chivalry, Turiddù, played by Hugh Smith, has returned from the army and discovered his for-mer lover, Lola, played by Chautauqua Opera Com-pany Studio Artist Jennifer Feinstein, has married Chioldi’s character, Alfio. To console himself, Turiddù has an affair with Santuzza, sung by Leann Sandel-Pantaleo, and she is impregnated. When the show be-gins, Turiddù is pining for Lola, and the rest of the op-era revolves around the repercussions of his inability to be faithful to Santuzza.

“He was a good guy, but he’s an example of when his world fell apart, he went down the wrong path. He used Santuzza,” Smith said. “I get frustrated with this character, too, as a male, like, why doesn’t he just take responsibility with her? … He’s really a coward.”

onight, Michael Chioldi gets to enjoy a ca-thartic dichotomy as he sings two contrasting roles in Chautauqua Opera Company’s final main-stage production of the season. “It’s like therapy for me,” he said. “I get to get a lot out of my system by playing these characters.”

The show is the double bill of Rustic Chivalry (Ca-valleria rusticana) with music by Pietro Mascagni and The Clowns (I Pagliacci) with music by Ruggero Le-oncavallo. It plays at 7:30 p.m. tonight and Aug. 2 in Norton Hall.

In Rustic Chivalry, Chioldi plays a lovable man, Al-fio, but, in The Clowns, he plays Tonio, a hunchback. “Alfio is a good guy. He’s a hard worker, he’s built this business on his own, he’s the most successful per-son in town, and everyone loves him,” Chioldi said. “Tonio is not a nice guy. He probably was beat up a lot when he was young, he was made fun of because of his deformities, he’s not particularly attractive. … It’s not one of the nicer men I’ve played.”

Chioldi’s presence in each show, however, isn’t the only link between the two operas. The primary con-nection point is the verismo, or truthful, quality of both. While older operas were about aristocracy, in

T

See OPeRA, Page A4

by Beverly HazenStaff writer

Think back to the music and young love during the late ’50s and early ’60s, and the name Dion should ring a bell of recognition. The music legend comes to Chautauqua at 8:15 p.m. tonight at the Am-phitheater for an evening of rock ‘n’ roll and reminiscing.

It was in the Bronx of New York where Dion DiMucci was born in 1939, and where his musical skill and style began — on the street corners and in the bars of his neighborhood.

“At the age of 12, my un-cle purchased a secondhand guitar as a gift for me,” Dion

wrote on his website. “I was soon caught up in the music of Hank Williams and some rhythm and blues, which was odd for a city boy in the 1950s.”

The driving, lonesome sound of Williams appealed to Dion, and he collected 70 of Hank’s singles, which he could sing by heart. Dion felt a connection to music and it provided an escape from the call of the streets and gangs, as well as family limits. R&B, blues, doo-wop and rock ’n’ roll all influenced his ap-proach to music.

Around the age of 15, Dion considered himself a rebel.

The Wandererdion brings rock ’n’ roll to amp tonight

by Laura McCrystalStaff writer

This entire week at Chau-tauqua Institution has been devoted to the craft of cap-turing a single instant — a photograph is a flash of time.

Whether they are “streak-ers, strollers or scholars” de-termines what Chautauquans will get out of this week on photography, Anthony Ban-non said. But in contrast to the length of an entire week, today he will discuss the power of a photograph in a single instant.

Bannon, the Ron and Donna Fielding Director of George Eastman House, helped plan and invite lec-turers for Week Five. He will conclude the week with his 2 p.m. Interfaith Lecture, “Contemplative Photography and Thomas Merton,” today in the Hall of Philosophy.

In planning this week at Chautauqua Institution,

See dION, Page A4

Bannon concludes photography week with link to contemplation

Bannon said he applied the same ideas that he does for exhibits at George East-man House: People par-ticipate on different levels, and he cat-egorizes people as streakers, strollers and scholars.

Streakers might have stopped by lectures this week, absorbing a sentence or two from which they can learn, he said. Strollers are more engaged but are casual listen-ers, whereas scholars are fully engaged in the subjects. The idea of this categorization is that each person brings a dif-ferent experience and back-ground, and it is important to provide something of interest for each individual.

Bannon

See BANNON, Page A4

by Sara TothStaff writer

What do you get when you cross poetry with pho-tography?

The Chautauqua audience will find out when former United States Poet Laureate Billy Collins speaks with An-thony Bannon, Ron and Don-na Fielding Director of George Eastman House, at 10:45 a.m. in the Amphitheater.

The format of the morn-ing lecture this morning — with Bannon engaging in conversation with Collins — is similar to the format of the weeks hosted by writer Roger Rosenblatt earlier this summer and two years ago. Collins was Rosenblatt’s first guest in 2008, and is again talking about his work on the Amp stage. It’s just in a dif-ferent context this time.

“We’ll be playing ping-pong with the idea of image

— written image and visual image,” Collins said. “You can say that poetry and pho-tography, the pen and the camera, really have nothing to do with each other, but there are connections here.”

Theoretically, Collins said, poetry and photography both fit into the idea of time. Both change our sense of the tem-poral, and both fit into our ideas of noise, sound and si-lence. There’s actually a genre of poetry that consists of po-ems about other works of art: ekphrastic poetry. While Col-lins said an ekphrastic poem is usually about a painting, he felt the term applied to photographs, too.

“I’m not sure if this term exists outside my own con-juring of it, but my word of the day is photo-ekphras-tic — poems that are spe-cific meditations on photo-graphs,” Collins said.

A wider connection be-

Collins

Members of the Chautauqua Opera Company rehearse for tonight’s double bill of Cavalleria rusticana (Rustic Chivalry) andI Pagliacci (The Clowns) at 7:30 p.m. in Norton hall. The production closes Monday evening.

tween poetry and photogra-phy, Collins said, is that they are both observational arts — there is even a such thing as an observational poem: the poet looks at something, and describes it.

“As the photographer is looking through lens in his observation, the poet is often

stringing images togeth-er,” Collins said. “Maybe the observation provokes a memory or a meditation, or maybe an antagonism. I think poets are visual creatures, not exclusively as photographers are, but there’s a big visual compo-nent in the poetry.”

Collins was U.S. poet laureate from 2001-2003 and has won numerous awards, including fellow-ships from the National Endowment for the Arts, the New York Foundation for the Arts and the John Si-mon Guggenheim Memo-rial Foundation. Collins is currently a distinguished professor at Lehman Col-lege of the City University of New York and a senior distinguished fellow of the Winter Park Institute at Rollins College in Florida.

Collins finds poetry in photography

See COLLINs, Page A4

Double bill, double thrill

Weekend Edition, July 10 & 11, 2010 The Chautauquan Daily Page B1

Earlier this summer, Chautauquan Dan Hermann contacted The Chautauquan Daily after he had discovered two poems written by his grandmother, Ethelwyn Dithridge Hotaling, in the early 1900s. Hermann’s great-grandfather, George W. Dithridge, first came to Chautauqua as a reporter for the Pittsburgh Press around 1882.

“He brought his family the next year, and we’ve been connected ever since,” Hermann told the Daily.

As a way to present the poems on the page, each member of the Daily photography staff was challenged to submit photographs of Chautauqua that, to them, best complement the poems.

How strange to me who know and love her soThat words fall dead and purposeless, to countThe careless many that have passed her byUnseeing, or at best have only markedThe beauty of that smiling face she turnsTo welcome all the world. I was a childWhen first I came to know her, and my loveGrew with my growth as I could understandMore and more clearly those ideals she holdsBefore her children. That instinctive loveA child gives to its mother, first I gave.She was so very fair! The silent groves,God’s temples truly, and the murmuring lake,These were my playmates, and a wide sweet peacePervaded everything, so unawareEven my childish nature gained in strengthAnd worshiped where it could not understand.

It was the summer I was eight years old -And to myself I scarcely seemed all child -When first I gained my larger heritage.At early morning as I stood aloneSaying farewell to the calm nature worldThat had been mine a golden summer long.A soft September silence held the hillsDreaming of summer, and as still I gazed,Suddenly from my wistful thoughts was born

A hope and a desire, all imperfect yetAnd unexpressed, only I dimly longedTo be more good, more worthy to be hers. How often since have I gone back to herForgetting all that I had tried to doAnd failed in trying, only gaining strengthTo try again! How often have I creptPast the white columns of the silent HallThat is her soul, and laid a swift caressWith reverant hands on each familiar thing,Praying with silent lips! But only GodCan know how often those hidden seedsPlanted in silence, blossomed silentlyInto self sacrifice. Yes, she is fair; The columns of the Hall gleam through the trees;Music is everywhere, nor hushed from dawnThat wakes the birds, until the vesper chimesPour peace and benediction over all.Yet to her children who have learned her speechThere is a beauty richer far than this,Most beautiful because most unexpressedExcept in lives inspired by its touch. — Ethelwyn Dithridge Hotaling

Beata (c. 1918)

Photo by Greg Funka

Photo by Rachel Kilroy

Far in a leaf loved, summer-circled place That nature built for worshipers apart,Where little lights the timid shadows chase And sudden bird-calls through the silence start,My sanctuary is; life’s weary mart Grows dim and distant dreaming on thy face,Far in a leaf-loved, summer-circled place, That nature built for worshipers apart.

My Sanctuary (c. 1908)Thou dwellest there in gentleness and grace, Who through all change in spirit changeless art;And I, turned neophite a little space, Yield reverantly the homage of my heart,Far in a leaf-loved, summer-circled place That nature built for worshipers apart.

— Ethelwyn Dithridge Hotaling

Photo by Tim Harris

Photo by Brittany Ankrom

Photo by Emily Fox

For the complete collection of photos, please visitchqdaily.com this weekend for a special audio slideshow.

The Official Newspaper of Chautauqua Institution | Weekend Edition, August 14 & 15, 2010

The Chautauquan Daily

‘Greening’ ChautauquaPorch Discussion focuses on energy efficiencyPAgE A12

Behind the musicChoir members find family, inspirationPAgE B1

Battlefields help us remember war’s atrocitiesKen Burns delivers a special evening lecturePAgE B11

Volume CXXXIV, Issue 43Chautauqua, New York $1.00

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by Lori HumphreysStaff writer

John Heilemann, co-author of the political best-seller Game Change: Obama and the Clintons, McCain and Palin, and the Race of a Lifetime and New York magazine columnist, de-scribes President Obama as a “curiously indistinct figure.” Saturday afternoon at the 3 p.m. Chautauqua Women’s Club Contemporary Issues Forum at the Hall of Philos-ophy, he will discuss “The Changeling Barack Obama — Past, Present and Future.”

Heilemann enjoys a for-tunate vantage point from which to analyze the presi-dent, whom he has known since they were students at Harvard University. He cov-ered Obama as a reporter and had access to him and his staff during the reporting for Game Change, which cov-ers the 2008 campaign.

Elections are one thing; governing is another. How-ever voters defined candidate Obama’s call for “change,” they seem, as Heilemann said, “confounded by the reality.

“Some believe they were electing a bipartisan moder-ate figure, while the more progressive believe he is too much of a moderate centrist. Even among his supporters, there is confusion and uncer-tainty about what he stands for,” Heilemann said.

Heilemann said that he is neither a supporter nor oppo-nent of any political leader and that he works scrupulously to be nonpartisan, though he ac-knowledges his views are fur-ther on the liberal side.

by Joan Lipscomb SolomonStaff writer

Ever hear a sermon about “Detroit”? Week Eight’s Sunday morning Chaplain Serene Jones is wagering that the answer is “No.” Her unique message is based on Hebrew prophet Ezekiel’s vision of the valley of dry bones and will be delivered at 10:45 a.m. Sunday at the Amphitheater.

Jones is the 16th presi-dent of Union Theologi-cal Seminary and the first woman to hold that position in the seminary’s 172-year history. Also the Roosevelt Professor of Systematic Theology, she is a popular and prolific scholar in the areas of theology, religion and gender studies.

“I’ve heard what a re-markable place Chautau-qua is — a real ‘Mecca’ for the arts and religion,” Jones said. “I’m so looking forward to my visit to this place I’ve heard so much about for years.”

Completing Week Eight is Chaplain C. Welton Gaddy. He will begin his chaplain-cy by sharing his personal faith journey at the Vesper Service at 5 p.m. Sunday in the Hall of Philosophy. He will continue his series each morning, Monday through Friday, at 9:15 a.m. in the Amphitheater.

Gaddy leads Interfaith Alliance, a national, non-partisan grassroots and ed-ucational organization. He serves as Pastor for Preach-ing and Worship at North-minster (Baptist) Church in Monroe, La.

The chaplain has writ-ten more than 20 books, in-cluding First Freedom First: A Citizen’s Guide to Protecting Religious Liberty and the Sepa-ration of Church and State.

Jones

heilemann

Heilemann examines Obama presidency

See heILeMANN, Page A4

Morning worshippers treated to two chaplains in Week Eight

DouBle, DouBle, ToIl AND TRouBle: ‘mACBeTh’ RuNs ThRICe ThIs weeKeND

by Kathleen ChaykowskiStaff writer

Dance and music meld into one in collaborations such as Saturday’s Chau-tauqua Symphony Orchestra concert with the North Carolina Dance Theatre in residence.

“Live music and live dancing creates an incredible energy,” said the concert’s guest conductor, Grant Cooper.

Hearing live music with ballet is dif-ferent than hearing music played from

a recording, which Cooper described as music starting from “someone pushing a button,” emerging out of nothing. When both arts are live, they breathe together.

Saturday’s concert, which takes place at 8:15 p.m. in the Amphitheater, features Tomaso Giovanni Albinoni’s “Adagio,” Edward Lalo’s “Danses Brilliantes” from Namouna, Pyotr Tchaikovsky’s “Sleeping Beauty: Grand Pas de Deux,” Act III, and Cooper’s own “Appalachian Dance Suite.”

Cooper

by Mallory Long | Staff writer

The North Carolina Dance Theatre in Residence with Chautauqua Dance will hold its last performance of the season Saturday with the Chautau-

qua Symphony Orchestra. The performance will begin at 8:15 p.m.

in the Amphitheater, and will generally be a more classical evening, said North Carolina Dance Theatre and Chautauqua Dance Artistic Director Jean-Pierre Bonnefoux.

“We just did the Dance Innovations, which is just contemporary, so if people really want to see classical (dance), hopefully they will still be on the grounds and they can see (this per-formance),” he said. “Mark (Diamond) brought his style to the piece, but the evening is really classical.”

The company will perform a combination of new pieces and dances that have been per-formed earlier this season. Pieces being per-formed again are “Appalachian Suite,” cho-

reographed by Mark Diamond from North Carolina Dance Theatre’s July 13 performance with the CSO, and “Blue Bird Pas de Deux” per-formed at its July 28 Evening of Pas de Deux.

“Mark’s piece, the ‘Appalachian Suite’ … was very successful, so I’m sure (the audience) is going to enjoy it again,” Bonnefoux said. “That’s how we will open the program.”

“Appalachian Dance Suite” integrates styles of reels, contra dances, high step dances, and other folk and ethnic styles of dance into bal-let. The piece came as a direct result of col-laboration between Diamond and CSO Guest Conductor Grant Cooper, after Diamond saw a video Cooper put together of his own music with a Charlie Chaplin film.

“It was really wonderful the way he did the music to the film. It was great,” Diamond said, adding that he decided to collaborate with Grant after listening to a CD Grant had given Diamond of the “Appalachian Dance Suite.”

NCDT completes season with CSO performance

See NCdt, Page A4

Telling stories through movement and meterCSO brings lush sound to heartwarming dance

See CSO, Page A4

Gaddy

F n

Photos by Emily Fox

Lady Macbeth (CtC conservatory member Megan Ketch) attempts to calm Macbeth (Brett dalton), while the witches (rachel Mewbron, Irene Sofia Lucio and Julia Ogilvie) brew their martini potion in Chautauqua theater Company’s production of ‘Macbeth,’ showing at 2:15 p.m. Saturday and 2:15 p.m. and 8 p.m. Sunday at Bratton theater.

Submitted photo by Jeff Cravotta

North Carolina dance theatre member Anna Gerberich

Seen here closing out the 2009 Season, President Tom Becker will officially open the 2010 Season with the traditional Three Taps of the Gavel before Morning Worship at 10:45 a.m. Sunday.

TOP PHOTO: Henry Shuler, 7, of Charlottesville, Va., searches for crayfish in the creek under Thunder Bridge June 16.

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A whole new season to discover.See INSIde fOr PreVIeW STOrIeS COVerINg eaCH Of CHauTauqua’S fOur PIllarS.

The official Newspaper of Chautauqua institution | weekend Edition, June 26 & 27, 2010 Volume CXXXIV, Issue 1Chautauqua, New York $1.00

The Chautauquan Daily

“Jersey Boys” is about overcoming the odds, remembering where you come from and maintaining the importance of loy-alty and family. Yet it transcends the story of Frankie Valli & the

by Joan Lipscomb SolomonStaff writer

What does it mean to be a person of faith in the 21st century? Week One’s chap-lain, the Rev. Alan Jones, tackles this quandary head-on. In fact, his theme for the week is “The Never-ending Conversation: Being a Person of Faith in the 21st Century.”

The chaplain’s sermon at 10:45 a.m. Sunday in the Amphitheater introduces the series with “The Burn-ing Bush: Saying the Unsay-able.” In Exodus 3:1-14, God answers Moses’ request for identification by saying, “I am that I am.”

At the 5 p.m. Vesper Ser-vice on Sunday at the Hall of Philosophy, Jones will share his personal faith jour-ney. The series returns each morning at 9:15 Monday through Friday in the Amp.

Monday’s message ex-plores “Life in the Spirit: Education for Freedom.” St. Paul implored his followers,

giving old songs a ‘new life’

by laura McCrystal | Staff writer

When the original cast members of the Broadway musical “Jersey Boys” sang together for the first time, they were strangers and the show did not even have a script, but they realized their voices blended together well.

Now, more than four years later, Christian Hoff, J. Robert Spencer, Michael Longoria and Dan-iel Reichard are touring as The Boys in Concert, living out the same story they told in the musical, and bringing their story to Chautauqua at 8:15 p.m. Saturday on the Amphitheater stage.

Original cast of Broadway’s ‘Jersey Boys’ hits on popular music from the ‘60s

of Frankie Valli & the Four Seasons featured in “Jersey Boys,” The Boys in Concert also surprise fans with oth-er popular music from the 1960s. They bring their own energy and excitement to interpre-

See BOyS, Page A4

Jones

Chaplain addresses 21st-century faithJones to incorporate personal faith journey

in Philippians 2:1-11, to “Let this mind be in you which was also in Christ Jesus.”

At 7 p.m. Monday at the Turner Community Center, Jones will dedicate the new labyrinth. He draws on his experiences with that medi-tation form at San Francisco’s Grace Cathedral, where he is dean emeritus, and at France’s Chartres Cathedral, where he is an honorary canon. This event is open to the public, and those attending will need to bring gate passes.

See CHaPlaIN, Page A4

One of Chautauqua Institution’s most pop-ular lecturers, Roger Rosenblatt, returns for another appearance as host and modera-tor for the Week One morning lecture series, “Roger Rosenblatt and More Friends.” The weeklong conversa-tion will demonstrate the literary giant’s mastery of getting to the heart of the story.

Jim Lehrer, Alice McDermott, Alan Alda, Anne Fadiman and Marsha Norman

will join Rosenblatt to explore the humor, pathos and ideals of contemporary literary arts at 10:45 a.m. on the Amphitheater stage.

Rosenblatt will also serve as Chautauqua Literary & Scientific Circle author for the CLSC Roundtable/Lecture on Thursday in the Hall of Philos-ophy to present his book Making Toast: A Family Story.

W E E K

Roger Rosenblatt and More Friends

Week One reprises hugely popular theme

See WeeK ONe, Page A4

Photo courtesy of Christian Hoff

The Boys in Concert will sing the “Hits of the ’60s” in the amphitheater Saturday night. left to right: Tony nominee J. robert Spencer, Michael longoria, daniel reichard and Tony winner Christian Hoff.

“It’s cool to go out there and represent a time we identify with even more than our own generation.”

— Christian Hoffmember of The Boys in Concert

Four Seasons, on whom the musi-cal is based, said Hoff, who played Tommy DeVito in the original pro-duction.

“It’s also bigger than us,” Hoff said. “We know that loyalty and family is everything. And we haven’t forgotten where we came from — ‘Jersey Boys’ — but we are taking that loyalty and looking to-ward the future.”

“Jersey Boys” won several Tony Awards and the original soundtrack of the show became a Grammy Award-winning plati-num album, but the four perform-ers eventually left the show and

took their careers in different di-rections. They reunited at the be-ginning of 2010 to open their tour as The Boys in Concert.

Within a month of beginning their tour, they had weekly shows booked across the country through February 2011. The group is in transition to a new name, The 4 Hitmen, and hopes for a lifelong career together, Hoff said.

“It’s just been amazing to get back together,” he said. “We missed singing together. And our friend-ship.”

Although they attract audi-ences who want to hear the songs

tations of songs from The Beach Boys, The Beatles, The Monkees, Motown and more.

Most recently, they created a nine-minute medley of Motown music, which brought fans to their feet in Atlanta last weekend. Spen-cer, who played Nick Massi in the Broadway production, said it is his favorite number to perform.

With a variety of music from the 1960s, The Boys in Concert have created a show that appeals to au-diences of all generations.

New life for ‘lady of distinction’Fowler-Kellogg Art Center gives VACI a crown-jewel gallery spacePage B1

PHOtO By TIM HarrIS

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