Always known for their cutting edge ideas, the music and theater departments have collaborated to devise a whole new style of performance art: curtained performances. While most staged productions normally remove a curtain before a show begins, this new genre is devised to keep the performers hidden from the audiences’ eyes throughout the presentation.
“I was watching this terrible production and thinking about how awful the reviews would be,” said Second Stage Director Alden Ferro ’04. “And then it hit me. What if the audience couldn’t see how nauseating it was? Brilliant.”
The new technique made its debut this past weekend with the performance of “The Countess.” This dual production combining the talent from the music and theater departments showcased the curtaining with the Wesleyan orchestra enshrouded in black.
“I liked the set up,” said Josh Kaye ’04. “Since I basically sit at center stage, I’m always worried that I accidentally put on my Power Rangers socks and that everyone is starring at my feet. With the curtain, I can just focus on the Mozart.”
While the orchestra was hidden for most of the concert, they were given some stage time with the overture and with some of the final numbers. Audience members thought that this was just what the doctor ordered.
“Personally, I think it was great because when you go to an orchestra concert, you go to hear the music,” said Rene Wachner-Solomon ’07. “And lets face it, the theater department is where it’s at in terms of hot girls.”
For Orchestra Director Angel Gil-Ordonez, the reduced face time did not create much of a stir.
“When I am conducting, I am completely focused,” he said. “I can be in front of thousands of people or no one and I like to bring the same intensity.”
Because the performance had some length to it, the aide of a screen had an additional benefit.
“For most of the [Marriage of] Figaro, we just had a compact disc going on the speakers,” said clarinetist Rebecca Gordon ’06. “It was nice because with all our rehearsals, we could use the extra snooze time.”
While this aspect of the curtain style may appear immoral to some, there has been a general apathy to the idea of plagiarism.
“Hey, if Brittany can do it, so can we,” Gordon said.
With its successful showing in the operatic production, plans are in the works for a similar undertaking in a student production of “The Tower of Babel.”
“I think it’s exciting,” said actress Natalia Ortiz ’05. “In class, we are learning about Stanislowski technique and breaking the fourth wall. This gives us the opportunity to literally do it, yo.”
While the CFA Theater is well equipped with curtain materials, other locations have been lacking in this feature. Monies are being collected to install blinds in the ’92 Theater, Memorial Chapel and Crowell Concert Hall.
“I’m proud that it was in the Center for the Arts that this idea was first hatched,” said CFA Director Pam Tatge. “Now its up to us to see the revolution throw.”
While still a pipe dream, the idea that this phenomenon may move beyond the confines of the University is not completely out of reach.
“I have a friend of a friend of a friend who is a stage hand on Broadway and he said he absolutely loved in with ‘Countess,’” Tatge said. “With the slow season thus far, who knows what crazy ideas those producers will think up.”
With endless possibilities for the new technique, its originator can only marvel at the public appreciation.
“There’s more to me than just my dashing good looks,” Ferro said.
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