Originally planned as one part of a three-event effort, the review of this incredible performance, even though a month out, deserves stand-alone status.
On February 7, the internationally-acclaimed Harrington String Quartet demonstrated why it has garnered that recognition, playing a concert of Gershwin, Verdi and Dvorak entitled Dream.
Lullaby represents Gershwin’s first foray in the classical field. Composed in 1919, the piece wasn’t published until years after his death,
The work has a beautiful, slow, waltz-like flow, and at times each instrument sings in a distinctive, yet harmonious blend.
At 4:15 a cello solo announces a different theme which then assumes the same easy rhythm, producing an almost hypnotic effect, probably inspiring the program title, Dream. Those associating Gershwin only with Rhapsody in Blue need to appreciate the other side of this American genius.
Verdi’s String Quartet in E minor was the composer’s only venture into chamber music, and derived from the composer’s fear of boredom!
In Naples in 1873, with the production of Aida going full throttle, the leading diva had to take three week’s sick leave. Guiseppe had nothing better to do so he decided he might as well write a string quartet. So, Voila!
Even so the composer, among the few who heard and applauded the piece, disparaged the work, which wasn’t published for another three years.
The first three movements, not surprisingly, echo themes of Aida.
The fourth movement, Scherzo-Fuga, doesn’t. This section has punch and energy, and, though there is a thematic change, it is only temporary, and the charge carries onward to the finale. The title may offer some clue, since Scherzo in Italian means “joke,” and, in the context of a program entitled Dream, perhaps this becomes the bad dream.
But, Verdi, almost unique among composers, doesn’t allow the second violin to play second fiddle, but gave the instrument almost equal standing. Evgeny Zvonnikov, HSQ’s spectacular second, certainly met this challenge and seized the opportunity to let his strings sing.
So, next time you’re bored, and facing forced down time, compose a string quartet. But, show special love to the second violin!
Antonin Dvorak composed his String Quartet in F major, Op. 96, “American” in only sixteen days in Spillville, Iowa, after finishing his New World Symphony. So, under the program umbrella of Dream, this work becomes a nod to the American dream.
Though the composer openly admired American folk music, professing respect for Black, Native American or white settlers, actual connections in the work only tease the listener.
In fact, the only truly American tune is in the third movement and is that of a local song bird, which the composer maintains is one type and ornithologists say is another. In this small instance, perhaps science rises over art.
This work has become one of the most popular in the quartet repertoire, not only in this country, but around the word. And, to hear Dvorak’s work played in Northern Recital Hall, the world’s most advanced, acoustically-adjustable sound space, was transcendent!
And when in the heart of the Comancheria and Cowboy Country locals can hear world-class chamber music played by world-class musicians is an indication of something special.
That “something” is that this zone of the Texas High Plains is just flat-out (get it?)artsy!
That’s why we always say, no pun intended, “Keep Amarillo Artsy! Keep Austin Weird! Keep Lubbock in the Rear View Mirror!!!!”
Two recent recitals at the Amarillo CollegeConcert Hall Theatre illustrate why the fine arts thrive here in the middle of nowhere.
On Jan. 28, Dr. Nathan Frmyl, AC’s Director of Choral Music, showcased his virtuosity by performing an all-Beethoven piano recital, as part of the 2019-2020 AC Piano Series.
And, in case the boast hasn’t yet registered, AC is the only venue in Texas hosting all of Beethoven’s piano sonatas in celebration of the maestro’s 250th birthday.
On Feb. 9 the music faculty held a late winter recital, emphatically demonstrating why AC is rated as one of the few fully-accredited community college music programsin the state.
Nate’s program was unusual in that it consisted of three workseither thought unfinished or published against Beethoven’s wishes. The latter situation explains the puzzling opus numbers in comparison to the years of composition.
The first two works were Sonatas # 19 and #20. One theory is that these leitsonatas were composed as gifts for friends or assigned to students, which would explain the composer’s reluctance to publish.
#20 has a very Viennese quality, without any dark undercurrent that color much of his oeuvre. #19 evokes a different character as the Andante is solemn but the Rondo Allegro, by contrast, is very perky and arpeggiated.
Nate’s masterful exposition on the Shigeru Kawai presented a distinct separation between the pieces, which would continue to the last two works on the program.
The Sonata in E-minor, Op 90, numerically tagged #27, embodies more technical experimentation as the work dates from late in the composer’s middle period.And, in contrast to the first two works, here a strong emotional content emerges, a restless brooding that bespeaks loneliness and longing.
But, in the second movement, perhaps Ludwig has found love as we hear a discernible happiness that foreshadows Schubert.
Finally, the numerous attendees received a humorous treat in the Rondo a Capriccio Op 129, entitled Rage Over A Lost Penny. The title is attributed to Beethoven’s hagiographer and biographer Anton Schindler, whom music historians have accused of a number of apocryphal emendations.
Beethoven’s description, “in the Gypsy style,” stems from his own neologism, which modern audiences more readily compare to a Looney Tunes sketch involving Roadrunner’s taunting of Wile E. Coyote. Bottom line: this piece was just fun!
The general opinion of pianists holds that Sonata #20 is the easiest to play. However valid that assertion, Nate Fryml made it purely academic as he performed all of the pieces with consummate artistic ease.
But, there’s more as Dr. Fryml and his colleagues demonstrated on Feb 9 why AC has such an outstanding music program, which helps account for Artsy Amarillo.
In the program’s first number Nate accompanied tenor Eric Barryin Nate’s rendition of Shenendoah: Away Home. Originally composed two years ago, this adaptation maintains the stirring spirit of the iconic Shenendoah while enhancing the piece musically. At one point Barry hit and held a high A which rolled up to a B-flat. That certainly got everyone’s attention!
Then, Dr. Diego Caetano, professor of piano, continued educating locals about his Brazilian countryman Heitor Villa Lobos, playing his Floral Suite. These three sections move from summer lassitude to the ominous sounds of the rain forest.
Since just the piano corpus of Villa Lobos totals over 600 works, Diego still has plenty to share with us. Guess that’s job security for the next fifty years!
There followed four ensembles, two of the “classical” designation, one Jazz and the last a hybrid mash-up.
Cassandra Hussey, harp, Kay Fristoe, flute and Puntita Panyadee, piano, played Mozart’s Concerto for Piano, Flute and Harp, a nice touch on any stage in the Comancheria.
Kay Moore, violin, Tiffany McDaniel, violin, Camille Day Nies,viola, Russell Steadman, cello and Diego Caetano, piano, combined their talents to play the Allegro non troppo from Brahms . This involved movment has a strongopening theme which reappears throughout and emphatically finishes the section.
Question: when do we get to hear the entire work?
Then, on a different tack, Dr. Jim Laughlin led a special group of former students in a jazz work by Chick Correa entitled Spain. A few years ago, this ensemble consisting of Austin Brazille on guitar, Rito Monge on bass and Paul Galindo playing drums, participated in a national contest only to be beaten out by a little school named Julliard!
Because of AC’s success at this national level, there is now a separate category for community colleges. What does that illuminate about the caliber and quality of this music program?
Jessie Sieff, a nationally-known percussionist, arranged a work for solo snare with the enticing moniker Chopstakovich. An AC quintet of Katy Moore and Tiffany McDaniel on violin, Camille Day Nies on viola, Russell Steadman on cello and Brandon Borup on snare drums took that to a new level in Sieff’s arrangement of the second movement of String Quartet No. 8 by Dimitri Shostakovich, dominated by Borup’s pyrotechnic paradiddles.
The traps imparted a wonderfully light touch to the Russian master, leaving audience members with an unexpected reaction to a Shostokovich work: a smile!
So, in understanding the prevalence and pervasiveness of the fine arts in this unlikely locale, prime consideration must go to the extraordinary music department of our community college.
When it affords us the opportunity to hear all of Beethoven’s piano sonatas, attracts professional artists from all over the world, then offers to showcase the talents of its faculty, it makes it easy to say, “Keep Amarillo Artsy! Keep Austin Weird! Keep Lubbock in the Rear View Mirror!!!”
January 25 provided the opportunity to enjoy polarized, not polarizing, plays in the Panhandle: the opera Our Town at WTAMU; Baskerville – A Sherlock Holmes Mystery at Amarillo Little Theatre’s Main Stage.
The only commonality is that each is an iteration of a classic. Otherwise, the contrast between the two, intense dramatic opera and loosely-defined mystery comedy was so starkas to produce cultural whiplash.
The opera Our Town, conveniently sequential to the fall WTAMU theatrical production, is a Ned Rorem distillation of Wilder’s play.
The opera, as well as the play, portrays Americana as a cycle of life, a New England Everyman where the ordinary is extolled as heroic as all simply try to cope with this epic of the everyday until all finish the course.
The music wasn’t for amateurs. Tenor Justin Williamson, as the Stage Manager, had five arias! But, due to the superlative direction of Sarah Beckham-Turner, no one voice or role otherwise dominated, as this is the saga of how individual identityis ultimately subsumed into the greater whole.
Three Fundamentalist hymns served both as adornment and exposition, all parts harmoniously blending, although the church choral master, the town’s token but always inebriated artist, didn’t think so at choir practice, exhorting his vocalists to “Leave Shouting to the Methodists!”
The acting was restrained, therefore relatable. The genius of the both the play and the opera is that audience members find themselves in the characters.
Minimalism also defined the set design, much like Isamu Noguchi’s award-winning set for the ballet Appalachian Spring.
Disparate voices, each having their own song, somehow coalesce in communal harmony as ultimately Our Town, over peaks and through valleys, pulses inexorably forward. Life goes on.
The opera was profound, an appropriate lyrical companion to the stage play. Congrats to SBT for a deft touch in directing, and to guest conductor Keith Chambers for persuading a young group artists and musicians to blend rather than showcase their talent.
This area looks forward to further productions from the director, and from very young James Reilly Turner, who now will always have an operatic credit on his resume.
In the words of Monty Python, “Now for sometime completely different!” Ken Ludwig’s Baskerville – A Sherlock Holmes Mystery is a mash-up between Sherlock Holmes and the Three Stooges, who seem to have Dissociative Identity Disorder as they morph through some forty-two characters between them.
The plot’s theme parallels Dracula: Risen from the Grave. Lord Baskerville’s death, his face a rictus of terror surrounded by giant paw prints inspires the notion of the hound’s return to the Moors and thus a call to Holmes.
The plot thickens upon the arrival of the last Baskerville heir, a “Howdy Ya’ll” Texan played by Brooks Boyett. Well, we could understand him, especially against the spectrum of English dialects and accents from Cockney to Oxfordian.
Comedic chemistry proved most reactive while timing was down to the nano-second. Nothing elementary about this play as it required seasoned, talented actors, astute direction, and a skillful stage crew to transform the cast during frenetic scene changes. Director Callie Hisek in this play definitely exhibited a flair for the funny, as she did for the provocative in Ada and the Engine.
Congratulations to ALT for a run of sold-out performances. As community theatres across the country exist on life supports, ALT, because of shows like this, is vibrant and thriving.
The fact that we, in Bomb City, can in one day see such a diversity of quality theatre and opera as Our Town and Baskerville, makes it easy to say, and without drama, “Keep Amarillo Artsy! Keep Austin Weird! Keep Lubbock in the Rear View Mirror!!!”
Attending the CMA-affiliated performance of the Durations Trio at the Fibonacci Space, January 23, reminded me of the premier of Stravinsky’s Rite of Spring in Paris in 1913.
The Parisians, expecting classical ballet and typical nineteenth-century music reacted so violently to the atonal dissonance, the jarring arythmia and the spasticity of the choreography of Vaslav Nijinsky that police had to quell a riot. Too much of the too new.
In contrast , an appreciative Amarilloaudience applauded a crystal note concert by the Durations Trio, whose members played the violin, piano and tuba, challenging traditional concepts of musical form and harmony with the shock of the new.
In fact, violinist and Texas Tech faculty member Annie Chalex Boyle said there were two reasons that the Lubbock-based group chose to stage what amounted to a premier performance in Amarillo: an intimate performance space; an open and appreciative audience.
Bear that thought in mind.
Tubist Kevin Wass related how Durations grew from an ad hoc experiment playing the work Durations by American Morton Feldman, a major 20th century composer whose works have traction only among specialists.
That’s because Feldman created a new paradigm, to emphasize the note, not notes, tonal shadings, not harmony, sustainable sound and the unexpected in rhythm.
In fact, according to one listener, the greatest pleasure in this recital came from the impact of the unexpected, which took her into a zone suffused in a soundscape of atonal Zen.
But, returning to the genesis narrative, the first challenge for Wass was to find artists willing to take the challenge of Feldman. Wife and professional colleague Susan played the piano, but the search for that specialviolinist resolved on Annie Chalex Boyle, who agreed to play her partfor Durations.
That single performance proved so successful that the group decided to continue playing as the Durations Trio and building of repertoire of hyper-minimalist, modern music.
Their performance in Amarillo included three parts of Feldman’s Durations, done antiphonally and triangulated in a small space where the sounds softly touch but don’t linger. The note, as both process and product, created a sensation at once edgy and elevating.
Fratres by Estonian minimalist Arvo Part makes the third time in the last year that local audiences have heard works by this composer. Sustained dissonance and vigorous bariolaging evoke the cold taiga, sometimes still and sometimes turbulent. Since the Panhandle has seen little snow this winter, Part has created, musically, an arctic white-out.
Two of the works on the program were extreme modifications from the Baroque period: J.P. von Westoff’s Sonata No. 3; J.S. Bach’s from St. Matthew’s Passion. Face it, neither composer created with the tuba in mind, like Amilcare Ponchielli who didn’t envision dancing hippos and crocodiles to his Dance of the Hours in the first Fantasia. Both were decidedly different and definitely out-of-the-box, but they worked!
The last number was by American Pauline Oliveros, a visionary composer like Feldman who took minimalism to a level she called “Deep Listening.”
From a work called Thirteen Changes (1986), which, curiously, has thirteen segments, the audience drew numbersand then tried to guess which title was just played. And the winners: Standing Naked in the Monnlight; A Solitary Worm in an Empty Coffin.
You just had to be there to get the effect of the sustained violin note, bowed without noticeable break, the Fazioli Grand’s strings plucked and a sometimes melodic tuba.
If modern visual art asks the viewer to see reality differently, Durations Trio asked the same of the listener. And, as with the visual arts, so also with music: the avant-garde of one generation becomes the standard of the next.
And to think , we heard Durations Trio first in Amarillo, thanks to the artists and CMA artistic director David Palmer. Honored by their performance, we were more honored that Amarillo was chosen over home-town Lubbock because of a discerning audience.
Which all but makes the case when we say, “Keep Amarillo Artsy! Keep Austin Weird! Keep Lubbock in the Rear View Mirror!!!
The confluence of high culture within the heart of the Comancheriaisn’t acommon perception. But, in Amarillo it is the norm, but on January 11 the ordinary became extraordinary, in Chamber Music Amarillo’s Concerto Extraordinaire at the Amarillo Botanical Gardens.
The title of the concert certainly delivered! Maestro Michael Palmer, former associate conductor of the Atlanta Symphony, directed the Amarillo Virtuosi, a group of local professional musicians, who, along with soloists GuglielmoManfrediand Diego Caetano, treated several hundred avid fine arts aficionados to the truly extraordinary!
The first work on the program was Haydn’s Symphony 104, his last, and termed the London Symphony. Although he composed this symphony along with a dozen others by the Thames, the moniker is attached to this particular piece.
Poppa Haydn, the “Father of the Symphony,” began with a ham-fisted quatrain that sounded like an army of orcs bent on destruction of middle earth.But he then segued into a sequence of flippant themes, doubtless taunting the listeners from the hereafter with “Fooled you! Ha! Ha!” The old man had a wicked sense of humor.
Witness the almost larghetto Andante which the director and his musicians periodically pulsed for contrast, and the downbeat-heavy Minuetto. Poppa was all over the place.
But, in the Finale, a strong triad intro is followed by a maelstrom of competing themes, striated by extensive arpeggiation from the strings and emphatic intonations by the winds and tympani.
So, in the place where once buffalo roamed free by the millions, we heard the sound of 18th-century European courts, played with elegance and grace.
Speaking of which, the Renaissance writer Baldasare Castiglione in one of the first true self-improvement books in history, The Courtier, maintained that the key to changing oneself was the acquisition of new habits which by practice could be done with spezzatura: effortless grace.
The audience was privileged to hear an example of musical spezzatura, in the Horn Concerto #1 by Richard Strauss.
This work is dependent on having a horn virtuoso and, while that may sound like a comment on the obvious, the reality is that true artists of this instrument are indeed a Rara Avis. And “Guli” Manfedi, Professor of Music at WTAMU, fits that role to perfection.
Along with spezzatura, the word “mellifluous” comes to mind in describing Dr. Manfedi’s performance. At times this piece exudes an almost martial pomposity while at others is redolent of Romanticism. The intricate runs were smooth and distinct, with the orchestra and artist in perfect sync.
And how many places other than cowboy country could one hear a Strauss horn concerto on a January Saturday night? Extraordinary!
Finally, as homage to Beethoven’s 250th birthday, Dr. Diego Caetano, Amarillo College Professor of Music, performed the 4th Piano Concerto. Written in 1805/06, it was premiered in 1808 along with the 5th and 6th Symphonies.
The composer’s increasing deafness was becoming public knowledge, but in these works one starts to hear Beethoven taking inspiration from that inner cosmic realm, hearing the “music of the spheres” that would later have such ethereal expression.
This piece opens with a piano solo, joined by the orchestra, which becomes quite assertive. A tetradal sequence is introduced which is employed throughout the Allegroand is recapitulated in the Rondo.
#4 covers the entire emotional spectrum, from angry and ominous to manically joyous. The challenge of the frequent, some would say constant, mood shifts of Beethoven were accommodated by both Diego and Director Michael Palmer with a perfect balance between soloist and accompaniment.
What an extraordinary performance, and what a night to be enjoy the fine arts out on the high plains! Our gratitude to the musicians of Amarillo Virtuosi, Maestro Michael Palmer, Guglielmo Manfredi and Diego Caetano. A huge “Thank You!” to CMA’s artistic director David Palmer who orchestrated the extreme logistics.
With such incredible opportunitiesas Concerto Extraordinaire, and the prospect of more to follow in 2020, we proudly say, “Keep Amarillo Artsy! Keep Austin Weird! Keep Lubbock in the Rear View Mirror!!!”
The fifteenth annual AMOA Open welcomed artists and visitors for one week from Jan. 4 – 12. The exhibition, underwritten by Toot-n-Totem, and open to all Amarillo visual artists of any age and talent level, drew over 125 entries.In this eclectic event, grade schoolers displayed their creativity alongside seasoned professionals.
A small sampling of the works is noted here, with apologies to artist Terry Martin and photographer Sheldon Brashearswhose images did not transfer.
Photographer Ralph Duke definitely drew the attention of most attendees with Sideshow Sally, noted above and a really fetching piece.
Jamie Mansfield’s Amost 3 is a perfect portrayal of sweet innocence, reminding one of the Impressionist paintings of Mary Cassatt.
In Idalou Angel, Stacy Esquibel creates a compelling work, asserting that on the bald Texas plains with their eternal, empty vistas, even monuments to the timeless become marred by time.
Using only pencil and charcoal, the “sketchiest”‘ of media, George Loomis IV, in A Healing Embrace, has masterfully executed a rendering of protective paternal love.
In a fascinating water color reminiscent of Marcel Duchamp’s Nude Descending a Staircase, Melissa Anderson, in The Limited, manages a trompe l’oeil that is complex and arresting.
Ian Watson classifies his art as “color field,” much akin to the work of Mark Rothko. The artist revealed that, for this work, he listened to Pavarotti as he executed the variegations of red, while Beethoven’s 9th helped inspire the other hues. The viewer, to appreciate Watson’s sophisticated technique, must get up close and personal to evaluate the intricate chromatic melds and transformations.
The real star of the show was the Amarillo Museum of Art, which again demonstrated its community-centered focus, shining a light on the wealth of local talent. Amarillo can be grateful to the AMOA, because it makes it easy to say, “Keep Amarillo Artsy! Keep Austin Weird! Keep Lubbock in the Rear View Mirror!!!”
Three provocative, emotionally-charged, highly relevant plays celebrated the waning of the year and of the decade. Sweat was performed at Amarillo Little Theatre’s Adventure Space; Ada and the Engine at West Texas A&M; Nibbler at Amarillo College’s Experimental Theatre.
All three plays shared an overarching theme: fear of change. Nibbler centered on teenage angst as recent high school graduates fear leaving their insulated bubble for the wider world of young adults. Sweat deals with the disruptive and destructive fear wrought by social change which obliterates a way of life. Ada and the Engine features English society’s fear of a woman’s accomplishments.
Sweat won a Pulitzer Prize for playwright Lynn Nottage. The work, despite pulses of levity, is dark and depressing, because it is too real. Good people lose control over their lives because of forces beyond them. If we don’t suffer from that incubus in real life, the prospect haunts our nightmares.
Thanks to the generosity of the adult beverage industry, a fully-functioningbar remained the prop throughout the show. That watering hole became ground zero for labor and life disputes that feature racism, xenophobia, poverty, addiction and crime.
There an entire culture of generational rust-belt, blue-collar workers, wrestle with the consequences of demographics, technological and geopolitical change that dominate their workplace and way of life. Failed by their company, their union, their country, and, ultimately, one another, they lose faith in themselves and in life.
Retrain, retool, modify and adjust to a new world order weren’t seen as options. The resentment and rage left in the wake of this social and economic upheaval would bear fruit thirty years later. The political fields of rust-belt red that elected Donald Trump were sown in the 1980’s.
The actors portrayed their characters in a credible manner, from their believable emotions and attitudes to their northern industrial accents. Wonder if they drank Rolling Rock Beer to get in character?Alan Shankles, the director, pushed the play at the right tempo to an impactful finale.
Sweat garnered the best applause: those seeing this play won’t soon forget it.
Director Ray Newburg called Nibbler, by Ken Urban, the edgiest play ever performed at Amarillo College. The impulse to stage this play , according to Newburg, stemmed from a decision to better prepare students for professional theatre, where a major portion of the income will derive, not from Shakespearean genres, but from edgy social commentary like Nibbler.
So, he and the AC Theatre Department, rolled the dice, and, according to this reviewer, got a seven. One compromise: the original production by the Amoralists in NYC flaunted an unqualified X Rating, whereas the AC production tamed down to an R.
Yet the dialogue retained sufficient saltiness with elided expletives to clue the audience. Asked whether the actors had to be directed up to the requisite verbal intensity, Newburg noted that it was the opposite as young people have a tendency to over-dramatize the spoken word, especially the four-letter forms.
The play centers on a group of friends, recent high school grads, who face an exitfrom their New Jersey Pine Barrens outlier for the wider world of college. Teenage angst with accents.
They mask their fear of the unknown by weed, cigs and sex, either vocalized or actual. Each character feels afraid and vulnerable as they face the future. So far, typical and universal.
Then, the Nibbler appears, making the play part science fiction and part theatre of the absurd. A hickey from this extraterrestrial alien, creatively shown on a jumbo tron, a nice tech touch by Technical Director Monty Downs, imparts both instant orgasm and character morphing into the character’s adult selves.
All except an unbitten Adam, superbly played by Michael Villarreal, who has no plans to leave his comfort zone, leaving him in a time warp of nowhere man.
Then Matt, played by Jason Driver, and Hayley, well-acted in a last-minute casting by Lauren Steele, transform from shallow, self centered high schoolers to self-absorbed Republicans, embracing the cliche’d character traits so detested by non-Republicans. Relatable to Yellow City? Well….maybe a little.
Taylor Pritchett’s portrayal of Tara was the most compelling. Projecting an impeccable New Joysee accent, post-Nibbled Tara emerges as a crusading humanitarian iconoclast, the last quality influencing her pre-Stanford fling with the local policeman.
An appreciative audience, predominately young adult, applauded the cast and crew, accepting the four-letter dialogue and the condom toss with genuine laughter.
But the play contains a bigger question, with the answer only known by the playwright: the play opens in 2004, with Adam recalling how it was in 1992. The exit of characters leaves audience wondering about the state of Adam’s mortality. In giving up ongrowing up, did Adam give up on life?
Ada and the Engine is the second Lauren Gunderson play performed locally within two years. The playwright, whose plays are the most performed by any living writer, are typically fact-based biopics about competent women fighting for acceptance in a male-dominated world.
The premise of the play is actually that oldest of programmer’s jokes. There are 10 types of people in the world: those that understand binary code and those that don’t. Well, Ada Byron Lovelace got it, as she is the mother binary code, a century before Alan Turing and Bletchley Park helped win WWII.
The offspring of the wastrel Lord Byron, Ada grew up under the imperious domination of her mother, who was determined to distancedaughter from paternal imprinting by letting only math and music mold her brain while she (Momma) molded daughter’s life for what good girls do: make good marriages and babies.
Ada’s twin passions combined when she met Charles Babbage, the inventor of the Analytical Engine, the ancestor of the computer. This meeting of minds propelled Ada past math and music to a new poetry, the music of the spheres. She then envisioned the infinite programmable possibilities in the engine, conceiving binary code as the language of implementation.
This forms the vortex of the play, around which all other dramatic themes orbit. Among these are gender roles and Ada’s relationship with Charles Babbage.
Babbage, as played by Adam Hainsel, is the gravitational force which holds the play together. Though the model of propriety regarding Ada, his behavior barely masks the smoldering passion both feel for one another.
The constancy of Hainsel’s portrayal allows Ada, played by Isabel Lyda, to project a mercurial, eruptive brilliance. And, as foil and counter to Ada’s temperament, Ada’s Mother, Lady Anabella, played by Sophia Johnson, has all the empathy of a Marine drill instructor.
Ada and the Engine is didactic, and, like any good teacher, leaves the audience with more questions than answers. Gratitude to the WTAMU Theatre Dept, Director Callie Hisel, cast and crew for making us ask, “What if?”
Profound questioning is a common consequence of local theatrical productions, to the surprise of those who suspect the opposite in this conservative locale. With that, along with all of the other local arts, we can proudly say, “Keep Amarillo Artsy! Keep Austin Weird! Keep Lubbock in the Rear View Mirror!!!!”