This post was written by Lauren Burns, a sophomore Multiplatform Journalism and History double major.
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The deaths of Michael Brown, Trayvon Martin and Jordan Davis, among others, remind us that our country has much to do in terms of reconciling our nation’s past sins with its present.
The play never lost focus of its message: freedom isn’t free, and not all Americans have the same amount of freedom, if any at all.
By Emily Schweich, junior broadcast journalism major at the University of Maryland.
To truly appreciate The Me Nobody Knows, one needs to understand where it came from.
The musical is based on the 1969 book The Me Nobody Knows: Children’s Voices from the Ghetto, which compiles the voices of 200 students from Harlem. Teachers encouraged these students, who were between the ages of 12 and 18, to write down their deepest thoughts, fears and concerns. The book’s editor, Stephen M. Joseph, asked his students to respond to four dimensions of their identity – how they see themselves, their neighborhoods, the world outside, and the things they can’t see or touch.
The result: A moving collection of young people’s voices that was adapted into a musical by Robert Livingston, Gary William Friedman, Will Holt and Herb Schapiro in 1970. Alvin Mayes and Scot Reese, co-directors of the School of Theatre, Dance, and Performance Studies’ production, have situated these teenagers in a church basement, in a therapy/support group of sorts.
This blog post is by Emily Schweich, a broadcast journalism major.
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University of Maryland School of Music professor Linda Mabbs was honored with the Kirwan Faculty Research and Scholarship Prize at the university’s fall convocation Wednesday.
The award is one of the highest honors a faculty member can receive that recognizes research and creative ability.
“Everyone is thrilled about it, because it recognizes the school and what we do here,” Mabbs said.
This post was written by Lauren Burns, a sophomore Multiplatform Journalism and History double major.
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A band with a Spanish name would typically perform Spanish songs, right?
For some reason, I didn’t think much about this during my walk from my South Campus Commons apartment building to The Clarice Smith Performing Arts Center. So, embarrassingly, I was surprised to hear predominately Spanish lyrics during La Santa Cecilia’s first song.
A highlight was when she sang “Como Dios Manda,” which she described as a traditional love song, in a time when noise from Facebook and social media complicate love. La Marisoul’s voice was loud and powerful as the audience was nearly silent and the band gently played while allowing her voice to be the absolute focus of the song.
Dr. Faedra Carpenter, Director of Undergraduate Theatre Studies at the University of Maryland, has been appointed by the Dean of the School of Theatre, Dance, and Performance Studies (TDPS) to be the faculty administrator for the Foxworth Creative Enterprise Initiative.
