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Tag: Hubbard Hall

A Singer’s Notes 133: The Bookclub Play and Shakespeare’s Cymbeline, coming up at Shakespeare and Company

The Bookclub Play Karen Zacarias’s The Bookclub Play at Hubbard Hall was rather like a sporting event. There were jabs and plenty of taunting throughout the farce. Like most comedies Read more…

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes 109: Vox Femina

The voice is all, especially in the rolling sounds of epic. The Iliad, now supposed to have been written by several authors, is fundamentally a bardic oration. One reads ancient descriptions of these bards, rolling or roaring their voices—a physical excess akin to singing. Jeannine Haas in “An Iliad” at Hubbard Hall was the mistress of this music, always with the careful assistance of John Sheldon on guitar. The location of an epic is much larger than any theatre space. It must be formed by sound. The parts of this “Iliad” I enjoyed the most were the great descriptions, where I heard roaring sound coming from the actress, sentence on sentence enjambed, sometimes nearly incomprehensibly. Singing was waiting to take over. The Iliad is a story to tell, not a story to see. Ms. Haas understood this, and she made the minutes fly.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes 104: Molière at Hubbard Hall and Schubert played by Shai Wosner at Williams

Tartuffe has lately trod the stage as a demon whose main weapon is subtlety. Doug Ryan, at Hubbard Hall, would have none of this; he was dastardly from line one. Excellently, he came close to desperation more than once, fighting for his life. Mr. Ryan does two important things at once. His face and voice are often in line, but just as often they are not. He is the master of mixed messages.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes 99: Hubbard Hall’s 25th Annual Putnam County Spelling Bee and a Small, Brooklyn Opera Company Brings Two One-Acters to Oldcastle

Hubbard Hall’s 25th Annual Putnam County Spelling Bee was a wild and wonderful evening. I admired most that the company and its director, David Snider, were able to take a show, based on repetition, one contestant after another, and keep it moving.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes 85: John Steinbeck’s “Of Mice and Men,” NOT on Broadway!

Hubbard Hall’s production of John Steinbeck’s Of Mice and Men was solidly cast and effectively staged by Jeannine Haas. Not surprisingly there were standout performances from James Udom as George and Doug Ryan in the role of Candy. Simply put, we have been given a gift in Mr. Udom. Everything about this young man’s acting tells me he is the real thing. He listens as well as he speaks. He has a natural physicality on stage which never draws attention to itself but is always enough. He can use the silence. He seems always to have the larger picture in mind; his scenes have shape. His voice is beautiful. This is a serious young artist. His George held the play in its arms.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes 84: Time yaps at the heels of comedy. Tragedy marches inexorably on.

Time yaps at the heels of comedy. Tragedy marches inexorably on. In comedy the present turns immediately to the past, this is why the pace must be fast. Private Lives tries to talk about serious things rapidly. It does not stop and consider. The past is a repetition of the future, not the other way around. This is why the characters circle endlessly. You might call it the rhythm of life, or in a darker comedy, the dance of death. There is plenty of life left in Private Lives. Its relentless wit continues to charm. The couple who fight best seem to love best. Only fine actors can repeat themselves.  Shakespeare and Company’s production of Noel Coward’s play had the requisite energy. David Joseph, in particular, seemed inexhaustible, time yapping at his heels. Dana Harrison also commanded the speed and flavor of imperious time, sometimes by trying to slow it ever so slightly.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, Il Museo di Roma a Trastevere, etc. and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

A Singer’s Notes 62: Chestnuts (Kaufman and Hart’s You Can’t Take it with You)

We were informed upon entering Hubbard Hall on Saturday evening, that a “chestnut” was on the menu. I like chestnuts. Chestnuts are successes, and they are successes because they work. Moss Hart and George Kaufmann’s particular chestnut You Can’t Take it With You is the theme song and battle cry of the 47%. One of the characters, Donald, a kind of serving man, reminds us a couple of times, that he is “on relief,” and the government gets really upset when he works. The government, in fact, is a constant presence in the play, belittled and shrunken and left virtually powerless by the formulations of Grandpa. Everything Grandpa says makes so much gosh-darn sense. Even Trotsky trots in on a borrowed horse as it were, his words printed indiscriminately by slow witted Ed as a kind of hobby.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

A Singer’s Notes 49: Amadeus at Hubbard Hall, Macbeth at Shakespeare and Company

Shakespeare’s Macbeth and Schaffer’s Amadeus are fundamentally monologues. Even as arresting a character as Lady Macbeth is given a relatively short part. As the play nears its end, she is effectively eliminated with only a short sleep-walking scene allowed her. Salieri, in Peter Schaffer’s Amadeus, basically tells the story he is the main actor in. Mozart is given considerable stage time, but even his most tragic appearances are always book-ended with dry ice comments, increasingly cold, from Salieri. Why? These two masterpieces have mostly to do with the power of narrative, how the story is told. How it is told becomes continually becomes the main character. Central to any kind of narrative predominance is the ever-present passing of time. Macbeth’s time moves rapidly, at a headlong pace. Salieri’s time drags along on a path of morbidity, and at the end he cannot really die. Interruptions to the flow of time in both of these dramas are quickly dispatched or folded into the larger narrative structure so that they seem excrescences.  I looked forward to Shakespeare and Company’s touring performance of Macbeth because Sean Kazarian was a terrific Mercutio a couple of years ago on a similar tour.

Keith Kibler

About Keith Kibler

Twice a Fellow of the Tanglewood Music Center, Keith Kibler’s doctorate was earned at Yale University and the Eastman School of Music. He is one of the region’s most sought after teachers with students accepted at the New England Conservatory, the Juilliard School, Peabody and Hartt Conservatories, the Tanglewood Institute, and the Aspen Music School. Keith Kibler is an adjunct teacher of singing at Williams College.

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