Voice students perform jazz and classical repertoire

Whitworth’s vocal arts were in full swing this week as the music program hosted a classical voice area recital on Monday, April 27. The jazz department put on a vocal jazz concert on Thursday, April 30. Both events were held in the Music Building Recital Hall. The classical voice area recital featured students from all classes of the voice studio performing solos while accompanied by piano. Selections ranged from Renaissance music to 20th century poems set to music. Even included was a re-imagined show tune mocking the exotic tendencies of contemporary classical composers. The hour-long performance showcased a large variety of vocal talents from the music department.

Senior voice major Lise Hafso found the recital to be an enjoyable departure from typical solo recitals.

“It’s cool because you get to hear so many voices,” she said. “People are coming from different studios and are doing such a wide range of style. It’s really cool to see what all of your peers have been working on.”

Hafso is drawn to voice performance because of how easily she feels she can express herself, she says.

“It’s just the best way that I can express myself, through singing and performing,” she said. “It’s just a powerful experience for me.”

The concert was the culmination of director of jazz studies Dan Keberle’s vocal jazz class, which featured classical singers and musicians who chose to expand their schema. The singers were accompanied by an all-star combo of jazz faculty and professional musicians from the Spokane area. All of the music performed came from standard jazz repertoire. In several songs, the singers were joined by faculty trumpeter Keberle and saxophone professor Chris Parkin for improvised call and response.

The class is all about “teaching people who have a good voice and an interest in jazz how to sing in a jazz style,” Keberle said. “With talented students like we have at Whitworth, they all improve.”

Keberle said that the vocal jazz concert has a special energy.

“I like all the enthusiasm,” he said. “I love having the professional rhythm section there. I love having the enthusiasm that is always there.”

Senior voice major Sarah Nadreau said she enjoyed the unique experience of learning and singing the jazz style, which varies from her classical background.

“I liked it a lot,” she said. “I think the hardest part was not thinking so much about technique because in classical singing it’s all about how you take your breath and how you release it and in jazz it’s more about the feeling.”

Nadreau elaborated on communications between musicians, a hallmark of jazz that is less prevalent in classical voice performance.

“I tried to make eye contact [with pianist Brent Edstrom] and we interacted a lot more,” she said. “In classical singing your pianist is behind you so you can’t typically interact that way, but that kind of interaction is a priority in jazz.”

Freshman Travis Widmer, who attended both events, expressed excitement about the future of Whitworth’s vocal program.

“I thought they were both fantastic,” he said. “We have some really fantastic singers at Whitworth. It’s very cool to think that a lot of them are underclassmen. It’s going to be fun to see what they do in the next few years at Whitworth.”

Denin Koch

Staff Writer

Wind Symphony presents civil rights themed concert

The Wind Symphony channeled some of the spirit of Martin Luther King, Jr and other reformers at their spring concert on April 26 in Cowles Auditorium Main Stage. They played pieces by various composers, but the final piece “New Morning for the World: Daybreak of Freedom” by Joseph Schwantner, was the focus of the concert. The piece featured narration by Dr. Larry Burnley, who read selections from Martin Luther King, Jr’s work, including portions of his famous “I Have a Dream” speech.

Richard Strauch, Wind Symphony director, first heard the piece, originally arranged for orchestra, on the radio several years ago on Martin Luther King, Jr Day. He liked the piece immediately, and soon found a similar arrangement for winds. Burnley was his first choice for the narration because of his love for MLK, Strauch said.

“I knew nothing about it, I’m not even familiar with the piece,” Burnley said. “He just contacted me, came up to the office and said he had something [he] wanted to ask [me] about, and he came and presented it. I was honored, and really didn’t know quite what I was getting into in terms of the depth of this piece.”

The various aspects of the piece complement each other, and give each other deeper meaning. Burnley described the impact of the narration and music as the music in church, because it resonates with people.

“The [music and narration] together takes you to a place of both memory, in terms of history, in terms of connecting to the struggle of my predecessors, my ancestors if you will,” Burnley said.

Freshman Amanda Sheller, who has been playing the oboe since she was in 7th grade, had never performed a piece like “New Morning for the World” with narration and such a serious message before.

The piece left a significant impact on Sheller, who feels that it is important to remember that civil rights issues are not only events in history books, but still exist to an extent today.

“I can empathize with people and I can remember the history and I can work to change it, but I didn't live it, my parents didn’t live it, my grandparents didn’t live it,” Sheller said.

As part of the Wind Symphony, Sheller appreciates the self-motivation and drive of her fellow musicians. Although the ensemble is much more difficult than any she has participated in before, being involved is worth it, Sheller said. She juggles the responsibility of being both a Wind Symphony member and a biology major, which both take extreme commitment and dedication, but do not overlap in other ways.

“I’ve gotten used to just being constantly frightened,” Sheller said. Although delegating attention between her two time-consuming interests is difficult, it is completely worth it, Sheller said.

The Schwantner piece, though technically and musically difficult, was also emotionally charged and impactful.

Burnley, Strauch, and the members of the Wind Symphony hoped to convey a sense of remembrance for Martin Luther King, Jr. and the spirit of the Civil Rights Movement through their performance.

“I hope it arouses curiosity and I hope on some level [audience members] can connect personally to this, and they want to know more, that it inspires appetite of wanting more,” Burnley said.

Courtney Murphy

Staff Writer

Artist Spotlight: Andrew Isom plays from the soul

Senior Music Composition major Andrew Isom views music as a God-given duty—one that he fully plans to fulfill. Isom has been playing the piano since he was seven at the request of his parents, but found his own desire to continue playing and composing music in the ninth grade when he learned jazz theory.  Since then, he has struggled with determining why he continues to pursue music as an art and a career.

“I’ve struggled with the question of why I do this until last week. I’ve had a hard time figuring out why I do this, but I’ve figured out that I do it because I’m good at it. It’s hard for me to believe that God wants me to do this,” Isom said.

Isom plays the piano because he’s been playing it the longest; it’s the instrument that he’s best at. He has composed around 15 classical pieces, and many other jazz tunes on the piano.

“Composers are not geniuses. We’re just normal people. Just because I’m a composer doesn’t mean I’m more talented. Just because music is my vocation or calling, doesn’t mean it’s not hard work. I’ll compose and wonder if this is what I want to do, because it’s so frustrating. I’ll spend an hour and put something on the page and not like it, or I’ll put nothing at all,” Isom said.

Isom said that his compositional philosophy—the way that he approaches composing music—is somewhat different from that of other composers.

“I value thinking of what I want my philosophy to be before the piece. What I usually think about most is the setting. When I’m composing, I try to strive to create a setting, an atmosphere. If my music doesn’t do that, it’s empty,” Isom said.

Isom’s focus on setting was inspired by playing Legend of Zelda growing up. He said he was fascinated with the characters moving between worlds.

“God gives us the ability to create. We have the ability to create other worlds,” Isom said.

Isom thinks about the relationship between music and spirituality. He said that although God made music for people to enjoy, people give it too much spiritual value and its purpose has much more to do with our experience of music.

“God gave us music to like it. The existence of sin is proof of good things gone bad. Music goes bad all the time, but the enjoyment of music isn’t inherently bad,” Isom said.

Isom said that he believes that the main purpose of music is for enjoyment, but also detailed that music does not have just one purpose.

“Two other purposes of music that I believe in, but don’t always represent in my compositions involve music’s ability to teach us about God in the way that an artist may paint a picture of Jesus and music as an avenue in which we express ourselves to God, the Psalms being an example,” Isom said.

Last Friday, Isom had his senior recital in which six of his pieces were presented by himself and others. After graduating, Isom’s plans involve private music education and continuing playing and composing jazz and possibly going to graduate school.

Aside from plans for what he wants to do after graduation, he has a more personal goal he would like to achieve.

“I would like to reach a point in my life where the effort i put into my music, that I will compose with all of my heart—for God and not man,” Isom said.

Emily Goodell

Staff Writer

Visiting trombonist shares jazz expertise

Trombonist Ryan Keberle’s career has taken him to places far and wide, but on Wednesday, April 8, it brought him home to Spokane for a clinic in the Whitworth Music Building and a concert at the Bing Crosby Theater on Friday, April 10. Keberle and his five-piece band, Catharsis, performed selections from their newest album, “Into the Zone,” in the band room on Wednesday for a gathering of jazz students and music lovers. Between tunes, the musicians also answered questions from audience members and spoke about their experiences in the music industry.

On Friday night, Keberle and Catharsis performed a selection of jazz standards, original music and covers for a full house in downtown Spokane. The concert was opened by the local Brent Edstrom Trio, which features three Whitworth jazz faculty.

The son of Dan Keberle, Whitworth’s Director of Jazz Studies, Ryan Keberle is a Spokane native and graduate of Mead High School. He attended Whitworth for a year before transferring to the Manhattan School of Music in New York to finish his undergraduate degree. So far in his career, he has collaborated with artists such as Sufjan Stevens, Alicia Keys and Justin Timberlake. This was only his second business trip back home, the first being a guest feature with the Spokane Jazz Orchestra two years ago.

Keberle was enthusiastic about performing for his hometown crowd.

“Very exciting, obviously,” he said when asked about playing in Spokane. “Maybe I can change Spokane’s lack of appreciation for jazz music. Jazz for some people is a scary word. It’s a word that means you aren’t going to understand what’s going to happen. The term ‘jazz’ for so many people scares them away, but I’m looking to make music that everyone can enjoy.”

Students who attended the clinic and concert were inspired and motivated by Keberle’s performance. Sophomore trombonist Jonathan Bumpus was particularly excited to work with Keberle.

“I went to the concert in 2008 when he was the guest artist with the Whitworth Jazz Band and was just blown away,” Bumpus said. “He’s always just been a big inspiration to me”

Bumpus expressed gratitude and disbelief at the opportunity to learn from one of his heroes.

“It’s kind of surreal. I’ve admired his playing for a really long time, and to hear him and get his feedback on my playing was really crazy. I’m still just processing everything that happened,” Bumpus said.

Keberle offered advice on a variety of topics to those who attended his clinic. While he spoke much about the importance of practicing, his biggest advice had nothing to do with playing.

“Basically, it comes down to listening,” he said. “There’s so much more to music than what you hear at this point in your career. It’s like learning a language and the accent.”

Even now, Keberle said, he is continually surprised by the music he plays every day. “Every so often I say wow, I’ve never heard that before or I’m just starting to notice how this player swings differently from this player.”

Despite its decline in popularity, Keberle remains optimistic about the future of jazz music.

“So many exciting options happening right now where people are fusing different genres with jazz or fusing their own musical culture with jazz,” he said.

Denin Koch

Staff Writer

 

Whitworth Choir returns from tour triumphant

Whitworth students and music enthusiasts from around Spokane packed the Martin Woldson Theater at the Fox downtown to watch the final leg of the Whitworth Choir’s spring tour on Saturday, April 11. The choir spent spring break on tour across the state of Washington and part of British Columbia. After starting in Wenatchee at Saddlerock Evangelical Presbyterian Church, the choir then traveled the coast from Vancouver, B.C., to Vancouver, Washington. After a week of rest, the tour closed with Saturday’s concert downtown.

While they were on tour, the choir also had the opportunity to do several workshops with high school choirs in addition to performing.

To several choir members, this tour stood out from tours in past years because of the Mass they performed, composed by Director Marc A. Hafsø.

“The Mass has formed every form of Christian worship,” Hafsø, who is in his 12th year at Whitworth, said. This is why he decided to include it in the tour, along with other spiritual songs. The Mass was about 25 minutes long, and has five movements and is sung in both Greek and Latin.

Junior Katelyn Hunter, a Spanish and secondary education major, also enjoyed performing the Mass.

“It’s really long, kind of exhausting, but it’s beautiful. It’s very intricate, very intentionally put together and it was really cool to be able to put that together for the choir because it was a ton of work,” Hunter said.

For the Mass, the choir learned the Nicene Creed in Latin. Singing in other languages is sometimes easier than in English, because in English, singers bring bad habits in from their speech, Hunter said.

Hunter, who has been singing for eight years and has been a part of both the Women’s Choir and the Whitworth Choir, started in junior high and fell in love with choir in high school. Her teacher made singing relevant to her daily life, and taught her to use singing as a tool to change her outlook each day.

Although Hunter found choir at Whitworth to be harder and more intense than choir in high school, she enjoys the commitment, talent and knowledge each choir member displays.

“There’s a lot more opportunities to make real music because the bar is so much higher,” Hunter said.

Hunter enjoys working with Hafsø as a director because of his creativity, sense of humor and commitment to the choir.

“It’s nice because he has a really good balance of taking it seriously, but also there’s joyful moments that bubble up and we just laugh at mistakes and things like that, If your director is committed, then you’ll be a lot more willing to give a lot more and work harder,” Hunter said.

Hafsø’s sense of humor was evident during the concert when he referred to “The Ballad of Green Broom,” part of the Songs of Spring and Summer section, as his favorite song about brooms ever composed.

Juniors Jennifer Rudsit and Elizabeth Williams, who attend most of the Whitworth Choir’s bigger concerts and have backgrounds in choir, enjoyed the performance.

Williams’ favorite was the traditional Zambian song “Bonse Aba”, because she had sung in before, Williams said. Rudsit most enjoyed “Tomorrow Will Be My Dancing Day” and “No Time.”

The Whitworth Choir finished their 2015 Spring Tour strongly, and showed their support for each other by honoring their 12 graduating seniors.

“We all like to say we’ve ‘run the river’ together, meaning we’ve all gone through crazy stuff together. We’re a really tight choir, extremely supportive,” Hunter said.

Although the tour is over, the returning Whitworth Choir members, like Hunter are already looking forward to what next year holds.

Courtney Murphy

Staff Writer

 

Music Review: Kendrick Lamar "To Pimp a Butterfly"

Few rap albums can at the same time simultaneously offer heavy, introspective looks into an artist’s life and force the listener to dance in their seat. Rapper Kendrick Lamar has created a masterpiece that succeeds at doing just that.

To Pimp a Butterfly, Lamar’s 2015 release, is a collection of hard-grooving tracks whose lyrics weave the tale of Lamar’s rise to fame almost as if the rapper were playing at being a novelist. Make no mistake though - this album is not a self-appreciative victory lap, but uses Lamar’s experiences to point out the major problems that he sees in society. Launching straight into his teenage years as a “caterpillar” and journeying all the way to his current day life as a “butterfly,” To Pimp a Butterfly is a 16 track epic that waxes on matters of racism, depression, family, fame and fortune while riding a groove worthy of the dance floor.

From the opening track, “Wesley’s Theory,” Lamar’s lyrical content is brutally honest and hugely creative, never sacrificing his message in order to avoid offense or showcase Lamar’s impressive vocal dexterity (although this album leaves no doubt about that, either). Prominent African-American cultural figures appear all over the record, as Michael Jordan, Nelson Mandela, Michael Jackson, Trayvon Martin and others all receive name drops. The album concludes with a “beyond the grave” interview of legendary rapper 2Pac, Lamar’s largest influence. Lamar’s inventive use of allusion seems to etch his name alongside the aforementioned individuals in history while paying respect to those who went before him.

What sets Butterfly apart from other rap albums is its merging of Lamar’s personal history with modern issues of racism. “The Blacker the Berry” is a scathing attack on racism in America that exposes cultural evils while also admitting Lamar’s own racist hypocrisy during his years in a Compton gang. Early in the album, “u” allows the listener to witness a chilling hotel scene in which a drunken Lamar confesses his demons to a hotel room mirror. The penultimate track, “i,” however, is a self-love party anthem that releases these demons and urges African-Americans to stand together against racism rather than warring amongst themselves. This track also completes Butterfly’s central metaphor, as explained by Lamar on “Mortal Man”: “Although the caterpillar and the butterfly are completely different, they are one and the same.”

Aside from lyrical content, Butterfly is unique for its successful melding of several musical genres. Lamar abandons the electronic setting typically employed in rap music for a host of live musicians. Crossover jazz/hip-hop pianist Robert Glasper is featured on keys, saxophonist Terrace Martin offers jazz stylings throughout, and bassist Thundercat holds down a funky groove on many tracks. Lamar’s genre bending ideas are especially evident on “For Free? – Interlude” – the musicians play as a jazz band rhythm section while Lamar “solos” with his lyrics. Immediately after, “King Kunta” finds him laying down verses on what could pass for a funky Parliament bass line. The convergence of these musical styles not only creates a fascinating, fun album, but shows just how committed Lamar is to his African-American heritage: all of the styles channeled here have roots in black culture. The album is worth a listen just for the tight band backing Lamar.

To Pimp a Butterfly is a triumph both lyrically and musically. Lamar has brought together the highlights of African-American culture to create an album that inspires his audience to celebrate the best things within themselves, live in harmony with others and live life zealously - and his listeners can’t help but just forget everything and dance.

Denin Koch

Staff Writer

Review: Jayme Stone’s Lomax Project Album

For such a youthful musician, banjoist Jayme Stone is fascinated with the past. His latest album, The Lomax Project, is an enthusiastic exploration of the musical history of America. Sourced from the Library of Congress holdings curated by Alan Lomax, who spent his life collecting recordings of traditional American music, Stone’s project contains 19 songs that encompass a wide range of musical styles. From cowboy songs to sea shanties and hymns, Stone’s work brings to life again many songs that have brought people together for generations. The introduction of Stone’s extensive liner notes, a 50-plus page booklet that explores the provenance of each track on the album, calls this a collaborative project, and that is made clear listening to the songs. Stone’s banjo playing is not overpowering, as one might expect on an album by such a prolific banjoist. Though some songs do feature the strong banjo that I expected, that gives way to songs that subvert expectations and explore a truly large spectrum of sound.

The opening track, “Lazy John,” is a further tribute to Lomax, coming from the sole album that he recorded of his own music. The tune is one that would be perfectly placed at a barn dance, and is an upbeat and exciting opening to the album. Singer Margaret Glaspy, who is featured as vocalist on nearly every track, has an infectious and hypnotizing voice. The versatility of her unique style stands out especially on an album where so many different musical styles are encompassed, and is surprisingly suited to the classic folk sound of “Lazy John” as well as the more somber sea shanty “Shenandoah” and the African-inspired Caribbean hymn “I Want to Hear Somebody Pray.”

“Before This Time Another Year” is a bluesy tune updated by the addition of several verses written by Tim O’Brien, who also sings on the track. It is a testament to both O’Brien’s writing and the collaborative power of the musicians that Stone has collected here that the song is such a smooth and introspective exploration of the passing of time that sounds whole and not like it is pieced together from other parts. Had the liner notes not shared O’Brien’s lyrical additions, I would have been hard pressed to know that the song had been changed at all.

Though the album contains many somber and spiritual tracks, there is a clear sense of humor from this group of musicians. On “Maids When You’re Young,” Stone’s light and playful banjo is beautifully complemented by the graceful fiddle melody of Brittany Haas, which lightheartedly accompany lyrics warning women of the hazards of marrying older men, such as “when we went to bed, me being young … he lay like he was dead.”

Overall, the album highlights not only these songs of rich history but also the sundry talents of the musicians that came together to shape this album into a fun trip through the diverse history of American music. As a whole, the album does a great job evoking the lives of those who sung these songs long before Stone or Lomax collected them for a wider audience, but it never feels outdated or like a history lesson. With the accompanying liner notes that lend such interesting context to each track, this album is a must for anyone interested in musical history or Americana.

Kelli Hennessey

Staff Writer

Musical historian, composer, and banjoist explores American folk tradition in decades-old recordings

Jayme Stone’s Lomax Project seeks to bring the work of noted folklorist and ethnomusicologist Alan Lomax to a contemporary audience. Stone has extensively researched Lomax’s recordings and created a new album of 19 songs, accompanied by extended liner notes that explore the provenance of each song. With this work, Stone is attempting to bring a piece of early American music history to a new audience, he says.

Lomax worked in the field for over 60 years after beginning his work in 1933 with his father, John Avery Lomax, a folklorist and musician. The father and son team spent years collecting thousands of recordings of music in order to  “expand the holdings of recorded folk music at the Archive of American Folk Song at the Library of Congress (established 1928), gathering thousands of field recordings of folk musicians throughout the American South, Southwest, Midwest and Northeast, as well as in Haiti and the Bahamas,” according to the Association for Cultural Equity.

Lomax’s work is extensive and includes thousands of recordings, photographs, manuscripts and videos, all in all representing almost one “1,000 culture groups from around the world,” according to The American Folklife Center at the Library of Congress.

Stone, a Canadian native, is also interested in musical traditions from around the world and has spent two years researching Lomax’s work. Stone worked to collect a variety of songs and share their provenance and importance in the history of the North American musical tradition. Stone worked with 15 musicians on the project and has hailed it as a collaborative effort.

“The work with these particular musicians has been so joyful,” Stone said. “Everyone has been so generous … even when it came to record, we were still rearranging and writing new lyrics … the whole thing has just felt very alive and engaged.”

The album includes sea shanties, hymns and cowboy songs, each with accompanying notes from Stone based on the research of Lomax. Stone is attempting to reinvigorate those pieces of post-war American history to illustrate the influence the  music has had on everything that has come after it.

That is important to Stone now as he explores the roots of the music that is listened to now. Stone hopes to increase appreciation of the provenance and history of each of the songs in this collection.

“A song carries with it the history and story of the people who created it,” Stone said. “When these songs were created, they would bring people together … people were using songs to create togetherness often while they did very intensive manual labor, whether it was aboard a fishing vessel or county road gang, they used songs to keep their spirits afloat.”

With this project, contemporary listeners can experience a significant part of American history. Stone played the Bing Crosby Theater on Feb. 25 as part of his tour in support of The Lomax Project.

Stone’s album, officially titled “The Lomax Project,” will be released on March 3. Information on the album, including a short documentary and videos of selected songs, can be found at www.jaymestone.com.

 

Kelli Hennessey

Staff Writer

Nashville singer takes Whitworth audiences in stride

The sounds of shimmering guitar, cascading piano and harmonized vocals filled the HUB Multi-Purpose Room last Wednesday night as singer-songwriter Ben Rector delivered an intimate performance of his original music to an enthusiastic Whitworth audience. The concert, sponsored by ASWU, was a detour for Rector, who is currently on a U.S. tour promoting his most recent album, “The Walking in Between.”

Rector, accompanied by the pianist/guitarist from his full band, treated his audience to a nine-song set spanning just over an hour.

The song listing had something for everyone, as the set ranged from the gritty blues of “Follow You” to the Sunday-morning charm of “I Like You” to the haunting loneliness of “Sailboat.”

Captivating his audience, Rector elicited laughter, clapping, cheers and introspective silence from the assembled students, fans and faculty.

Lasting impressions were left on the minds of those who attended, even those unfamiliar with the performer before the live event.

“I love the energy of this guy,” freshman Abe Khieran said after the concert. “He has a unique, unorthodox presence when he is playing. His style is inspirational.”

Performance and showmanship is nothing new for the veteran musician. Rector was born and raised in suburban Oklahoma. After obtaining a university degree, he immersed himself in his craft by moving to the musical metropolis of Nashville, Tennessee. His first album, “Songs That Duke Wrote,” was released in 2008. Since, Rector has released five more full-length studio albums, a live album and an EP of Huey Lewis and the News covers, titled “Newy Lewis and the Hues.”

Despite his seasoned career, the show was Rector’s first visit to Spokane. Fortunately, his maiden voyage to the city unfurled much more pleasantly than he had anticipated.

“Spokane is much more beautiful than I thought it would be,” Rector said after originally being skeptical about the merits of the cold, wintery region. For the singer, the Whitworth show was just one day removed from a stay in Malibu, California.

Pleased by the event’s attendance, Rector further revealed that before the show, he thought that “there were not gonna be enough people to line the front row.” By the time the show began, the MPR was filled, leaving standing room only.

ASWU Activities Coordinator Laurel Cornwell was thrilled by the event’s success.

“I heard about Ben Rector through a student request,” Cornwell said. “I added his name to a survey—containing about 20 artists—that went out to the students. They voted for which performer to bring to campus and Ben Rector won.”

Cornwell was further impressed by the students’ overwhelming enthusiasm for the concert.

“The turnout for this event was great. We had a line forming at the door of people waiting to get in by 7 p.m., an hour before Rector took the stage,” Cornwell said. “The crowd was really responsive, creating a great atmosphere.”

While Rector has achieved and thrived in such a public career, his true charm lies in the sense that his celebrity seems humble and reluctant.

In his song “Ordinary Love,” Rector sings that he “don’t wanna be no star,” and his autobiographical introduction of his website claims that he doesn’t understand “Crazy dance clubs, private jets, expensive alcohol and lots of money.” By portraying himself simply as a man who loves to play music, Rector fascinated and endeared himself to the crowd.

What truly set this performance apart was the remarkable personality and flair that Rector brought to the MPR stage.

On one of his tunes, Rector flawlessly improvised a rhyming verse of lyrics around the audience-suggested theme of “pirates,” much to the appreciation of the Whitworth crowd.

When challenged with a song request from the audience, Rector, while unable to fulfill the request, invited the audience member and his infant son onto the stage for a photo op.

Rector’s band-mate Cody Fry also channeled charisma and presence, stunning concert-goers with his improvised “mouth trumpet” solo that transcended mere vocal noises to create an exciting musical addition.

These whimsical yet well-executed “gems” gave Rector’s performance the extra edge to render it truly remarkable and memorable.

Ben Rector’s album “The Walking in Between” is available on iTunes and Spotify.

 

Denin Koch

Staff Writer

Artist Spotlight: Tanner Walker sees a musical future

Many people have hobbies that they put a lot of time and effort into, whether art, music or sports. But for junior Tanner Walker, playing flute is not just a hobby—it shapes her identity. “It runs my personal life…it’s a big part of my life and part of who I am,” Walker said.

Walker, a flute performance major with the hope of mastering in music, has been playing flute since she was in the sixth grade after being influenced by family members.

“My mom played [flute] and I wanted to be like [her] at the time,” Walker said.

Walker has played other woodwind instruments such as the oboe and piccolo, and once ventured into the realm of brass with the euphonium, Walker said. However, she prefers flute because of its sound and difficulty.

“I find [the flute] really soothing and you get a lot of hard music. I like that a lot; it’s challenging,” Walker said.

During her middle school and high school years, Walker was a member of the Spokane Youth Symphony for five years, played with the Central Valley Marching Band, and was part of her high school’s band and Wind Symphony. She also performed in both solo and ensemble flute competitions every year.

Because of Walker’s involvement with multiple orchestras and symphonies, she has had the opportunity to play many challenging and interesting music pieces.

“The hardest thing I’ve played is probably ‘The Firebird’ by Stravinsky, with the Youth and Spokane Symphony combined,” Walker said.

Since coming to Whitworth, Walker has maintained her involvement in music. She has played in both the Wind Symphony and the Orchestra for three years and Chamber Winds for two years. She has also provided musical accompaniment for all of the choirs.

As a flute player at Whitworth, Walker has had several opportunities to tour with musical groups.

“I’ve gotten to travel a lot. I went to Utah with the Orchestra and California with the Wind Symphony,” Walker said.

This year, she is going with the Whitworth Orchestra on a tour of the East Coast.

Walker plans to continue her involvement in music after she graduates, and is working on getting her masters credentials for music education.

“I’m hoping to play in a symphony later in life and I’ll probably teach private lessons as well,” Walker said.

Playing the flute and performing has helped Walker to be a more confident person overall.

“The performance aspect has helped me get out of my comfort zone. I’m more outgoing since I’ve been a musician, I was shy when I was younger and it’s really helped,” Walker said.

Walker hopes to use her flute performance degree to stay involved in symphonies and teach others how to play her instrument.

“I’m always going to be doing something with music,” Walker said.

 

Courtney Murphy

Staff Writer

Students celebrate diversity with soul music

To commemorate Black History Month this February, Cultural Events Coordinator senior Ashton Skinner, worked with the Swing and Ballroom Dance Club and the Black Student Union to hold a swing dance lesson followed by a Sodexo-catered dinner of soul food and a live concert featuring Grace Love & the True Loves held Saturday, Feb. 21. The event began at 7 p.m. in the Multipurpose Room of the HUB with a lesson sponsored by the Swing and Ballroom Dance Club and was attended by approximately 16 student dancers and several members of the band. After the dance lesson, a meal of fried chicken, macaroni and cheese, greens and pie was served while students waited for the concert to begin.

Tacoma native Grace Love blends soul and funk into music that is described on her Facebook page as “a fusion of human nature mixed in with sprinkles of heartache, and chocolate velvet melodies.” The soul singer is backed by a five-piece band and played for an hour, adding in an encore after an enthusiastic request from the crowd. Love’s set included her new single, “Fire,” as well as a well-received blues-infused cover of “No Diggity.” Love’s enthusiasm, coupled with the smell of soul food, brought in a crowd. What started as 20 students quickly became 40, then 80.

Students kept the dance floor occupied throughout most of the band’s set.

Love also took some time to speak to the audience about Black History Month and encouraged others to speak with her about the connection between soul music and Black History Month.

“The best thing about celebrating something that a lot of people don’t understand is to educate them. Not tell them what they should know, but to educate them,” Love said.

“It’s nice to be a part of something educational and not just, you know, a show type of place … this is fun because we get to bring something culturally cool to the campus … most times, people tie race to soul music and blues music and all different kinds of music, but I think it’s just something that is a feeling, and if you can create that kind of feeling in a group of people who have never experienced it, you’re going to get a reaction that you never experienced,” Love said.

Senior Jade Faletoi also thought the participation in the event was positive.

“I was really hoping that people would come to this, and it seemed like a lot of people came, [which was good] because this is an event that should be happening at Whitworth and people should be coming to this kind of stuff  [because] when you don’t have stuff like this, it kind of sends a message that you don’t belong here, that your culture doesn’t belong here, so diversity events like this especially make people feel at home, and it kind of creates a space for more students to be here,” Faletoi said.

Skinner organized the event with the goal of exposing new cultures to Whitworth students and hoped to create a fun, casual event.

“I think it is going to be a good time for some people to come into Black History Month and celebrate by what they already do, which is share food, share music, have fun,” he said. “I tried to make an event that is right in the HUB so people will just kind of wander in. I hope to get people to come in whether they were planning on it or not. I think it’s important to have events that aren’t so formal, and I think this will be one of those events. This is going to be the kind where people can chill and hang out.”

Grace Love & the True Love’s single “Fire” will be available in April, and can be streamed now through links on the band’s Facebook page.

 

Kelli Hennessey

Staff Writer

Gospel choir explodes into a new year of musical worship

Tanner Scholten | Photographer Students and community members alike filled the Seeley G. Mudd Chapel on Feb. 13 for a multicultural celebration of singing, dancing and worshiping. Gospel Explosion, now in its 18th year, was started by Coordinator for Ministry and Multicultural Affairs Stephaine Nobles-Beans.

Nobles-Beans, who is better known around campus as “Mama Beans,” started the event to “bring the local community and Whitworth community together for a time of fellowship, praise, and worship.”

Gospel Explosion began with a prayer from Nobles-Beans and several high-energy worship songs. Then, Whitworth’s own Exceptional Praise Gospel Choir sang “Soon and Very Soon” and “Wade,” a gospel favorite.

The Exceptional Praise Gospel Choir is in its eighth year, led by junior Elizabeth Porter. A speech and communications major, Porter has been involved in the choir since her freshman year, after hearing about it from a former Act Six Scholar.

The choir was originally started by an Act Six Scholar who wanted connect with local congregations and expose the Whitworth campus to a new kind of worship, Porter said.

Porter was involved in choir programs in high school, but for the most part her music experience comes from gospel choir, which she has led for the last two years.

“For me, my freshman year, it was a safe haven,” Porter said. For Porter, gospel choir is a place she can feel most comfortable, have fun, laugh and look forward to every week.

The gospel choir in the past has traveled to Washington State University to sing, and periodically partners with local churches such as Holy Family and Calvary Chapel. They also sometimes sing in chapel on Tuesdays and Thursdays and attend other gospel events, Porter said.

The choir members come from a variety of backgrounds, and many have not had any previous musical training or experience. There is no musical requirement to join gospel choir, only a desire to worship.

“I’m big on working with people who don’t have a musical background; they’re there for the right reason,” Porter said.

Porter is unsure whether she will continue music after she graduates, but she wants to pass leadership of gospel choir down to a student who is dedicated and passionate about worship.

“It brings people together,” Porter said.

Tanner Scholten | Photographer

After Whitworth’s choir performed several individuals danced, sang, and recited poetry. Groups from around the area, such as the Spokane Community Gospel Choir and a worship band that sang in both English and Spanish, also performed.

Freshman Andrew Peacock was one of the many Whitworth students who attended the event and had a positive experience.

“It was really cool to see a community that I thought was underrepresented come out and shine,” Peacock said.

Peacock had been to a gospel worship event before, and enjoyed the sense of authenticity he felt during gospel worship.

“There was nothing that people were holding back,” Peacock said.

Nobles-Beans is enthusiastic about the event and is expecting it to be even larger next year.

“It continues to grow; it’s never been small. The crowds get larger and larger,” Nobles-Beans said.

The Exceptional Praise Gospel Choir meets and rehearses Sunday nights from 6:30-8 in the chapel.

 

Courtney Murphy

Staff Writer

Review: Francisco the Man

Francisco the Man is not afraid to kick out the jams. And on a rainy Saturday night on Dec. 6 at The Bartlett in downtown Spokane, that is exactly what they did. The four-piece indie rock band is on their first tour down the west coast after releasing their first full length album, “Loose Ends.” Their jangly garage rock with a hint of reverb and shoegaze influences filled the small room at The Bartlett. That is to say: it was loud. Really loud.

The night started off with The Static Overtones, the opening band for the evening. From Coeur d’Alene, Idaho, the band is a mix of garage rock and blues.

After the opening set, Francisco the Man came out swinging. Almost without warning, the band was on stage starting the set. No introductions, no sound checks, just straight into the music. The band played songs mostly from their debut album, which were not only danceable pop songs, but also contained enough rock that you kind of wanted to headbang.

The band is also not afraid to shed lyrics for pieces of songs. There would be long instrumental stretches that showed off the talent of the musicians and the amount of rehearsal that goes into any live show. Francisco the Man emphasized an interesting blend of the lead singer, the rhythm guitar player, Scotty Cantino and the lead guitarist, Brock Woolsey.

The final song of the show, titled “In My Dreams,” ended with a long instrumental break. Within that instrumental section, the bassist Nestor Romero played some finger tapping high notes that sounded more like they were coming out of a synthesizer then a bass guitar.

You can find out more about Francisco the Man here.

 

Jacob Millay

Staff Writer

Music Preview: Francisco the Man rolls into Spokane

Francisco the Man has been playing since 2010, but their first full length album,“Loose Ends” was released on Oct. 27, 2014. With the first full length, the band is setting out on a tour along the west coast of America. That tour will bring them right here to Spokane to play a show at the Bartlett on Dec. 6. The band hails from Los Angeles and they have released several EPs and singles, but Loose Ends is their first full album. Signed with Fat Possum Records, the band is offering the album as vinyl as well as CD or digital format.

Francisco the Man blends several genres and sensibilities into one smart package. At certain points of their album, the fuzz pedals are kicked on and the drums kick into high gear and the band sounds similar to early punk like The Clash. But other times throughout the album, there are rhythmic melodies and catchy hooks that bring to mind indie pop bands of the early 2000’s. The band blends these two lines very easily and can bring both sounds to listeners.

However, the band is not afraid to fade into some ethereal noise through reverb. The first track called “You & I” kicks off with a fade in through feedback and noise, which fits into shoegaze or garage rock genres or even some other noisy indie rock bands. Think Youth Lagoon with more electric guitar and drums.

The band is not afraid to push the boundaries or jump into different categories. They drift through several different sounds, but at the core they give the same punk-indie performance throughout the album.

The show at the Bartlett should not be missed. It would not be surprising to see this band go on to bigger and better things in the future, so why not see them now?

 

Jacob Millay

Staff Writer

Artist Spotlight: Emily Moline decodes the world in her music

For sophomore Emily Moline, music is not just something you hear on the radio. Music has always been an important part of the singer-songwriter’s life, especially since she learned to play guitar at the age of 12, inspired by her father’s own musical tendencies. “My family always played and sang songs together,” said Moline, who plays the guitar, piano and harmonica.

Moline’s involvement with music increased during her junior year of high school, when she began publishing her songs through a literary magazine she was a part of.

Although Moline is a sociology major with a minor in women’s and gender studies, she uses music to express herself and causes that are important to her.

“When it comes to songwriting, you have a platform for your voice that gives you a chance to say things you might not express to your friends,” Moline said.

Moline describes her sound as a combination of folk and alternative, but is also inspired by her love of R&B, describing that her music is like “if Beyoncé and Ray Lamontagne had a love child.”

“My music taste is so diverse, I just hear something and I go with it,” Moline said.

Backed by her unique sound, Moline writes honest and simple lyrics that are generally reflective in nature.

“A lot of my songs focus on how broken I am or have been in the past, and then I reassert my value in a way,” Moline said.

Her songs generally focus on themes such as how she and other women are worth loving and how love is possible, Moline said.

“I don’t write a lot of happy songs. If you never acknowledge that you’re feeling low or unhappy you might not be feeling anything,” Moline said about her pledge to honest songwriting.

Moline is most proud of a song she wrote called “Cascading Words,” which expresses hurt that she was feeling in response to being knocked down.

Because of her singing, Moline is a more confident individual—able to speak in front of people without fear, she said.

“[Giving a] presentation doesn’t bother me anymore because I am used to performing,” Moline said.

Although she has not performed any gigs since she has lived in Spokane, Moline has experience as a performer. Throughout her high school years, Moline participated in various talent shows, sang at open mic nights and was a part of many musical theater performances, which gave her the confidence to perform in front of other people and “gave [her] a face in the community,” Moline said.

A few weeks ago, Moline performed a set on Whitworth FM as part of the Friend Jam series, something which she hopes to do more of in the future.

Although Moline will always be involved in music, she intends to pursue a separate career she said.

“I didn’t want to pursue it as a career because it would take some of the fun out of it,” Moline said, because of the stress of having to produce music for people to buy.

“Because it’s something I do on the side, it’s a really good outlet,” Moline said.

 

Courtney Murphy

Staff Writer

Over the Rhine meets Whitworth

Over the Rhine is not a new band. They have performed for 25 years, but that doesn’t stop them from making more music and touring. Their current tour is what brought them to Whitworth on Wednesday, Nov. 5 for a concert as well as a lecture hosted by English professor Fred Johnson. Although this wasn’t the first time  Linford Detweiler and  Karin Bergquist, members of

Over the Rhine, played at Whitworth, the last time was nearly 15 years ago. Detweiler commented during the performance that the first time they came to Spokane, they played at “a little place called Whitworth College.”

The lecture was in the chapel and it allowed for the duo to discuss their music and their songwriting in a more intimate setting with the students and fans who attended.

“Once the band started to sing at the lecture, it solidified a lot of attendance at the concert. They capture something special in live music.” Johnson said.

The actual performance took place in the MPR at 7:00. Detweiler and Bergquist were accompanied by a third member, Bradly Meinerding,  who played a myriad of instruments throughout the night including the mandolin, resonator, banjo, and guitar.

The band played several different selections of songs from their discography. A good portion of the songs were from Meet Me At The Edge of the World, one of the more recent releases from the band. There was also a song played from the newest album, Blood Orange in the Snow, which is the group’s Christmas album. It was released the day before the concert at Whitworth on Nov. 4.

The band not only writes and records their own music, but they also release it themselves on their own music label that they operate, Great Speckled Dog.

Bradly Meinerding joined Detweiler and Bergquist. Hannah Palmer | Photographer

The songwriting of the band lyrically is perhaps the centerpiece for the group. While talented musically, the lyrics really lead the songs. Topics of the songs include a sense of home, love, the country and family.

The band’s lyrics have references to literature. For example, Over the Rhine’s first album, “Till We Have Faces,” was named after C.S. Lewis’ book of the same name. That prompted the English department to head the event and sponsor the band’s visit to Whitworth. The department helped with security, ran the merchandise table and helped load the band’s equipment before and after the show.

The concert ran for roughly an hour and fifteen minutes. Not only was there music, but the exchanges between the husband and wife and the crowd added to the overall atmosphere of the concert and showed their proficiency with language.

“It was like whenever they talked they were reciting poetry” senior Caleb Dreschel said.

If you missed the Over the Rhine concert on campus, they are playing two shows over the weekend in Seattle at the Triple Door. Tickets are $35 each.

 

Jacob Millay

Staff Writer

Whitworth Jazz Program hits a high note in the 2014 season

On Oct. 30, 2014 at 8 p.m. in the recital hall of the Music Building, about 80 people showed up to watch and listen to the Jazz Combos in Concert. Half of the audience were parents, and the other half were students. “There were a few more people than usual,” sophomore Lauren Trittin said.

The first segment was of the band Tricom consisting of the guitar, piano and bass instruments.

The second segment featured the band Cold Mukluk Time, which had alto sax, tenor sax, guitar, bass, vibes and drums instruments. Audience members, including parents, were nodding their heads to the fast and upbeat song “Fall” by Wayne Shorter.

The Jazz Ensemble program focuses on the fundamentals of jazz, while incorporating improvisation and swing style. Throughout performances, each musician was given time to skillfully play one or more solo pieces.

“I’m a psychology and theology double major, but I come to these performances because my friends are in them and I like jazz in general,” Trittin said.

Many of the musicians were freshmen, performing in a small group setting for the first time. The last song played by the Tricom band was called “11 and 3” and was written by freshman Denin Koch, who explained that the song was inspired by how often he believed the number three happened in daily life.

“I was nervous, but it was exciting. I’m usually more comfortable playing in a big band,” freshman Josh Nay, who was on percussion, said.

The musicians’ passions for music were evident in their performance. The jazz ensemble musicians take private lessons independently, then reconvene with each other to practice more and go through what they’ve each learned.

“When you’re passionate about something, it brings balance to your life. With the insanity of school, I look forward to practicing for an hour or getting to beat on a drumset for a rehearsal,” junior Jansen Leggett, who played vibes, said.

There was also a sense of comradery between the musicians. Whenever one musician was performing a solo piece, the others would watch and smile in assurance of their ability to finish the piece flawlessly.

“When people are writing jazz compositions and aren’t sure what to do with the percussion portion, I’ll often help them with it,” Leggett said.

On Nov. 6 at 5:30 p.m., Grammy Award winner Arturo Sandoval celebrated his 65th birthday with Whitworth students and middle and high schoolers from the Spokane area for a jazz clinic. Sandoval came from a poor family and did not have any connection to music as a young child. When he was 10 years old, he joined a marching band in his village.

“You can be rich of money but poor of heart,” Sandoval said.

Sandoval mainly learned to play music by ear and had few formal lessons. He explained his belief that to become a good musician, you must first imitate your idols, then emulate their sound, and then create music yourself. During the clinic, he heard a cell phone ring that sounded like a bird, and then played a song based on the sound on the piano that he made up on the spot.

On Nov. 7 at 8 p.m., Whitworth students and people of the Spokane community filled Cowles auditorium to watch the Whitworth Jazz Ensemble play alongside Sandoval. They laughed and cheered to Sandoval’s skilled bebop stylings.

Sandoval also played an improvisational piano piece that made everyone feel as though they were part of an important moment in Whitworth history.

Sandoval was the protege of jazz master Dizzy Gillespie, who was the first musician to bring Latin influences into American jazz. Sandoval has played for many award shows with famous musicians such as Celine Dion, Justin Timberlake and Alicia Keys. Not only is he an incredibly talented jazz trumpeter, but he is also known for his extensive skills as a fluegelhorn player, pianist, composer and overall classical artist. He regularly performs with leadings symphony orchestras around the world.

The next Jazz Combos in Concert performance will be on Nov. 12 at 8 p.m. in the Music Recital Hall in the Music Building.

 

Rachelle Robley and Courtney Murphy

Staff Writers

W.U. Orchestra performs for Shakespeare’s 450th

In celebration of William Shakespeare’s 450th birthday, the Whitworth Symphony Orchestra led by conductor Philip Baldwin, focused their Nov. 1 concert on the music that traditionally accompanied the bard’s plays. Before the concert, Dr. Dean R. Baldwin gave a speech explaining the relationship between Shakespeare and music, a topic on which he has published several books.

Shakespeare’s plays are full of music. From incidental music from trumpet fanfare accompanying royalty, to full songs sang by individual characters, music helps to advance the story, Baldwin said.

The orchestra played a variety of music and overtures from the plays “Richard III,” “Hamlet,” “A Midsummer Night’s Dream” and “The Merry Wives of Windsor,” among others. Depending on how well one knows Shakespeare, it is possible to hear distinctive aspects of the play, such as the bray of a donkey in “A Midsummer Night’s Dream,” or the patterns of love and loss in “The Merry Wives of Windsor.”

Many students were impressed by the orchestra’s performance and its connection to Shakespeare.

“There were many great pieces that really resonated, and they were stuck in my head for the rest of the day,” sophomore Clarisa Watkins said.

Watkins, who makes attending orchestra concerts a priority, “loved the fact that they identified certain things in the music,” such as the bray of the donkey which Baldwin described.

Concertmaster Haley Kovach, a junior violinist, especially enjoyed Walton’s “Richard III” because of the dramatic musical shift from the entire orchestra to a smaller quartet composed entirely of strings.

A music performance major, Kovach played in orchestras throughout junior high and high school beginning at the age of eight, and realized it was something she wanted to do all of her life.

“I want to teach violin lessons and always keep performing in some aspect,” Kovach said. For performance, she will be a part of either a community or professional orchestra, Kovach said.

As concertmaster, Kovach has responsibilities such as tuning the orchestra, overseeing the violins and leading the music with her body so orchestra members who cannot see the conductor can follow along more easily, Kovach said.

Orchestra provides many leadership positions “in a safe environment,” Kovach said, as well as providing a social aspect for musicians. Instead of only taking individual lessons and spending hours alone in practice rooms, orchestra brings people together to learn how to work together and pay attention to others around you, Kovach said.

Naomi Guidry | Graphic Artist

Outside of performing concerts at Whitworth, the orchestra sometimes has additional opportunities to perform.

“We took a tour freshman year to Idaho and Utah,” Kovach said. “It was a lot of being on a bus, but it was fun getting to know [the other musicians] and perform with them as more of a unit,” Kovach said.

Preparation for a concert is endless practicing and rehearsing. Each musician practices their part individually, Kovach said. Then in group rehearsals, all of the individual pieces are integrated together until the orchestra masters the piece, which Kovach describes as feeling “glorious.”

And the result of Symphonic Shakespeare was glorious, Watkins said.

“They always make it exceptional,” Watkins said. “I’m so glad I went. I would recommend going to anybody.”

 

Courtney Murphy

Staff Writer

Club Update: Pep Band

Pep Band is a new club in its first year at Whitworth. At the end of last semester, sophomore Madison Artis and a group of fellow music enthusiasts were determined to start a Pep Band, even though no group had been successful in starting one in the past. Once the group gained support from the school, they became an official club.

So far, the band has played at three football games, and hope to continue to play at basketball games after football season is over. The band plays classic pep songs, popular music, and also a newly-arranged version of the Whitworth fight song.

The Pep Band brings spirit and liveliness to football games, and hopes to someday expand to be a full-sized band. The band’s goal for next year is to play at the homecoming football game, and to invite alumni musicians to play with them.

If you have any questions about Pep Band or want to join, contact Madison Artis.

 

Courtney Murphy

Staff Writer

Audience roars at main stage musical

“The Drowsy Chaperone,” Whitworth Theatre’s fall production, is a comedy. Or a musical. Or both. As the tagline says, it is a “musical inside a comedy.” Directed by Brooke Kiener, the play focuses on a man who is listening to old musical records in his apartment. The man, played by senior Mitch Heid, becomes the guide and interrupter of the musical that is playing on his old record.

Senior Sarah Nadreau as the Drowsy Chaperone. Janik Emmendorfer | Photographer

The musical unfolds before the audience, and it constantly pokes fun at stereotypical musicals from the 1920s. It features stereotypical characters such as the gangsters who deal primarily in puns, drunken damsels and slightly racist women seducers.

The musical within the play, aptly titled “The Drowsy Chaperone,” follows a young couple on the verge of getting married, although Janet Van de Graaff, played by senior Lise Hafso, is having second thoughts between her successful career on the stage and the marriage which would cause her to dismiss her career. There are various capers and goofiness related to the marriage.

The main piece to the musical, believe it or not, were the musical pieces that were performed throughout the night. The live pit band, featuring 11 current or former Whitworth students and led by Scott Miller, played various instruments and songs to keep up with the actors and actresses on stage.

A total of 12 songs were performed during the play; each one had choreography, lyrics and set pieces that were added and subtracted throughout. The memorization of the entire production alone is impressive.

The cast, featuring 17 students, had a steady grasp on the play as far as the audience could tell, as well as the crew who ran the lights, the sets, the costumes and all of the many moving parts of this production.

Perhaps the crowd favorite from the night was Aldolpho, the womanizing Spanish man who seduces the chaperone under the pretense of her being the bride. Played by sophomore Tommy Bochi, the accent, dim-wittedness and clumsy antics kept the crowd entertained in all the scenes where Aldolpho is present.

However, the sheer talent of all the characters was pretty staggering.

“The play was really good,” junior Jansen Leggett said. “Even though my high school did it was still really fun to watch.”

The play was fun and was looking for laughs. However, at the very end of the play, it even is able to pull on the audience’s heartstrings a little bit. The man who is leading the audience through the musical suddenly reveals why he has such an affinity for a cheesy musical from 1928. This point is hit home surprisingly well, despite the general goofiness of the play.

The Whitworth theater department will also have several more productions coming up throughout this year. If you want to get involved or find more information, the theater department is located in Cowles Auditorium or more information can be found on Whitworth’s website.

“It is really great that we don’t need to travel very far to see great productions,” junior Savanna Jenkins said. “We don’t have to go to Broadway or anything like that to have fun.”

Sophomore Weston Whitener in his role as Feldzieg

“The Drowsy Chaperone” will continue to run on campus until Saturday, Oct. 18.

Jacob Millay

Staff Writer