Sin, punishment, consequence-The Scarlet Letter. This brilliant and unusual adaptation of the classic novel has a decidedly contemporary slant. Pearl, Hester’s illegitimate daughter, is played by an adult woman and as the Narrator for the play. The play preserves the familiar story of Hester Prynne, Roger Chillingworth and Arthur Dimmesdale while casting a modern perspective on its tragic events.Professional actress Kathryn Smith-McGlynn will take on the iconic role of Hester for the UTEP production. Kathryn has guest starredin: Friday Night Lights, In Plain Sight and As The World Turns.

Photos courtesy of The University of Texas at El Paso

UTEP Wise Family Theatre – Fox Fine Arts

Admission:  $13 Adults; UTEP Faculty/Staff, Seniors | $11 Military, Groups (10+), Alumni (with card), Non UTEP Students | $9 UTEP Students

For further information:  http://theartedance.utep.edu  (915)747-5146 or (915)747-5118

By Camilla Carr

October marks the month-long celebration of world-renowned El Paso artist Tom Lea.  It was with great intrigue and delight that Kathryn-Smith McGlynn and myself accepted an offer by Adair Margo of the Tom Lea Institute, to create and perform a play that would pay homage to this famous artist.

What I look for before agreeing to go forward with a writing projects is this: will I enjoy spending time with this character and can I get a structure out of their life, accomplishments or life choices (good or bad). I need the drama of their lives to provide me with what it takes to create a structure. Because I am going to be spending, at the very least, 6 months to year writing and developing the story, I personally need to first be intrigued and curious, not to mention absolutely committed. So I started right after the first of the year reading about Tom Lea.

From the beginning, Adair and I decided that we would focus on the first part of Tom Lea’s life and the people who influenced him in El Paso, New Mexico and Chicago’s famed Art Institute. As a teenager who regularly visited Santa Fe, Tom met the young artist Fremont Ellis, a member of Los Cinco Pintores, who made a gigantic impression on him, as Fremont’s entire life’s focus was to paint. Unlike the other established painters, Fremont took young Tom very seriously. Fremont’s belief in young Tom as an artist confirmed Tom’s belief in himself. Later, after Tom returned west, he wanted to do something for Fremont to express his appreciation, so he painted a portrait of Fremont’s daughter, ten-year-old Bambi Ellis.

At some point, Adair mentioned that her friends, Joann and Dan Longoria, have a young daughter named Libby, who actually looks like Bambi Ellis in the portrait Tom Lea painted, which hangs in the El Paso Museum of Art. I had already started writing the play and there was no ‘Bambi Ellis’ character in it.  When Adair told me this, I thought, well this will be quite a departure from the scene that starts the play now, but it might be a lot more interesting and fun for the play if we opened with ‘Tom’ and ‘Bambi,’ creating not only exposition, but wonderful dialogue between the artist trying to make a picture and a little girl who is having a hard time sitting still. So I rewrote it fast, because Libby had to have something to come in and audition with. I was equally delighted (and relieved!) that indeed, Libby does look like Bambi Ellis and she gave a terrific reading.  The part was cast.

Early on, I had this idea that the characters in the play be dressed as closely as possible like the real people, seen either in the works of art by Tom Lea or in the photographs Adair has shared with me. I knew exactly who to ask for help in selecting the proper clothing selection.  I went immediately to ARMOIRE, a local clothing boutique and begged storeowner Edwardo Herrera to HELP!!!

He got me a glass of water and sat me down on his wonderful sofa and asked me about the characters. We Googled the Bambi Ellis portrait and we both knew we were never going to find that dress. Edwardo stated, “Well, I will make it.” And proceeded to do so.

Not only has Edwardo made the Bambi Ellis dress, he has put together almost all the outfits for all of the characters. He has pulled from his store, visited thrift stores, and altered when needed. The great actor, Ray Baker, who plays Tom Lea, had no sooner arrived from New York than we learned that he, my partner (artist James Magee) and I were invited by Adair to attend the FEMAP Gala honoring Guadalupe De La Vega. I went tearing over to Edwardo’s to see WHAT could be done to get a suit for Ray (who had come directly from another job back East and had not carried formal wear with him!)  Edwardo was literally pinning up the beautiful black suit that the “Mr. Lea” character is going to wear in the play. He took out the pins, hemmed up the cuffs and it fit Ray perfectly! That suit went to the gala on Ray and makes a return appearance on Algernon D’Ammassa, who plays “Mr. Lea” in the play.

We were very fortunate to be able to secure from designer Zayra Estrada, the dress that will be worn by actress Rebecca Rivas, who plays Tom’s second wife, Sarah.  The “Sarah in the Summertime” dress has been immortalized in every book and brochure about Tom Lea. Zayra made this dress for last year’s Tom Lea Month and is reproducing it to be worn by Rebecca Rivas as “Sarah Lea” in our production.

James Magee is letting us use the hat given to him by Patricia Knop, the great writer and widow of filmmaker Zalman King (9 1/2 Weeks, The Red Shoes Diaries). Zal was honored here at the Plaza Classic Film Festival a few years before his death. This hat will be worn by Algernon’s “Mr. Lea.” Mary Jane Windle’s “Mrs. Lea” will be wearing Mary Jane’s grandmother’s luxurious mink stole as well as my mother’s Charles Jourdan shoes. Rebecca Rivas’ “Sarah Lea” will wear my grandmother’s crystal earrings and necklace and mother’s old Maud Frizon pumps with stars on the bows on the back. Cerris Morgan-Moyer will wear a gown that belonged to her grandmother back in England…Like Tom Lea; we will wear our memories on stage and in our hearts.

Photographed by Laura Bustillos

About the writer:

Camilla Carr

Co-Founder/Co-Artistic Director of Frontera Repertory Theatre Company and Writer/Director of TOM LEA:  Grace Note in a Hard World

Camilla Carr has written many works for long-form television involving true life stores or stories which are either based or inspired by some kind of reality, such as High and Mighty for Dolly Parton, Nobody Lives Forever adapted from Pulitzer Prize crime journalist Edna Buchanan’s novel, The Black Swan by Nobel Prize Laureate Thomas Mann, as well as her current project, developing and adapting Janice Woods Windle’s bestselling novel Hill Country as a mini-series.  The play All About Bette:  An Interlude with Bette Davis, will open in Spanish, in Caracas, Venezuela starring the renowned la gran diva, Mimi Lazo, January 17, 2014.  “Five-time Tony Award-winning producer, Michael A. Jenkins, will bring All About Bette, starring Morgana Shaw as “Bette,” to New York in the spring, 2014.”

Myth No. 2: The El Paso Symphony is exclusive. The El Paso Symphony is for everyone.  Our audience is as diverse as our community and you do not have to know anything about classical music to attend a concert. However, if you wish, there are several ways you can enhance your enjoyment of the concert and learn about the program before attending. Program notes are available on our website at www.epso.org. You can also sign-up on our website to receive Bohuslav’s personal notes prior to each concert. Opening Notes,presented by resident conductor Andy Moran,is offeredone hour prior to each classical concert in the Philanthropy Theatre. These informal and interactive discussions will give you the inside scoop on the compositions, composers and guest artists.

Part 1

By Rosemary Flores

The El Paso Symphony Orchestra has been the cultural cornerstone of our community for 83 years. Yet many El Pasoan’s have never experienced the beauty, magic and excitement of a live classical performance. There are many reasons for this… most of which are based on misconceptions. We want to take the five most commonly heard misconceptions, debunk them for you and give you a reason to join us and experience the magic of a live concert performed by El Paso’s finest musicians under the baton of our new dynamic leader, Bohuslav Rattay!

 Myth No. 1: Classical music is boring.Classical music can be romantic, passionate, powerful, full of life, love and tragedy. This season the El Paso Symphony is performing works that are inspiring, thought provoking and transforming.

We highly recommend you join us at our opening concerts on September 20 and 21 featuring pianist Vadym Kholodenko, Gold Medal winner of the Van Cliburn International Piano Competition, performing Tchaikovsky’s Piano Concerto No. 1. An article in the Dwight’s Journal of Music, (an influential publication in 19th century American musical circles,) called the work a “difficult, strange, wild, ultra-modern Russian Concerto.”  The article also called it extremely brilliant, bizarre at times, and exciting, and asked the question, “could we ever learn to love such music?” We believe we have, as the concerto is now an audience favorite.

The program also includes Tchaikovsky’s Symphony No. 6. Tchaikovsky declared that he had put his “whole soul into this work.”  We have appropriately titled this concert a “Heart of Gold” performance.

By Lauren Pinson

La Union is an understatedly beautiful place with farmlands to your left and your right, pumpkin fields visited by children and the young at heart, and the foothills of the Rockies in the distance. This quaint little town is a New Mexican treasure, home to the oldest vineyard in the state, intricate corn mazes that draw crowds from miles around, and the Border Art Residency Program, enriching lives and supplying opportunities for new and upcoming visual artists.

The BAR has been around for over 15 years, serving as a support system and safe haven for one contemporary artist each year to explore and refine his or her craft.  The seriously talented  Pizana Roberts, BAR’s 2013-14 resident and a self-proclaimed “Spanglish” artist, is spending her days out in La Union exploring creative avenues that might make any artist uncomfortable. Roberts is not only an artist with a passion for art, identity, and culture, but a person who is discerning of human nature and breaking down barriers of an uptight society.

Roberts’ work revolves around body politics and the exploration of sexuality through the use of skin suits that she dons in a symbolic yet blatant rebellion against social norms. Her pieces also bring awareness to the bizarre statuses our society finds acceptable and our obsession with bodily perfection through the use of food and the folds, creases, bumps, lumps, curves and crevices visible in her skin suits. She describes her pieces as artifacts of obsession in themselves due to the time, money and effort it takes to create them. Her art is literally a part of herself as Roberts’ personality speaks through the skin suits as she performs. There is a visceral experience to seeing her work, and unless you see it first-hand, it is almost impossible to describe.

How was the application process and waiting to be chosen for the Border Art Residency?

I think most artists dread the application process; each application is different and requires unique information. I value the experience, since it encourages new work.  In my application I wrote about my future endeavors and how I would accomplish those goals. The process motivated me to think about the work I have done and where I want to go.

How many people did you compete against for this opportunity?

I’m not really sure how many people applied. Nevertheless, I know one of my closest friends received a high score. It’s always great to share these application opportunities with your friends because it makes the process less grueling. I like to think that artists are not just competing with each other, but celebrating each other’s efforts.

What do you think was the main reason they chose you?

I think they chose my work because it’s extremely interdisciplinary and relevant to our contemporary culture. The type of artwork I make is absurd. The amount of time and money that I invest from making the garments to the video production is endless. The constructions of the garments themselves are artifacts of obsessiveness: cut and sewn by machine, then worn and altered by hand while wearing them on my body.  I can’t think of a better way to represent our social fascination with bodily perfection.  Furthermore, the video works that I assign to each of my body suits activate the meaning behind my inspirations. Everything from lighting, sound and camera angles are intentionally presented. Overall, my work is very complex, and I like to think that they chose me because they believe in my vision. I’ve been told that my work is both compelling and devastatingly funny. I certainly hope that people are able to connect with my work in this way.

What is your main goal for this upcoming year?

My main goal this year is to complete five new works while sharing all of my insight with students at UTEP. Since I will be teaching in the fall, I plan to divide my time up between the residency, school and my family.

What is your favorite media, or combination of media, to use?

My first love will always be sculpture, since you can feel and hold the material itself. Materials tell their own stories and I enjoy listening and learning from them. My second favorite media is video because I’m still learning so much from it. I find the editing process the most rewarding. I enjoy telling stories and attempting to bridge the great disconnect between live performance and video. Nonetheless, anyone who has worked in video will tell you that it’s a risky medium because it can be easily erased, lost, or damaged.  Either way, I like taking risks. How else can we grow?

What role does your culture play in your art?

Culture is a big word that people use to define who they are; culture is often tied to ideas of authenticity. The notion that authenticity exists can be very dangerous because it can encourage stereotypes and ignorance. On the other hand, “authentic culture” is a way to recognize the value of lost traditions. Sometimes I wonder if there is such a thing as authenticity or culture. In a world full of multiculturalism, hybridity is how I make sense of the world and myself. I think food is one of the most direct associations to culture, which is why I integrate it in my garments.

In “Ay Papi,” for example, Rosarita is made with pinto beans, which might be considered a Mexican food. Pinto beans are also a symbol for hybridity, since the color of the beans is both light and dark. Additionally, Rosarita is seen singing and dancing to a Puerto Rican song, which could be considered an embracing gesture towards the Latin culture. On the contrary, her action of pulling out burritos can simultaneously represent the rejection of all of these things.  I’m fascinated with the idea of canceling oneself out and not knowing where to stand.  I think this position is the most susceptible to learning, growing and appreciating one another. As Duchamp states, “You see, I don’t want to be pinned down to any position. My position is the lack of position.”

How do you want everyone to see you and your art?

I want people to see me as an artist who is always evolving and willing to explore new ideas. I’d like people to see themselves in my work. To encourage this, I create skin suits and scenes to portray my characters’ points of view. My work is not only aimed to represent the woman’s perspective, but also the human condition. We are all living and participating in a community that exploits the human body through sweatshop labor, sports, entertainment, etc. Many artists in the past and today explore these ideas to better understand the world and each other.

View more of her work at www.jessicapizanaroberts.com