Name withheld by request
Nice tribute to Franco. Somebody had to say it, glad to see it was Brian Smith. He is a refreshing addition to New Times. Of course, it's easy reading when you share some of the same views and experiences as the writer. I was at most of those shows you mentioned.
Name withheld by request
Just wanted to say I enjoyed Brian Smith's column about Franco and the Mason Jar. It's disappointing (and very much unlike Franco) to be so quiet about his decision to sell the Mason Jar. But it was nice to read a story that wasn't bashing him for once. Say what you will about Franco -- and everybody has an opinion about him; I myself have mixed feelings -- his was the first non-Spanish club to give our music genre, Spanish rock, a break. Hardly any other club (exceptions being Hollywood Alley, Boston's on occasion, and the now-defunct Limelight) is willing to "take a risk" with its regular patrons and book Spanish rock bands. Maybe it was because Franco himself was an immigrant, or maybe he just didn't have the narrow mind that is customary in the Valley music scene. Regardless, all of us in that scene appreciated the chance to show we could rock just as hard -- and just as well -- as the Anglos. He gave us a chance first, and judged us afterward -- instead of the other way around, as most Valley clubs do.
I was disappointed to hear about the sale of the Jar, but I hope that the new owners keep his open-minded attitude. Thanks again, Franco!
Leticia de la Vara
via Internet
Wage Freeze
I was a state employee for many years. When the Legislature infrequently gave us a raise, it always talked in terms of 1 or 2 percent, and it was a battle at that ("Working Stiffs," Amanda Scioscia, March 23). On top of the Legislature's general stinginess, it usually insisted that the increase received by individual employees be based on performance and not given across the board. What an insult to see that the Legislature, with the session drawing to a close, is about to grant judges another large pay increase without even mentioning performance, fairness to other employees, or what other workers are receiving. The increase, at 17.5 percent, is totally out of line. A Superior Court judge will end up making $136,600. People should hold their legislator's feet to the fire on this vote.
Arlene Bansal
Phoenix
Measurement
My partner and I attended Arizona State University's production of Measure for Measure ("An Update Named Disaster," Robrt L. Pela, March 2). We have attended, and enjoyed, several of ASU's previous shows this year, most recently the following evening's production of Pippin, and found them almost uniformly well-staged, directed and performed. However, without having read Pela's review of March 2, I can certainly attest to his analysis of this production (as evidenced by the response from Edward Carroll in the March 16 issue).
Before addressing the obvious shortcomings of the production, let me state that I am a theater arts graduate, and have spent the past 30-some years involved in every aspect of theatrical production, most recently in direction and technical direction. During this time, I have been involved in more than 100 productions in Indiana, Oregon, Virginia and Alaska, in professional, semiprofessional, college and community theater, and have probably attended an additional 300 productions. In all that time, this production of MFM marks only the second time I have walked out in the middle of a show! It is inconceivable to me that a fine theater program such as that at ASU would stage such a travesty. On to specifics:
1) Nontraditional casting has its place, namely to open up opportunities not normally afforded some performers, and to add spice to a sometimes bland performance. It should not, however, be used as a tool to bludgeon the audience or to satisfy a director's personal curiosity. In this case, the cross-gender, cross-racial, cross-handicap proclivities of the director served only to muddle an already complex theatrical offering.
2) A "voice and speech coach" was credited in the program. As if burdening the obviously ill-prepared cast with the unenviable task of translating Shakespearean iambic pentameter into Southern American English wasn't bad enough, the enunciation and projection were so bad that, had I not been familiar with the plot, I would have left the theater at intermission still unaware of what crime Claudio had committed.
3) The introductory sequence (exposition?) had me completely confused, and seemed to serve only as a vehicle to provide two performers the opportunity to showcase their musical abilities, leaving me with precious little to further my understanding of the following events.
4) The performance lacked any sense of pacing, blocking or motivation (key essentials to providing the foundation necessary to understand and interpret the action).
Enough! Suffice it to say, I believe the student performers were shortchanged in their efforts to participate in a positive educational experience by a shortsighted directorial endeavor. I will not be attending any further shows directed by Beverly Smith-Dawson. Perhaps she should stick to lecturing (her staff position at ASU). Oh, and by the way, kudos to the set designer, who provided the only positive moments in an otherwise horrible theatrical outing.
Charles Sowder
via Internet
