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(07/25/02 8:23pm)
Friends and colleagues use one word repeatedly to describe Amy Birnbaum and her singing talents -- amazing. Birnbaum, a 20-year-old sophomore, will appear this weekend in a production of "A Chorus Line" at the John Waldron Arts Center, 122 S. Walnut St. \nA native of Long Island, N.Y., Birnbaum began performing professionally during high school. She started by reading Backstage, an industry trade magazine full of audition information and tips for amateurs. She took a homemade demo CD to famous Manhattan cabarets such as Don't Tell Mama, Danny's, Firebird and Skylight. Her persistence paid off when Birnbaum landed a gig as the youngest regular performer at Don't Tell Mama. \n"I did everything -- arranged the music, found instrumentalists, created and posted flyers," Birnbaum said. "I spent hours and hours putting it all together, but it was so worth it to me."\nOne connection she established while working for Don't Tell Mama remains close to her heart. After paying her musicians, she donated all the proceeds from her cabaret shows to the Broadway Cares/Equity Fights AIDS organization. In February, she chose to accept a job singing backup for Christina Aguilera in Miami as part of a private concert partially benefiting BC/EFA. Birnbaum said her weeklong break from school marks the first time she has let her professional life take precedence over her academic studies at IU.\n"One nice thing about Bloomington being far away from New York City is that you have to focus on the work here," professor George Pinney said. Pinney teaches in the Department of Theatre and Drama and sponsors Birnbaum in the Individualized Major Program, in which her emphasis is musical theater. Pinney said he agreed to sponsor Birnbaum after working with her last year in IU's production of Stephen Sondheim's "Into the Woods." Pinney said he and Birnbaum's working relationship cemented during the run of the show. \n"She has huge willpower and is a very accessible person," Pinney said. "But, above all, she has an incredible talent, is very versatile, intelligent and self-motivated." \nAlthough Birnbaum focuses on her studies during the school year, she freelances for the Fifi Oscard agency in New York and plans to spend her summers performing cabaret at Don't Tell Mama. The Fifi Oscard agency arranged for Birnbaum to audition for an MTV video and the Christina Aguilera gig -- both of which she landed. \nEqually important to Birnbaum is improving her natural abilities while at IU through work in musicals such as "Into the Woods" and "A Chorus Line." Fifi Oscard allows her to work for them on a freelance, noncontract basis. If she had a contract, Birnbaum could not participate in local productions. \n"Right now, I really want to get my education," she said. "I am going to be in New York City the rest of my life."\nCast members of "A Chorus Line" are fellow students and coworkers. Seniors Lauren Fagone and Nick Pupillo, both ballet majors, said they have befriended Birnbaum during rehearsals. \nPupillo, "A Chorus Line's" choreographer, heard about Birnbaum when friends informed him of her performance in "Into the Woods." He said Birnbaum lived up to her reputation at the auditions for the musical. \n"She was such a powerful singer," Pupillo said. "I did not know what to say after her audition. I was so pumped about her being in the show." \nIn the show, Birnbaum plays Val (famous for crooning "Tits and Ass"), and Fagone plays Cassie. During rehearsals, Fagone and Birnbaum mentored each other in their respective crafts of dance and vocal technique. \n"She has this unending generosity and a lot of motivation and dedication to help others," Fagone said. \nHer passion to help others was noted by Pupillo. "The thing about Amy -- I get so excited when I talk about her -- not only is she amazingly talented, but she will go out of her way to help anyone," he said.\nBirnbaum's desire to help others comes from her attitude toward artists. While she will be the first to admit she wants to succeed on her own merits, Birnbaum said she wants nothing to do with people "in the industry" who try to sabotage instead of assist one another. \n"In this profession people are so competitive. I really enjoy other people's talents and I learn so much from them," she said. "People are going to be better than you and being bitter about that is not going to get you anywhere." \nBirnbaum's often noted "amazing talent" garners accolades from strangers as well as friends and family. \n"I sang the National Anthem at a Knicks game once in high school and Woody Allen was sitting right in front of me," Birnbaum said. "When I was finished, he told me, 'Great job, kid."
(06/14/01 12:50am)
Ballet is an art form that requires its performers to appear effortless in their work. But a 1975 study conducted by Dr. James Nicholas reported that ballet was more demanding, physically and mentally, than football or hockey.\nAccording to a three-year study of the dancers of the Boston Ballet Company, 60 to 65 percent of injuries dancers sustain each year are caused by "overuse." Ruth Solomon, formerly a professor of modern dance at IU, conducted the study with Dr. Lyle Micheli. \nSolomon said having a physical therapist on site for dancers is key in preventing injuries. She said when injuries treatable through means such as icing and heat are not properly taken care of from day one, they can become major problems that could one day require surgery. With a ballet department ranked as one of the best undergraduate programs next to Juilliard, she said it is in IU's interest to employ a trainer to keep its dancers well-worked bodies in tip-top shape. \nMegan Richardson, a masters student in kinesiology and athletic training, is the trainer for the department for the 2000-2001 academic year. Richardson is in a training room of the Musical Arts Center everyday and in attendance at all performances. \nFor the dancers, her on-site availability is crucial in helping prevent and repair injuries. While a variety of exercises and treatments are undertaken by the dancers to avoid major injuries, Richardson agrees with Solomon's findings. She said the most common problems for dancers she sees, such as sprains and stress fractures, are because of over-working the feet and ankles.\nViolette Verdy, associate professor of music and previously a principal dancer with the New York City Ballet, said one cause of injury for young dancers is that they are not yet mature enough to know their limits.\n"Often, these young dancers do not learn their limits until they get injured because they are very optimistic about pushing themselves harder. Doctors are very smart sometimes to put them in a little cast to get them to stop," Verdy said.\nBut a cast on their ankle or foot for a few weeks will not cause the dancers to stop entirely. Everyday, IU's dancers chose to work through the pain. One even chose to dance on an ankle sprained a mere twenty-four hours prior to her performance in this years production of the Nutcracker. The choice might not seem as surprising when considering the daily strain put on a dancer's body.\nLinda Hamilton, a clinical psychologist and author of the book "Advice for Dancers," said dancers learn to put up with pain very early in their training. While being in good shape and having correct technique help in preventing injuries, Hamilton said many dancers deny they have a problem until it is too late.\n"Injury prevention should be an integral part of every program," she said.\nIn addition to personal treatment by Richardson, IU's training room provides the dancers with an abundance of basic medicinal needs such as ace bandages. But the majority of machines and exercises are designed specifically for use by dancers. Along with heat and ice pads, a number of household items are on hand to help the dancers stretch and strengthen their muscles and ligaments. Dancers roll their feet over tennis balls to work out arches, knots and cramps and use "toe pads" while on pointe to protect bunions.\nLike top athletes, the dancers in IU's program are physically strong. They are required to take a number of classes and attend a variety of rehearsals each week. Ballet classes typically run from 11 a.m. to 6 p.m. This schedule allows them to take full advantage of the university's academic classes in the morning and focus on dance in the afternoon and evening. There are breaks in between, often spent working out muscles and joints in the training room while munching on pretzels, candy and soda. Bloomington native Molly Diemer regularly gets scar tissue from a previous injury rubbed out -- painfully, she said -- by Richardson.\nAfter watching a full day's activities from pointe class to multiple rehearsals as well as treatment by Richardson, the question that must be asked of these athletes is, "Why?" Why do they choose to take part in such a competitive and physically demanding field? Most answer that their dream is to dance professionally.\nFor senior Lauren Ryland, the dream of dancing professionally has been achieved. Raised in Chicago by her mother and grandmother, she has been dancing since the age of three. Her grandmother spent years dancing in Vaudeville and was determined to have Lauren love dancing as much as she did. A lover of jazz and modern dance, Ryland hated ballet for years because of the discipline it required. \n"I detested it but now I am doing it because of the physical challenge of it and to get back in shape for any type of performing career," she said. \nOn performing ballet, she said, tweaking the body into such contortionist, nearly impossible positions, is almost stunt work. \n"I love the challenge of it," Ryland said. "It really increases your endurance for everything."\nYears spent dancing with high profile schools in the Midwest and New York City, as well as a short stint with the Connecticut Ballet, have left Ryland with chronic ankle tendinitis, arthritis in her feet and a fallen left arch. Admittedly, ballet causes her more soreness than any other sport. \n"But your threshold for pain maxes out and you learn to ignore it for your love of dancing," she said. \nJulie Kent, a principal dancer with the American Ballet Theatre in New York City, said part of dancing professionally is having the maturity. Specifically, to have the maturity to distinguish between chronic pain and the normal amount of fatigue and burning that results from using your body to extremes on a daily basis. A frequent guest artist at IU, along with fellow ABT dancer Jose Carreno, Kent is a strong supporter of IU's program because she feels its bond is like that found in professional companies. "The logistics are not here," she said. "The dancers do not tour together, get paid or perform every night, but the family atmosphere and spirit are present."\nThis spirit contributed to junior Kelly Sloan's decision to attend IU instead of Juilliard. \n"People thought I was crazy to not go there, but they just think of the name Juilliard. I liked how IU's emphasis was on ballet with no modern," she said. Plus, IU gave her the opportunity to earn a "back-up" degree even though Sloan, like most of the dancers in the program, plans to attempt a professional career.\nA late bloomer, Sloan, did not begin ballet until she was 12 years old. But her late entry into the field, in addition to the pain of sprained ankles and tendinitis, has not diminished her love of ballet.\n"There is no way I can stop. I can't imagine not dancing everyday. I don't want to imagine it," she said.
(04/25/01 5:16am)
This May commemorates the one-year anniversary of the Von Lee Theatre closing its doors for business. The famed neon Von Lee sign that used to illuminate Kirkwood across from the Sample Gates is now in storage.\nDespite its lack of business during the last year, many residents, professors and students have fond memories of the theatre that used to show independent and art films. When the theatre closed, its owner, Kerasotes, said construction on Kirkwood Avenue caused traffic and profits to dwindle. After the Von Lee's closing by the Springfield, Ill.-based company, the Bloomington Historic Preservation Commission quickly designated the 71-year-old theatre a historic site. The designation protects the building from demolition.\nWith the lights out and profits nonexistent, Kerasotes is still deciding what to do with the theatre. Tom Swafford, IU's director of space management, said Kerasotes has approached the University to see if it is interested in purchasing the theatre.\nBut people within the University remain divided as to how to best use the property. A number of students and faculty in the film and television department would like the Von Lee purchased to support local film series such as City Lights and Ryder. Senior Erik Gibson, director of the Union Board film series, wants IU to buy the theatre as a place to highlight more independent films. \n"It would provide a great opportunity to show more, different kinds of films in Bloomington in a historic theatre," Gibson said.\nIU's office of space management is looking to use the three theatres as lecture halls. \n"Our only reason of considering it is to fill an increased demand for lecture space," Swafford said. Although University administrators have made no decision as to whether they will purchase the Von Lee Theatre, IU has sent its architects and engineers to look at the building in order to provide a condition report.\n"We are not precluding anything but primarily want it for use as lecture rooms. We have a number of venues for films now," Swafford said in response to critics who wish the space to remain a venue for film exhibition.\nOnce construction of the Neal Marshall theatre center is completed, Swafford mentioned the possibility of renovating the Indiana University Theatre into a lecture room for use by the film studies department.\nDrew Todd, a graduate student in film studies at IU who helped found the City Lights Film Series, said he understands the University's need for more lecture space. \n"Why couldn't the space be used for both? Look at spaces like the Whittenberger," Todd said.\nThe last Bloomington theatre owned by Kerasotes, the Indiana/Buskirk-Chumley, was donated to the community with the stipulation that films not be shown in the facility. Kerasotes, like any business, wants to limit competition in the marketplace.\n"They have methodically built a monopoly," Todd said.\nChris Sturbaum, chairman of the Bloomington Historic Preservation Commission, said he believes an IU-owned and operated Von Lee Theatre would be a great place for the community and University to meet on neutral territory. \n"If IU insisted on keeping the theatre open, it could build town and University relations. I think IU is a big enough dog to insist they be able to use it as a theatre venue," he said.\nAssuming Kerasotes will sell IU the Von Lee to use in any capacity and that IU will choose to showcase films in the Von Lee's three theatres, people are divided on whether it will benefit the University and the greater Bloomington community or not.\n"Unlike other large university towns in the United States, Bloomington doesn't have a proper art or retrospective movie theatre, and it badly needs one," associate professor James Naremore said. A faculty member in the Department of Communication and Culture, Naremore is a guest professor this semester at the University of Chicago. As a result, he said he knows little about the University's discussions with Kerasotes, but he hopes IU will purchase the Von Lee for use as a venue for films and related events that would be culturally beneficial to both IU and the Bloomington community.\nHarry Geduld, former IU professor and founder of IU's film studies program, agrees with Naremore that the University needs a proper major motion picture theatre. Geduld has personal and professional connections to the Von Lee, having met his wife there in 1963. He said the Von Lee's location right next to the University is a plus because both the space and location are perfect for IU. \n"We would help build up audiences for Kerasotes because the more films you see, the more you are interested in them," Geduld said. \nOf course, IU could not afford to rent and show the major motion pictures Kerasotes can.\nThis lack of a permanent facility in which to view films has not stopped the Gourman Report from ranking IU as the fifth best graduate program in radio/television/film after the University of Southern California, the University of California at Los Angeles, New York University and Northwestern University. Geduld said he believes this ranking is an extraordinary achievement considering the competition.\n"I have been to USC and UCLA," Geduld said. "USC has a new film on campus every day provided by the studios."\nAlthough far from the Hollywood hills and large production studios in California and New York, IU's arts programs are widely recognized. The film studies program is not alone in its national recognition. IU's School of Music is regarded as one of the best worldwide.\nThis ranking, along with a lack of a permanent venue for screening films, caused associate professor Susanne Schwibs to chuckle.\n"It is sort of like saying we have a great fine arts program but no museum space to show work," Schwibs said. "People have to rent rooms to show their work. It doesn't make sense."\nTodd said the lack of a permanent viewing space denies the students and community a place to gather.\n"Without a fixed venue, there is no way for the community and students to intersect and think critically and be entertained by the film medium," he said. \nTodd said he sees a world of opportunities in the prospect of IU purchasing the Von Lee and does not foresee any disadvantages. \n"There is an opportunity to bring together a number of disciplines," he said. One example he proposed was for the architecture program to research and restore the theatre to its original style.\nThe Von Lee's three theatres could be used for many purposes from classes to guest lectures and film screenings. But all of this is speculation. IU might not try to convince Kerasotes to allow it to purchase and use the facility for anything besides lecture space. \nIf the University decides to make the Von Lee a multi-purpose space and succeeds in showing student and independent films on its screens, Sturbaum said, "Kerasotes could really come out looking good, even though they shouldn't"