DOCSLIB.ORG

MARGARET GARNER a New American Opera in Two Acts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MARGARET GARNER a New American Opera in Two Acts Richard Danielpour MARGARET GARNER A New American Opera in Two Acts Libretto by Toni Morrison Based on a true story First performance: Detroit Opera House, May 7, 2005 Opera Carolina performances: April 20, 22 & 23, 2006 North Carolina Blumenthal Performing Arts Center Stefan Lano, conductor Cynthia Stokes, stage director The Opera Carolina Chorus The Charlotte Contemporary Ensemble The Charlotte Symphony Orchestra The Characters Cast Margaret Garner, mezzo slave on the Gaines plantation Denyce Graves Robert Garner, bass baritone her husband Eric Greene Edward Gaines, baritone owner of the plantation Michael Mayes Cilla, soprano Margaret’s mother Angela Renee Simpson Casey, tenor foreman on the Gaines plantation Mark Pannuccio Caroline, soprano Edward Gaines’ daughter Inna Dukach George, baritone her fiancée Jonathan Boyd Auctioneer, tenor Dale Bryant First Judge , tenor Dale Bryant Second Judge, baritone Daniel Boye Third Judge, baritone Jeff Monette Slaves on the Gaines plantation, Townspeople The opera takes place in Kentucky and Ohio Between 1856 and 1861 1 MARGARET GARNER Act I, scene i: SLAVE CHORUS Kentucky, April 1856. …NO, NO. NO, NO MORE! NO, NO, NO! The opera begins in total darkness, without any sense (basses) PLEASE GOD, NO MORE! of location or time period. Out of the blackness, a large group of slaves gradually becomes visible. They are huddled together on an elevated platform in the MARGARET center of the stage. UNDER MY HEAD... CHORUS: “No More!” SLAVE CHORUS THE SLAVES (Slave Chorus, Margaret, Cilla, and Robert) … NO, NO, NO MORE! NO, NO MORE. NO, NO MORE. NO, NO, NO! NO MORE, NOT MORE. (basses) DEAR GOD, NO MORE! PLEASE, GOD, NO MORE. NO, NOT MORE. DEAR GOD, NO MORE! MARGARET (confidently, with a sense of defiance) WISHING, PRAYING... NO, NO! NO MORE! NO, NO! NO MORE! SLAVE CHORUS MARGARET … NO, NO! NO, NO MORE! … (basses) DEAR GOD, NO MORE! ANKLES CIRCLED WITH A CHAIN... MARGARET SLAVE CHORUS … I WAS DEAD. …NO, NO. NO, NO MORE! NO, NO MORE! (tenors and basses) PLEASE, GOD, NO MORE! THE SLAVES (Slave Chorus, Cilla, and Robert) MARGARET NO, NO. NO, NO MORE! NO, NO. NO MORE! SKIN BROKEN BY A CANE... NO, NO, NO! DEAR GOD, PLEASE, NO MORE! SLAVE CHORUS SLAVE CHORUS …NO, NO! NO MORE! (without Cilla and Robert) NO, NO. NO MORE! DEAR GOD, NO MORE, NOT MORE. MARGARET PLEASE, NO MORE. BLOODY PILLOWS... 2 MARGARET THE SALE OF ALL GOODS BLOODY PILLOWS UNDER MY HEAD; AND CATTLE AND WOODLAND, WISHING, PRAYING I WAS DEAD. SLAVES AND PLANTING FIELDS DARK WITH LOAM. THE SLAVES I HEREBY DECLARE AND ALLOW (Slave Chorus, Cilla, and Robert) AN OLD ESTATE RICH IN HISTORY IS NOW ON THE MARKET PLEASE GOD, NO MORE. FOR A GENTLEMAN'S POCKET; A PRIZE IN THE WHOLE COUNTY. MARGARET YOUR SHREWD EYES WILL LIGHT UP DOLLAR FOR DOLLAR, MASTER'S BRAND IS FOLLOWING ME; POUND FOR POUND, ROPE CAN SWING FROM ANY OLD TREE. THE BESTEST VALUE FOR MILES AROUND. THE SLAVES (A foreman approaches the slaves. He cracks a (Slave Chorus, Cilla, and Robert) bullwhip, and the slaves immediately assume different positions for inspection: they bare their teeth, expose (pleading) their backs, stretch out their necks, etc.) PLEASE GOD, NO MORE. PLEASE GOD, NO MORE. PLEASE GOD, NO MORE. THE TOWNSPEOPLE NO MORE! (White Chorus) **** HOW MUCH? HOW MUCH? FOR PICKNIES AND MAMMIES AND BREEDERS AND BUCKS? The lights go up, and illuminate the entire stage. The HOW MUCH? HOW MUCH? “elevated platform” on which the slaves stood at the WHAT SAY? WHAT SAY? beginning of the opera is revealed now to be a trading FOR MILKING AND PLOWING block situated in the middle of a busy town square in AND SPINNING AND CANNING AND SUCH. Kentucky. It is April 1856. In preparation for a slave auction, members of slave families are being separated O, WHAT A PROBLEM TO DECIDE. from one another, and grouped according to gender O, WHAT A BURDEN ON OUR SHOULDERS: and age. FOR THOSE WHO HAVE NOTHING, ARE NOTHING, DO NOTHING EXCEPT FOR WE WHO CLOTHE THEM AND The local townspeople are gathering eagerly for the FEED THEM auction. They exhibit a small-town mentality: familiar AND LET THEM SLEEP WHEN THEY ARE ILL. with everyone else's daily life and business, they love WE TEACH THEM ALL THEY WILL EVER to gossip and at times can be judgmental of others. KNOW, Also in the crowd of onlookers is a handsome, genteel ALL THEY WILL EVER KNOW man named Edward Gaines, accompanied by his OF GOD AND WORK AND HOME! daughter Caroline. AUCTIONEER AUCTIONEER (freely chanted) BY THE POWERS INVESTED AND BY CUSTOMS INGESTED, BY THE POWERS INVESTED I HEREBY DECLARE AND ALLOW AND BY CUSTOMS INGESTED THIS SALE TO BE NOW OPEN! I HEREBY DECLARE AND ALLOW: 3 TOWNSPEOPLE FOUR HUNDRED, FOUR HUNDRED DOLLARS... WHAT SAY? WHAT SAY? FOR MILKING AND PLOWING TOWNSPEOPLE AND SPINNING AND CANNING AND SUCH. (excitedly) HOW MUCH? HOW MUCH? FOR PICKNIES AND MAMMIES AND BREEDERS ...FOUR HUNDRED, FOUR HUNDRED, FOUR AND BUCKS, HUNDRED, FOUR HUNDRED, WHO KNOW NOTHING OF GOD AND HOME! FOUR HUNDRED! AUCTIONEER EDWARD GAINES (bringing forth the first slave for sale) (impatient, forcefully) NOW THIS HERE IS CILLA. HOLD ON! HOLD ON! ABOUT FIFTY, SHE THINKS. I'M TELLING YOU TO HOLD ON! A COOK, A CHILD NURSE, LAUNDRESS AND SEAMSTRESS. TOWNSPEOPLE THIS BID BEGINS AT TWO HUNDRED (startled, a little nervously) DOLLARS. DO I HEAR TWO FORTY, TWO FORTY, TWO WHO IS IT? WHAT IS IT? FORTY, TWO FORTY? WHO IS IT? WHAT IS IT? (A customer raises his hand, thereby upping the bid.) AUCTIONEER (polite, but annoyed) TOWNSPEOPLE (emphatically) EXCUSE ME, SIR. LEGAL BUSINESS IS IN PROGRESS HERE. TWO FORTY! BY THE POWERS INVESTED, AND BY CUSTOMS INGESTED... AUCTIONEER YES! EDWARD (interrupting the Auctioneer) TWO HUNDRED FORTY. DO I HEAR ...I BEG YOUR PARDON! THREE HUNDRED, THREE HUNDRED, THREE HUNDRED? THIS FARM BELONGED TO MY BROTHER. I NEED THREE HUNDRED DOLLARS. IT CAN'T BE SOLD TO ANOTHER. TOWNSPEOPLE AUCTIONEER (enthusiastically) IT IS TRUE. THREE HUNDRED! IF A FAMILY MEMBER CALLS THE CLAIM, NO SALE CAN TAKE PLACE HERE AND NOW. AUCTIONEER YES! EDWARD THREE HUNDRED DOLLARS. I AM A GAINES. DO I HEAR EDWARD GAINES, BROTHER OF THE FOUR HUNDRED, FOUR HUNDRED, DECEASED. 4 AUCTIONEER (increduously) DON'T YOU REMEMBER ME? IT IS TRUE. IT IS THE LAW. TOWNSPEOPLE (their curiosity aroused) TOWNSPEOPLE (echoing the Auctioneer) EDWARD GAINES? WHO IS HE? DID OLD GAINES HAVE A BROTHER? IT IS TRUE. IT IS TRUE. WHO IS HE? EDWARD GAINES? IT IS TRUE, IT IS THE LAW. EDWARD AUCTIONEER I WAS BORN AMONG YOU WE MUST ENTERTAIN HIS RIGHT UNDER THE AND NOW I'VE RETURNED. LAW. DOESN'T ANYONE REMEMBER ME? TOWNSPEOPLE TOWNSPEOPLE UNDER THE LAW. UNDER THE LAW. NO. NO. NO. WAS IT A LONG TIME AGO? AUCTIONEER EDWARD WHAT IS YOUR PLEASURE, MISTER GAINES, SIR? YOU THOUGHT I WAS LOST, DIDN'T YOU, IN A ROUGH LIFE OF THE GAME. (solicitously) YOU WERE WRONG. WHAT PARTS INTEREST YOU? (WELL, NO, YOU WEREN'T …) WELL, YES, YOU WERE! EDWARD ARIA: I WANT IT ALL. “I Was Just a Boy” I'LL HAVE IT ALL. EVERY BOX OF CHINA TEA BELONGS TO ME. EDWARD EVERY BODY, EVERY BROOM, EVERY MULE AND EVERY LOOM. I WAS JUST A BOY WHEN ANY OF YOU LAST SAW ME. (pointing at the slaves) BUT I'VE BEEN HAPPILY MARRIED WITH A DAUGHTER WE BOTH ADORED. KEEP ALL THE GOODS AND PROPERTY TOGETHER. NOW I'M A WIDOWER, A MAN OF MEANS, I'LL HAVE IT ALL. A FATHER WITH A CHILD TO RAISE. (The auctioneer and Edward shake hands after WHAT MY BROTHER OWNED agreeing on terms for the sale of Maplewood I HAVE RIGHT OF FIRST OFFER TO BUY. Plantation. As Edward examines the legal paperwork, WHICH I DO NOW, FRIENDS. the townspeople begin to disperse. Several prominent WHICH I DO NOW. businessmen remain to witness the transaction, as does Edward's daughter Caroline, who will inherit Maplewood one day.) 5 * * * * WE CAN STILL ATTEND WITH SWEET WILLIAM AND COLUMBINE. (The slave families, now allowed to stay together thanks to Edward's generosity, celebrate in dance and song.) SLAVE CHORUS SWEET WILLIAM AND COLUMBINE. CHORUS: “A Little More Time” SLAVE CHORUS, CILLA, and ROBERT SLAVE CHORUS, CILLA, MARGARET, and LITTLE MORE TIME ROBERT A LITTLE MORE TIME (clapping as they sing) MORE TIME WITH THE CHILDREN WE LOVE... A LITTLE MORE TIME (altos) A LITTLE MORE TIME ...TIME WITH OUR MOTHERS. MORE TIME WITH THE CHILDREN WE LOVE... (all) (tenors) ...TIME WITH OUR BROTHERS. WE FEEL THE MERCY OF OUR LORD GOD WITH THE GRACE OF A LITTLE MORE TIME. (all) (Gaines nods in assent to the contract’s terms, then WE FEEL THE MERCY OF OUR LORD GOD turns to the businessman standing next to him and asks WITH THE GRACE OF A LITTLE MORE TIME. for a pen with which to sign the contract.) CILLA and MARGARET ARIOSO: “I Made a Little Play Doll” ANOTHER SEASON OF FRIENDSHIP TELLING STORIES, SHARING SECRETS BY THE MARGARET FIRE. (tenderly) I MADE A LITTLE PLAY DOLL FOR MY BABY, SLAVE CHORUS WITH BUTTON EYES AND HAIR OF YARN; THE LIPS ARE MADE OF ROSE-COLORED WE FEEL THE MERCY OF OUR LORD GOD THREAD. WITH THE GRACE OF A LITTLE MORE TIME. (Distracted, Edward looks up from his paperwork; he turns around and notices Margaret, who is wearing a MARGARET red scarf. He is intrigued, and grateful for his good fortune to have just purchased her.) MORE NIGHTS TO CURL LIKE A VINE IN OUR HUSBAND’S ARMS. ONE DAY SHE WILL LOVE IT; I AM WAITING FOR HER TO LOVE IT ROBERT (Edward turns around again, and finishes signing the MORE DAYS TO BASK IN THE LIGHT contract.
Load more

Recommended publications
  • DISCUSSION of the NEW OPERA MARGARET GARNER at the NATIONAL CONSTITUTION CENTER As Part of the Members Only Constitution Culture Club Series
    FOR IMMEDIATE RELEASE CONTACTS: Denise Venuti Free Ashley Berke Director of Public Relations Public Relations Coordinator 215.409.6636 215.409.6693 [email protected] [email protected] DISCUSSION OF THE NEW OPERA MARGARET GARNER AT THE NATIONAL CONSTITUTION CENTER As part of the members only Constitution Culture Club series PHILADELPHIA, PA (January 26, 2006) – Members of the National Constitution Center will have the chance to discuss the new American opera Margaret Garner on Thursday, February 16 from 6:00 p.m.-7:30 p.m. The opera, based on one of the most significant slave stories in pre- Civil War America, marks the debut collaboration of composer Richard Danielpour and Nobel Prize-winning author Toni Morrison, and stars renowned mezzo-soprano Denyce Graves in the title role. Admission is free, but the Culture Club is limited to National Constitution Center members only. Please call the membership line at 215.409.6767 to reserve your place. Margaret Garner, presented by the Opera Company of Philadelphia, tells the story of a runaway slave, who tragically made the decision to sacrifice her own children when facing recapture rather than see them returned to slavery. Her trial became the subject of national debate, addressing issues of constitutional law and human rights. Participants are expected to see the opera prior to attending the Culture Club meeting. The National Constitution Center obtained a 10% discount for Garner Culture Club participants. Please contact The Opera Company at 215.732.8400 or visit www.operaphilly.com for more information. The Culture Club is an exclusive offering for members of the National Constitution Center.
    [Show full text]
  • Anger Led to 8 Boone Co. Lynchings
    6A ❚ TUESDAY, MAY 1, 2018 ❚ THE ENQUIRER Anger led to 8 Boone Co. lynchings Mark Curnutte Cincinnati Enquirer USA TODAY NETWORK Geography and prevailing anger among former Confederate soldiers were major reasons Boone County was the site of eight lynchings of black men during the 1870s and 1880s. The lynchings occurred from 1876 through 1885, which one historian re-fers to as an “intense 10-year period.” “For the time period, we had a pre-carious location, 40 miles of river-front” with free states Indiana and Ohio to the west and north, said Hillary Delaney, local history services associate at the Boone County Public Library. “This county aggressively tried to keep slaves in the state.” After the Civil War, a band of Con-federate army veterans organized loosely in Walton at the Gaines Tavern, which still stands today on Old Nicholson Road. “A segment of the population was intent on keeping slaves in their place,” Delaney said. “The lynchings were driven by these people from the Walton-Verona area. They fed off each other. They got people out of jail or just found them on their own.” Four of the eight documented lynchings of black men in Boone County are commemorated on a monument in the National Memorial for Peace and Justice in Montgomery, Alabama. Billed as the first of its kind, the memorial that opened last month names 4,400 known African-Americans lynched during a 70-year reign of racial terror beginning in 1877. The names are inscribed in a 6-foot, rust-colored steel monument that hangs vertically – like a body – from the ceiling in the open-air memorial.
    [Show full text]
  • RIVERFRONT CIRCULATING MATERIALS (Can Be Checked Out)
    SLAVERY BIBLIOGRAPHY TOPICS ABOLITION AMERICAN REVOLUTION & SLAVERY AUDIO-VISUAL BIOGRAPHIES CANADIAN SLAVERY CIVIL WAR & LINCOLN FREE AFRICAN AMERICANS GENERAL HISTORY HOME LIFE LATIN AMERICAN & CARIBBEAN SLAVERY LAW & SLAVERY LITERATURE/POETRY NORTHERN SLAVERY PSYCHOLOGICAL ASPECTS OF SLAVERY/POST-SLAVERY RELIGION RESISTANCE SLAVE NARRATIVES SLAVE SHIPS SLAVE TRADE SOUTHERN SLAVERY UNDERGROUND RAILROAD WOMEN ABOLITION Abolition and Antislavery: A historical encyclopedia of the American mosaic Hinks, Peter. Greenwood Pub Group, c2015. 447 p. R 326.8 A (YRI) Abolition! : the struggle to abolish slavery in the British Colonies Reddie, Richard S. Oxford : Lion, c2007. 254 p. 326.09 R (YRI) The abolitionist movement : ending slavery McNeese, Tim. New York : Chelsea House, c2008. 142 p. 973.71 M (YRI) 1 The abolitionist legacy: from Reconstruction to the NAACP McPherson, James M. Princeton, NJ: Princeton University Press, c1975. 438 p. 322.44 M (YRI) All on fire : William Lloyd Garrison and the abolition of slavery Mayer, Henry, 1941- New York : St. Martin's Press, c1998. 707 p. B GARRISON (YWI) Amazing Grace: William Wilberforce and the heroic campaign to end slavery Metaxas, Eric New York, NY : Harper, c2007. 281p. B WILBERFORCE (YRI, YWI) American to the backbone : the life of James W.C. Pennington, the fugitive slave who became one of the first black abolitionists Webber, Christopher. New York : Pegasus Books, c2011. 493 p. B PENNINGTON (YRI) The Amistad slave revolt and American abolition. Zeinert, Karen. North Haven, CT : Linnet Books, c1997. 101p. 326.09 Z (YRI, YWI) Angelina Grimke : voice of abolition. Todras, Ellen H., 1947- North Haven, Conn. : Linnet Books, c1999. 178p. YA B GRIMKE (YWI) The antislavery movement Rogers, James T.
    [Show full text]
  • Toni Morrison's the Bluest
    Bloom’s GUIDES Toni Morrison’s The Bluest Eye Biographical Sketch Raised in the North, Toni Morrison’s southern roots were deliberately severed by both her maternal and paternal grandparents. Her maternal grandfather, John Solomon Willis, had his inherited Alabama farm swindled from him by a predatory white man; as a consequence of this injustice, he moved his family first to Kentucky, where a less overt racism continued to make life intolerable, and then to Lorain, Ohio, a midwestern industrial center with employment possibilities that were drawing large numbers of migrating southern blacks. Her paternal grandparents also left their Georgia home in reaction to the hostile, racist culture that included lynchings and other oppressive acts. As a result, the South as a region did not exist as a benevolent inherited resource for Morrison while she was growing up; it became more of an estranged section of the country from which she had been helped to flee. As is evident in her novels, Morrison returned by a spiritually circuitous route to the strong southern traditions that would again be reinvigorated and re-experienced as life sustaining. The future Nobel literature laureate was born Chloe Ardelia Wofford at home in Lorain, Ohio, on February 18, 1931, the second child and daughter to George and Ella Ramah Willis Wofford. Two distinguishing experiences in her early years were, first, living with the sharply divided views of her parents about race (her father was actively disdainful of white people, her mother more focused on individual attitudes and behavior) and, second, beginning elementary school as the only child already able to read.
    [Show full text]
  • Et Moi, Tituba, Sorcière Noire De Salem (Maryse Condé) Kathleen Gyssels
    « Sages sorcières? » Révision de la mauvaise mère dans Beloved (Toni Morrison), Praisesong for the Widow (Paule Marshall), et Moi, Tituba, sorcière noire de Salem (Maryse Condé) Kathleen Gyssels University Press of America, Inc. [copyright informatiοn] I would like to thank Stephen E. James, for his trust in this long-range affair, Colleague Tom De Herdt for his precious help with the layout, Neighbour and poet Elie Rodenbach, for revising the manuscript. I dedicate this work to my beloveds, Manon and Peter April 2000 Table des matières Introduction ................................................................................................................................... xi Chapitre 1 Légitime Défense d'une nouvelle Renaissance .......................................................... 1 1.1 « Trace the New Web » .......................................................................................................... 1 1.2 Marshall, Morrison et Condé: passeuses de langue, tisseuses de liens................................... 4 1.3 Marshall, Morrison et Condé: veilleuses du lieu .................................................................... 8 1.4 Dossa et Doxa....................................................................................................................... 10 1.5 Sages sorcières?.................................................................................................................... 16 Chapitre 2 L'exil, entre l'ancrage et la fuite..............................................................................
    [Show full text]
  • John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
    2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll.
    [Show full text]
  • Interdisciplinary Resource for Engagement with the History of Universities and Slavery This Project Builds on Research on Xavier
    Interdisciplinary Resource for Engagement with the History of Universities and Slavery This project builds on research on Xavier University’s ties to the American institution of slavery by Professor Walker Gollar, and available on Xavier University Library’s “LibGuides: Fenwick History: Home.” A key reason for universities to study their relationship to slavery in America is to engage members of their communities in discussions about the implications of slavery for themselves and their institutions today. Xavier faculty members Norman Townsel (Counseling) and Christine Anderson (History) have created a tool to assist in teaching and reflection on their university and slavery. The result is a timeline with two threads that pair history (events in Xavier’s development that reveal its links to enslavement and the local context of those events) with resources for reflection on that history (suggestions for personal, group and musical reflection linked to the history thread of the timeline). This interdisciplinary approach addresses some of the difficulties confronting us as we seek to encourage deeper and more complex encounters with the links between universities and enslavement. For example, historians are able to share information and analysis of the ways universities such as Xavier were and are implicated in racial slavery and the unresolved problems that are left to us. Yet it is often difficult for historians to explain why university communities should explore such a painful subject. Educators in the field of counseling, on the other hand, are skilled at facilitating constructive conversations about sensitive topics, including moral and psychological aspects of a society and institutions reliant on human bondage.
    [Show full text]
  • Searching for Slavery: Fugitive Slaves in the Ohio River Valley Borderland, 1830–1860
    Searching for Slavery: Fugitive Slaves in the Ohio River Valley Borderland, 1830–1860 Matthew Salafia Ohio Valley History, Volume 8, Number 4, Winter 2008, pp. 38-63 (Article) Published by The Filson Historical Society and Cincinnati Museum Center For additional information about this article https://muse.jhu.edu/article/568165/summary [ Access provided at 28 Sep 2021 21:47 GMT with no institutional affiliation ] 41„ I. Ai12* St) I... i. l 461 * PG 4 1 . r 1, 2 $ 4. 9 V. 4 1 . j 41,1' f : 4, L# A l 3 S. i S I. ' I. %.1 ' 3 1 h . f. I. f.. I I 1 k r 4 r Formerslavequarters the on Winston place,Burlington Boone County,Kentucky,1868 THE FL SON HISTOR(AL SOC ET i Searching for Slavery Fugitiue Slaues in the Ohio River Valley Borderland,1830-1860 Matthew Salafia n the 18505, Richard Daly enjoyed considerable freedom for a man I in bondage Daly lived in Trimble County, Kentucky, on a planta- tion along the Ohio River owned by two brothers, Samuel and George Ferrin Daly worked on the farm and regularly attended the market in free of Indiana He Madison, across the river in the nominally state mar- ried Kitty, a house servant from a neighboring plantation, and they had four children before Kitty died in childbirth at the age of twenty Daly protected his family as best he could and visited his children nightly According to Daly's later description, in the 1850s he yearned to be free, 38 OHIO VALLEY HISTORY MATTHEW SALAFIA but he also recognized that despite his enslaved status he still enjoyed some opportunities and autonomy.
    [Show full text]
  • Dr. Everett Mccorvey— Founder & Music Director
    Dr. Everett McCorvey— Founder & Music Director Everett McCorvey, is a native of Montgomery, Alabama. He received his degrees from the University of Alabama, including a Doctorate of Musical Arts. As a tenor soloist, Dr. McCorvey has performed in many venues, including the Kennedy Center in Washington, D.C., the Metropolitan Opera in New York, Aspen Music Festival in Colorado, Radio City Music Hall in New York and in England, Germany, Italy, Spain, Japan and the Czech and Slovak Republics. During the summers, Dr. McCorvey is on the artist faculty of the American Institute of Musical Study (AIMS) in Graz, Austria. Dr. McCorvey currently holds the rank of Professor of Voice and Director of Opera at the University of Kentucky in Lexington, KY. Sopranos Tenors Performers Sonya Gabrielle Baker Alfonse Anderson Tedrin Blair Lindsay, Angela Brown Andreas Kirtley Pianist Jeryl Cunningham Albert R. Lee Calesta Day James E. Lee, Jr. Everett McCorvey, Founder Alicia M. Helm Phumzile Sojola and Music Director Hope Koehler Ervy Whitaker, Jr. Ricky Little, Assistant Andrea Jones-Sojola John Wesley Wright Conductor Amira Hocker Young Peggy Stamps, Janinah Burnett Basses Dancer/Stage Director Keith Dean James E. Lee, Company Altos Lawrence Fortson Manager Claritha Buggs Earl Hazell Lisa Hornung Ricky Little Hope Koehler Tay Seals Sherry Warsh Kevin Thompson Bradley Williard Baritone Thomas R. Beard, Jr. Kenneth Overton Soloist Biographies Alfonse Anderson, Tenor Dr. Alfonse Anderson, Vocal Area Coordinator and Associate Professor of Voice at University of Nevada Las Vegas received his bachelor and master's degrees in music from Texas Southern University, and DMA in voice and pedagogy from the University of Arizona.
    [Show full text]
  • ONSTAGE Today’S Performance Is Sponsored By
    CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE Today’s performance is sponsored by with additional sponsorship support by COMMUNITY ADVISORY COUNCIL The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective. Nancy VanLandingham, chair Bonnie Marshall Lam Hood, vice chair Pieter Ouwehand Melinda Stearns Judy Albrecht Lillian Upcraft William Asbury Pat Williams Lynn Sidehamer Brown Nina Woskob Philip Burlingame Deb Latta student representatives Eileen Leibowitz Brittany Banik Ellie Lewis Stephanie Corcino Christine Lichtig Jesse Scott Mary Ellen Litzinger CENTER FOR THE PERFORMING ARTS AT PENN STATE and Throne Games, LLC / Phoenix Entertainment present Book and Lyrics by Music by Alan Jay Lerner Frederick Loewe Original Production Directed and Staged by Moss Hart Based on The Once and Future King by T.H. White Scenic Design Costume Design Lighting Design Sound Design Kevin Depinet Paul Tazewell Mike Baldassari Craig Cassidy Musical Direction Musical Supervision/Add’l Orchestrations Casting Marshall Keating Steven M. Bishop Mark Minnick Director of Operations Marketing Director Technical Supervisor Lisa Mattia Aleman P.R./Phillip Aleman Scott Orlesky Production Stage Manager Company Manager J. Andrew Blevins Deborah Barrigan Directed by Michael McFadden CAMELOT is presented by arrangement with Tams-Witmark Music Library, Inc. 560 Lexington Avenue New York, NY 10022 EXCLUSIVE TOUR DIRECTION by THE ROAD COMPANY 165 West 46th Street, Suite 1101, New York, NY 10036, (212) 302-5200 www.theroadcompany.com www.camelottour.com www.phoenix-ent.com 7:30 p.m.
    [Show full text]
  • History in the Making 2013
    HISTORY IN THE MAKING California State University, San Bernardino Journal of History Volume Six 2013 Alpha Delta Nu Chapter, Phi Alpha Theta National History Honor Society History in the Making is an annual publication of the California State University, San Bernardino (CSUSB) Alpha Delta Nu Chapter of the Phi Alpha Theta National History Honor Society, and is sponsored by the History Department and the Instructionally Related Programs at CSUSB. Issues are published at the end of the spring quarter of each academic year. Phi Alpha Theta’s mission is to promote the study of history through the encouragement of research, good teaching, publication and the exchange of learning and ideas among historians. The organization seeks to bring students, teachers and writers of history together for intellectual and social exchanges, which promote and assist historical research and publication by our members in a variety of ways. Copyright © 2013 Alpha Delta Nu, California State University, San Bernardino. Original cover art by Caitlin Barber, Copyright © 2013 History in the Making History in the Making Table of Contents Introduction _________________________________________ v Acknowledgements ____________________________________ ix Editorial Staff ________________________________________ xi Articles A Historiography of Fascism by Glenn-Iain Steinbeck ________________________________ 1 Black Stand-Up Comedy of the 1960s by Claudia Mariscal __________________________________ 27 Shared Spaces, Separate Lives: Community Formation in the California Citrus Industry during the Great Depression by David Shanta _____________________________________ 57 California and Unfree Labor: Assessing the Intent of the 1850 “An Act for the Government and Protection of Indians” by Aaron Beitzel ____________________________________ 101 Imagining Margaret Garner: The Tragic Life of an American Woman by Cecelia M.
    [Show full text]
  • ©2007 Caryl Mcfarlane ALL RIGHTS RESERVED
    2007 Caryl McFarlane ALL RIGHTS RESERVED “CLAIMING OWNERSHIP OF THAT FREED SELF:” TONI MORRISON’S AMERICAN COUNTER-NARRATIVE by CARYL MCFARLANE A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Literatures in English written under the direction of Professor Abena P.A. Busia and approved by ______________________________ ______________________________ ______________________________ ______________________________ New Brunswick, New Jersey October, 2007 ABSTRACT OF THE DISSERTATION “CLAIMING OWNERSHIP OF THAT FREED SELF:” TONI MORRISON’S AMERICAN COUNTER-NARRATIVE By CARYL MCFARLANE Dissertation Director: Professor Abena P.A. Busia This dissertation lends its voice to the works of those scholars who have used Morrison‟s numerous interviews, essays, and other works of non-fiction to navigate their reading of her prose. Focusing specifically on the similarity of historiographic approaches between The Black Book, Morrison‟s one historical project, and her fiction, I assert that all of Morrison‟s novels can be read as historical texts. The Black Book is comprised of variegated pieces of memorabilia, gathered by the authors from collectors, “people who had the original raw material documenting our life” (“Rediscovering” 15). It is, therefore, a (re)collection of pieces of memory, documented and undocumented. Although Morrison‟s first four novels, do not conform to the traditional definition of the historical novel in “recall[ing] a life which no longer exists,” they are based on the same method of historical (re)collection employed in The Black Book, each incorporating documented and undocumented pieces of memory and memorabilia (Christian 328).
    [Show full text]