6 Hyde Park Herald, February 26, 2014“The Nightingale” opening Pressure on assault policyBy JENNET POSEYHerald InternThe Hyde Park School of Dance (HPSD)will present an original production of HansChristian Andersen’s “The Nightingale” at 7p.m. on Saturday, March 15 and at 2 p.m. onSunday, March 16 at the Logan Center, 915E. 60th St.The performance by HPSD, 5650 S.Woodlawn Ave., is an adaptation of the 1843fairy tale about a Chinese emperor and hismechanical nightingale. It features more than80 student dancers ages 7 to 18 backed bynarration and music from Russian composerModest Mussorgsky’s “Pictures at anExhibition” and “Night on Bald Mountain.”Rehearsal director Aimee Tye says she isimpressed at how well the students haveprogressed under a tight rehearsal schedule.“Our students always do this,” she said.“They always bring the ballets to a new leveland they just make it theirs.”According to HPSD founder and ArtisticDirector August Tye, the production has beena community effort involving HPSDstudents, their parents and volunteers:“There’s an army of people who believe inthis mission.”Tickets are $20 for general admission and$10 for children ages 5 to 18, seniors andstudents with ID. Admission is free forchildren younger than 5. For moreinformation, visit hydeparkdance.org or call773-493-8498.herald@hpherald.comHyde Park School of Dance Artistic Director August Tye works with student Drew Henry ata rehearsal for its March production of “The Nightingale.”Jennet PoseyBy LINDSAY WELBERSStaff WriterUniversity of Chicago alumni havesubmitted an open letter to their alma materdemanding sexual assault policy reform thatthey called for in the 1990s.In a letter to U. of C. President RobertZimmer dated Feb. 13, a group calledAlumni for a Student Assault Policy said“We are deeply concerned that shortcomingsthat we identified in our university’sapproach to sexual violence when we werestudents apparently still persist. We hope thatthe US Department of Education’s Office forCivil Rights (OCR) investigation will be thecatalyst to meaningful, permanentimprovements in both the response to andprevention of sexual assault.”Last month, OCR said it would beinvestigating the university for mishandlinga student’s sexual assault complaint andviolating her rights under Title IX, whichbans sex-based discrimination.The letter says in 1996 and 1997 thenstudentsformed Action for a Student AssaultPolicy (ASAP) and the Coalition AgainstSexual Violence (CASV) “to address whatwe perceived as an urgent need for reform inhow our university prevented and respondedto sexual and other forms of assault. Theorganizations were created in reaction tofrustration with what we believed were theadministration’s mishandled and inadequateresponses to both sexual assaults andassaults against minority students.”The letter argues that at the time that ASAPwas formed “allegations of assault wereoften handled by administrators with little orinadequate training in rape crisis response.Investigations, when conducted, wereusually channeled through campus securityrather than the Chicago Police Department.Campus police and student health servicesregularly failed to follow best practices whenresponding to allegations of sexual assaultcrimes, resulting in loss of evidence andinadequate care. Victims were offeredrelocation and “mediation” with theirassailant, whom they might see in classagain the next day.”Alumni are invited to add their signature tothe letter at bit.ly/1fnY6Sf.Last June, Olivia Ortiz filed a federalcomplaint with the OCR after shecomplained to the university that said shehad been assaulted by her-then boyfriend.Ortiz said was pressured into an “informalmediation” where met face-to-face with herassailant and the Dean of Students SusanArt. Informal mediation is a process thatviolates both university procedures andTitle IX of the Education Amendment of1972 of the Civil Rights Act, which banssex-based discrimination in all educationprograms or activities that receive financialassistance.Last month the OCR expanded itsinvestigation campus-wide.The university in response created a fulltimeposition for a dedicated specialist whowould work under the dean of students andspecialize in cases of sexual assault andmisconduct on campus. The position hadpreviously been part-time.Ortiz has been appointed to a studentadvisory board with resources to work onsexual violence prevention on campus andemergency student response systems.l.welbers@hpherald.com
February 26, 2014, Hyde Park Herald 7“Ain’tMisbehavin’”RECOMMENDEDWhere: Porchlight Music Theatre atStage 773, 1225 W. Belmont Ave.When: through March 9Tickets: $43.50Phone: 773-327-5252By ANNE SPISELMANTheater CriticPorchlight Music Theatre is cannilycelebrating Black History Month withMurray Horwitz and Richard Maltby,Jr.’s “Ain’t Misbehavin’,” the 1978 smashmusical revue devoted to Thomas Wright“Fats” Waller, the prolific entertainer whocomposed more than 400 songs before dyingat 39 in December, 1943.And what a lively celebration it is!Directed and choreographed by BrendaDidier, the five performers are in highoctanemode and perpetual motion from thetime they open with the title number untilthe end of a second-act medley of Waller’sgreatest hits, among them “I’m Going to SitRight Down and Write Myself a Letter,” “ICan’t Give You Anything But Love,” “It’s aSin to Tell a Lie,” and “Honeysuckle Rose.”Practically the only time they slow down isfor the oh-so-melancholy “Black andBlue,” the beautifully harmonizedensemble number that always brings a lumpto my throat.The conceit — that we’re at an after-hoursparty in a Harlem basement in the winter of1944 — comes across, deliberately or not,in the raucous, rough-edged nature of thewhole evening. I could wish for a little lesschoreography, more control, and lowervolume, but maybe that’s partly because Iwas sitting in the front row. Tucked oneither side of Jeffrey D. Kmiec’s simple set,the talented combo — Chris Thigpen onbass, Michael Weatherspoon on drums,Shaun Johnson on trumpet, Rajiv Halim onsax — is comparatively unobtrusive,though conductor/pianist Austin Cook isclose to center stage most of the time,enthusiastically attacking the ivories as astand-in for Waller.The diverse repertoire evokes the era witheverything from “Lounging at the Waldorf”to “When the Nylons Bloom Again,”arguably reveals a streak of self-hatred in“Your Feet’s Too Big” and “Fat andGreasy” and includes the requisite raunchysongs that depend on sexual doubleentendre as well as more straightforwardblues and jazz pieces and a mini tutorial onstride piano. One of my favorites is “TheViper’s Drag,” performed to a T byDonterrio Johnson, the obvious dancer inthe ensemble.The others are Robin Da Silva, SharrieseHamilton, Lina Wass and Lorenzo Rush,Jr., who bears a real resemblance to Waller,whose picture is on the wall. Each has hisor her fine moments, though theperformances are a little uneven. So are thetechnical elements, especially Bill Morey’scostume design, which suits the men fairlywell but saddles the women with somefrightfully unflattering frocks and gowns.So, should you go see this “Ain’tMisbehavin’”? Well, if you like Waller’smusic and don’t expect a slick production,it’s not a bad way to warm up from thecold.“Gypsy”RECOMMENDEDWhere: Chicago Shakespeare TheaterCourtyard Theater, Navy PierWhen: through March 23Tickets: $45-$88Phone: 312-595-5600In most of the productions of “Gypsy”I’ve seen, Mama Rose is the iconic stagemother from hell relentlessly pushing herdaughters to succeed in show business outof her own failed ambition. But at ChicagoShakespeare Theater, director Gary Griffinhas a much more complicated vision for theanti-heroine of the 1959 musical by ArthurLaurents (book), Jule Style (music) andStephen Sondheim (lyrics), and actressLouise Pitre brings it to life brilliantly.Essentially, we watch Rose in the processof becoming a monster as her goal ofmaking Baby June, and later Louise, avaudeville star seems to come within reach,then repeatedly is thwarted, often by herown belligerent behavior. At first, she justwants to get out of the house and on theroad with the girls — she’s called a pioneerwithout a frontier — and as she pleads withPop (John Reeger) for money, Pitre conveysa combination of vulnerability and steelydetermination. She doesn’t have apowerhouse singing voice, and that actuallymakes Rose’s solos — “Some People,”“Everything’s Coming Up Roses,” andfinally “Rose’s Turn” — all the more potentand poignant.We never doubt that Rose loves June (ErinBurniston), the oft-neglected Louise(Jessica Rush), and even devoted, longsufferingHerbie (Keith Kupferer, letterperfect), and that shows in Pitre’s gentlegood humor during the duets “SmallWorld” and “You’ll Never Get Away FromMe,” as well as the delightful trio “TogetherWherever We Go.” We understand whyHerbie cares for her, root for him to win herhand, and despair with him when hersingle-mindedness goes beyond acceptablelimits.As the disappointments pile up, Pitrecaptures Rose’s increasingly desperatedrive and deepening denial. She’s no morecapable of accepting that vaudeville isdying than she has been of acknowledgingthat her daughters have grown up and thatthe same “Baby June and Her Newsboys”act — with slight variations hilariouslystaged — no longer serves, not that it wasvery good in the first place.When the ultimate insult of being bookedinto a burlesque house leads to Louise’sSee THEATER on page 8Musical Hyde ParkAbove: Student musician and pianist Ryan Dahn (left)takes some direction Thursday evening from awardwinningpianist Lisa Kaplan during a Master Class at theUniversity of Chicago’s Fulton Hall 1010 E. 59th St.Spencer BibbsRight: (Left to right) Lizabeth Bistrow, violin; DanielGolden, viola; Elaine B. Smith, piano, and Van Bistrow,cello, performed at the Blackstone Library, 4904 S. LakePark Ave., last Wednesday evening.Owen M, Lawson III