[arcadia_group] Re: The game plan- READ

  • From: Christopher Jones <cjones20@xxxxxxxxxxxxxxxxxxx>
  • To: arcadia_group@xxxxxxxxxxxxx
  • Date: Mon, 4 May 2009 22:25:40 -0400

Here's what I have so far.  If I am unable to do more to my slides, I will
at least cover everything in my presentation part.

Sorry, guys.


On Mon, May 4, 2009 at 10:09 PM, Christopher Jones <
cjones20@xxxxxxxxxxxxxxxxxxx> wrote:

> hey guys
> my stuff is coming
> life is quite unpredictable.  my boyfriend was beaten and robbed tonight.
> ill have my slides in just a bit
> On Mon, May 4, 2009 at 4:43 PM, Thomas Barrows <
> tbarro1@xxxxxxxxxxxxxxxxxxx> wrote:
>> got it thanks
>> On Mon, May 4, 2009 at 2:22 PM, William Robinson <
>> wrobin3@xxxxxxxxxxxxxxxxxxx> wrote:
>>> Hey Tom, here's my slide.
>>> On Sun, May 3, 2009 at 5:31 PM, Christopher Jones <
>>> cjones20@xxxxxxxxxxxxxxxxxxx> wrote:
>>>> i am in the same boat.
>>>> i just had a super busy and shitty weekend that i just need to move past
>>>> at this point.
>>>> what time are we meeting again?
>>>> i am getting off work now, and need to go home and change and stuff.
>>>> if it's at 6, im going to be a bit late.  i apologize
>>>> On Sun, May 3, 2009 at 3:37 PM, R NOEMER <kevinnoemer@xxxxxxxxxxx>wrote:
>>>>> Okay, I might not have my slides at the meeting. I have all of my
>>>>> information, minus a few exact references from the script that I have to
>>>>> write out, but I have a very solid amount of information typed up in a 
>>>>> Word
>>>>> document to look at when I put my slides together. But if I don't get my
>>>>> slides done before the meeting, I can easily finish them afterwards when I
>>>>> get home and then email them to Tom. I figure so long as we figure out the
>>>>> order and everything, putting my slides in afterwards is as easy as copy 
>>>>> and
>>>>> pasting. I'll try to get them done, but yeah, this weekend hasn't gone
>>>>> exactly as I had planned it.
>>>>> Kevin
>>>>> ------------------------------
>>>>> Date: Fri, 1 May 2009 20:30:56 -0400
>>>>> Subject: [arcadia_group] Re: The game plan- READ
>>>>> From: tbarro1@xxxxxxxxxxxxxxxxxxx
>>>>> To: arcadia_group@xxxxxxxxxxxxx
>>>>> hey guys i was thinking bring your slides on a thumbdrive or email it
>>>>> to yourself and when we get together on sunday we can put them together 
>>>>> with
>>>>> all of us there. T
>>>>> On Fri, May 1, 2009 at 5:03 PM, R NOEMER <kevinnoemer@xxxxxxxxxxx>wrote:
>>>>> Hey, sorry guys. I didn't get around to checking my email in the last
>>>>> two days. I was lucky enough to get mono from God knows where. Hooray!
>>>>> Anyways, I should have my slides done by Sunday. I've got a couple more
>>>>> articles to read through, but this is more or less the only work I have, 
>>>>> so
>>>>> I'm not really too stressed about it. Also, Dan you seem to know a good 
>>>>> deal
>>>>> about the math in the play, so if you have any thoughts you'd like to 
>>>>> share
>>>>> with me, that'd be awesome. While I find all the iterations and 
>>>>> naturalistic
>>>>> geometry interesting, math certainly is not my forte. I'll let you guys 
>>>>> take
>>>>> a look at what I've come up with before we present in case anyone with a
>>>>> better grasp on the concepts has some thoughts.
>>>>> Kevin
>>>>> ------------------------------
>>>>> Date: Thu, 30 Apr 2009 18:48:34 -0400
>>>>> Subject: [arcadia_group] Re: The game plan- READ
>>>>> From: dsince1@xxxxxxxxxxxxxxxxxxx
>>>>> To: arcadia_group@xxxxxxxxxxxxx
>>>>>  All;
>>>>> Dan here.  Tom and Will - I am attaching a few documents I found most
>>>>> are either interviews or biographical content, and I am also including the
>>>>> Stage as Hyperspace paper and another dealing with the music titled 
>>>>> Waltzing
>>>>> in Arcadia.
>>>>> Also, I have a little more work to do on my presentation slides, but
>>>>> will get those out soon.
>>>>> Thanks for meeting today, guys, I think things are going to be fine.
>>>>> Dan
>>>>> --Forwarded Message Attachment--
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>>>>> EBSCO Publishing   Citation Format: MLA (Modern Language Assoc.):
>>>>> *NOTE:* Review the instructions at 
>>>>> http://support.ebsco.com/help/?int=ehost&lang=en&feature_id=MLA
>>>>> and make any necessary corrections before using. Pay special attention
>>>>> to personal names, capitalization, and dates. Always consult your library
>>>>> resources for the exact formatting and punctuation guidelines.
>>>>> ------------------------------
>>>>> Works Cited
>>>>> Zoglin, Richard. "Elitist, Moi?." *Time* 170.19 (05 Nov. 2007): 69-71.
>>>>> *International Bibliography of Theatre & Dance with Full Text*. EBSCO.
>>>>> [Library name], [City], [State abbreviation]. 26 Apr. 2009 <
>>>>> http://search.ebscohost.com.proxy-tu.researchport.umd.edu/login.aspx?direct=true&db=ibh&AN=27257715&site=ehost-live
>>>>> >.
>>>>> <!--Additional Information:
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>>>>> End of citation-->
>>>>> ------------------------------
>>>>> Section: Art THEATER
>>>>> *Elitist, Moi? *
>>>>> Tom Stoppard isn't trying to be highbrow. To prove it, his new play is
>>>>> about rock music … and revolution
>>>>> When his interviewer arrives, Tom Stoppard is standing outside the
>>>>> Broadway theater where his latest play, Rock 'n' Roll, is about to begin
>>>>> previews. Sporting an open white shirt with the sleeves partly rolled up 
>>>>> and
>>>>> tousled (if graying) hair that still gives him the look of an overage
>>>>> college student, he's enjoying a cigarette in a circle of warm spring
>>>>> sunshine that has managed to find a hole in the Manhattan skyline. But he
>>>>> really should be off his feet. A few days earlier, in the rush to catch a
>>>>> plane to New York City, Stoppard stubbed his toe hard in his London
>>>>> apartment. He has just come back from the doctor, who told him the toe is
>>>>> broken and ordered him to stay off it as much as possible--after which,
>>>>> Stoppard walked 13 blocks to the theater.
>>>>> The spectacle of Tom Stoppard hoofing it through the theater district
>>>>> on a bum foot would be disconcerting to people who think of the playwright
>>>>> as something of an élitist. Ever since his sensational stage debut in 1967
>>>>> with Rosencrantz and Guildenstern Are Dead--his absurdist riff on a pair 
>>>>> of
>>>>> minor characters in Hamlet--Stoppard has become almost a genre unto 
>>>>> himself,
>>>>> taking intellectual, often abstruse subject matter and turning it into
>>>>> challenging yet playful drama. His game, frequently, is the oddball
>>>>> juxtaposition: moral philosophy and gymnastics (Jumpers); Fermat's last
>>>>> theorem and Byron's love poetry (Arcadia); James Joyce and Vladimir Lenin
>>>>> (Travesties). "Tom said to me once that he decides on one play, and then
>>>>> shortly after decides on a different one," says Trevor Nunn, director of
>>>>> Rock 'n' Roll and several other Stoppard plays. "And then he lets them 
>>>>> crash
>>>>> into each other." The Coast of Utopia, his nearly nine-hour trilogy about
>>>>> Russia's radical political thinkers of the 19th century, was a relatively
>>>>> straight-ahead historical journey (which is why this critic, at least,
>>>>> didn't rank it among his best), but it was an unexpectedly huge hit, 
>>>>> playing
>>>>> to sold-out crowds during its run at New York City's Lincoln Center last
>>>>> season and winning seven Tony Awards, a record for a straight play. And 
>>>>> that
>>>>> gives him the right to hobble into any Broadway theater with a play on 
>>>>> just
>>>>> about any subject he wants.
>>>>> With Rock 'n' Roll, which took London by storm last year and opens on
>>>>> Broadway Nov. 4, Stoppard is exploring two more of his passions, one old 
>>>>> and
>>>>> one relatively new. The play spans a couple of decades in the lives of a
>>>>> group of Czech political activists and British academics and shuttles back
>>>>> and forth between Cambridge and Prague in the years between the 1968 
>>>>> Soviet
>>>>> invasion and the "velvet revolution" of 1989. It's an exploration of
>>>>> political repression and commitment (with a typically Stoppardian 
>>>>> digression
>>>>> into Sappho's poetry), but also a celebration of the rebel rock music 
>>>>> that,
>>>>> in Stoppard's view, was as potent a force for revolution as Vaclav Havel's
>>>>> speeches. Scenes are punctuated with the sounds of groups like the Rolling
>>>>> Stones and the Plastic People of the Universe, a Czech band imprisoned
>>>>> during the Soviet crackdown--with a special nod to Syd Barrett, a founding
>>>>> member of Pink Floyd, who was ousted by his band over his erratic,
>>>>> drug-fueled, near psychotic behavior.
>>>>> Rock 'n' Roll is the first stage work Stoppard has written explicitly
>>>>> about Czechoslovakia, where he was born in 1937 but which he left as a 
>>>>> baby
>>>>> when his parents fled the Nazis, moving to Singapore and then India before
>>>>> landing in Bristol, England.
>>>>> Until the fall of communism, he returned only once to the country, in
>>>>> 1977. "I began to have more identity as a Czech comparatively recently," 
>>>>> he
>>>>> says. "To tell you the truth, I think it was my mother dying about 10 
>>>>> years
>>>>> ago that gave me permission to be Czech. Because my mother's whole 
>>>>> attitude
>>>>> was to leave the past behind. So I tended to kind of just respect her
>>>>> attitude." A pause. "That's not the whole truth. The fact is, I loved 
>>>>> being
>>>>> English. I was very happy to be turned into an English schoolboy."
>>>>> Those schoolboy days ended at age 17, when Stoppard went to work for a
>>>>> newspaper in Bristol. He covered the police beat and routine local news, 
>>>>> but
>>>>> he also got to interview visiting celebrities--New Orleans jazz musicians,
>>>>> British movie-glamour queen Diana Dors. "I was so thrilled being a
>>>>> reporter," he says, "because it gave you the kind of access to people that
>>>>> you wouldn't ever get to meet." After a few years, he moved to London, 
>>>>> where
>>>>> he continued to write reviews and celebrity profiles. In 1960 he talked 
>>>>> his
>>>>> way into a trip to New York with a group of architects visiting the city's
>>>>> buildings and did a story for the Yorkshire Post on Lenny Bruce, whom he 
>>>>> saw
>>>>> at the Village Vanguard and corralled outside for a 10-minute interview.
>>>>> Stoppard was taken by the irreverent comic (he even recalls some of his
>>>>> jokes, like Bruce's plea for world peace, urging all the nations of the
>>>>> world to get together and "kick the s___ out of the Polacks"). "His act 
>>>>> was
>>>>> very scatological by English standards," he says. "But I was amazed by 
>>>>> him."
>>>>> Stoppard's passion for rock music dates from his days in Bristol, where
>>>>> he would see most of the touring music acts that came to town--among them
>>>>> Frank Sinatra (who played the Bristol Hippodrome in the early '50s and
>>>>> didn't sell out), the Everly Brothers and Eddie Cochran, the rockabilly
>>>>> singer whose British tour ended when he was killed in a car crash in 1960.
>>>>> Like everyone else, Stoppard embraced the Beatles and Rolling Stones when
>>>>> they came along, but he admits to being a late bloomer when it came to 
>>>>> Pink
>>>>> Floyd. "I ignored them completely at first," he says. "When Dark Side of 
>>>>> the
>>>>> Moon came out, a friend of mine, a photographer, came over with the record
>>>>> and said, 'Please, listen to this. There's a play in this album.' I put it
>>>>> on top of this big wooden filing cabinet, and it stayed there for a year."
>>>>> The twice-divorced Stoppard, who turned 70 this year, is a grandfather
>>>>> now, but he keeps up with groups like Arcade Fire and the Arctic Monkeys. 
>>>>> "I
>>>>> listen to what shows up, really out of curiosity more than anything else,"
>>>>> he says. "It's not often that something really gets to me." He goes to
>>>>> concerts only rarely--for the Stones when they tour and an occasional
>>>>> experiment like Oasis (a "brilliant songwriting band"). "I'm a very boring
>>>>> person," he insists. He doesn't go to movies, he says (though he writes
>>>>> plenty of them; see box), and spends most of his spare time reading--most
>>>>> recently Janet Malcolm's biography of Gertrude Stein and Alice B. Toklas.
>>>>> His chief recreational passion is trout fishing, which he does four or 
>>>>> five
>>>>> times a year, usually in Hampshire, England, but with periodic ventures to
>>>>> more exotic climes like New Mexico and Wyoming.
>>>>> Stoppard, who rolls his r's with a Continental flourish that somehow
>>>>> manages not to seem affected, bristles at the notion that his work is too
>>>>> highbrow or élitist for an ordinary audience--never mind that the New York
>>>>> Times felt the need to print a reading list for theatergoers who wanted to
>>>>> bone up before seeing The Coast of Utopia. He notes that his intellectual
>>>>> obsessions are hardly unique or rarefied. "The market for books about
>>>>> science and philosophy on the level on which I deal with things is a
>>>>> best-seller market," he says, pointing to authors like Steven Pinker,
>>>>> Richard Dawkins and Richard Feynman. It tickles him when he gets good
>>>>> reviews for his scientific accuracy in specialist publications. Yet he
>>>>> insists his goal is not to lift the audience's brow but simply to explore
>>>>> fresh subjects that engage him. "I've got no interest in educating or
>>>>> instructing people. It's entirely about my getting interested in something
>>>>> because of its dramatic possibilities. I'm not there to do Op-Ed on
>>>>> Broadway."
>>>>> Indeed, Stoppard has always stood apart from many other British
>>>>> playwrights of his generation, like David Hare, for avoiding an overtly
>>>>> political (usually left-wing) point of view. He describes his politics as
>>>>> "timid libertarian." Yet he can rev up a pretty bold rant on Britain's
>>>>> "highly regulated society," which he thinks is "betraying the principle of
>>>>> parliamentary democracy." There was the garden party he threw recently, 
>>>>> for
>>>>> example, where because there was a pond on the property, he was required 
>>>>> to
>>>>> hire two lifeguards. "The whole notion that we're all responsible for
>>>>> ourselves and we don't actually have to have nannies busybodying all 
>>>>> around
>>>>> us, that's all going now. And I don't even know in whose interest it's
>>>>> supposed to be or who wishes it to be so. It seems to be like a lava flow,
>>>>> which nobody ordered up. Of course, one does know in whose interest it is.
>>>>> It's in the interests of battalions of civil servants in jobs that never
>>>>> existed 10 years ago."
>>>>> Don't call Tom Stoppard a snob. But try finding a political rant in
>>>>> America as polished as that.
>>>>> PHOTO (COLOR): Radical band Brian Cox and Nicole Ansari in Rock 'n'
>>>>> Roll
>>>>> ~~~~~~~~
>>>>> By Richard Zoglin
>>>>>  Script Doctor How Hollywood has used (or not used) Stoppard
>>>>> Film writing is "exciting and agreeable in the first half of the
>>>>> process," says Stoppard. "And then you get reminded that it's a movie and
>>>>> it's not yours."
>>>>> Screenplays He Wrote SHAKESPEARE IN LOVE "The playhouse is for
>>>>> dreamers," says the Bard (Joseph Fiennes) to Viola (Gwyneth Paltrow) in
>>>>> Stoppard and Marc Norman's Oscar winner
>>>>> BRAZIL Stoppard added jokes to Terry Gilliam and Charles McKeown's
>>>>> futuristic sci-fi script, which earned an Oscar nomination and cult status
>>>>> EMPIRE OF THE SUN Stoppard and Menno Meyjes streamlined J.G. Ballard's
>>>>> novel for Steven Spielberg and a 12-year-old Christian Bale
>>>>> Screenplays He Helped Rewrite SLEEPY HOLLOW Director Tim Burton tapped
>>>>> Stoppard to add humor to the more somber early draft of the Washington
>>>>> Irving story
>>>>> master with the dialogue on George Lucas' last Star Wars film; he did not,
>>>>> however, tamper with Yoda's syntax
>>>>> Drafts He Wrote THE BOURNE ULTIMATUM Director Paul Greengrass didn't
>>>>> end up using Stoppard's take on Matt Damon's taciturn spy
>>>>> HIS DARK MATERIALS: THE GOLDEN COMPASS His crack at the first film
>>>>> adaptation of Philip Pullman's fantasy novel was rejected in favor of a
>>>>> draft by director Chris Weitz
>>>>>  ------------------------------
>>>>> Copyright © Time Inc., 2007. All rights reserved. No part of this
>>>>> material may be duplicated or redisseminated without permission.
>>>>> Back
>>>>> --Forwarded Message Attachment--
>>>>>      Back
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>>>>> (.txt) or a 'Web Page, HTML only' file (.html). In Netscape, select *
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>>>>> EBSCO Publishing   Citation Format: MLA (Modern Language Assoc.):
>>>>> *NOTE:* Review the instructions at 
>>>>> http://support.ebsco.com/help/?int=ehost&lang=en&feature_id=MLA
>>>>> and make any necessary corrections before using. Pay special attention
>>>>> to personal names, capitalization, and dates. Always consult your library
>>>>> resources for the exact formatting and punctuation guidelines.
>>>>> ------------------------------
>>>>> Works Cited
>>>>> Gussow, Mel. "Happiness, chaos and Tom Stoppard." *American Theatre*12.10 
>>>>> (Dec. 1995): 22.
>>>>> *International Bibliography of Theatre & Dance with Full Text*. EBSCO.
>>>>> [Library name], [City], [State abbreviation]. 26 Apr. 2009 <
>>>>> http://search.ebscohost.com.proxy-tu.researchport.umd.edu/login.aspx?direct=true&db=ibh&AN=9512142530&site=ehost-live
>>>>> >.
>>>>> <!--Additional Information:
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>>>>> http://search.ebscohost.com.proxy-tu.researchport.umd.edu/login.aspx?direct=true&db=ibh&AN=9512142530&site=ehost-live
>>>>> End of citation-->
>>>>> ------------------------------
>>>>> In Tom Stoppard's radio play, Where Are They Now?, the author's
>>>>> surrogate looks back nostalgically on his school days, and defines 
>>>>> happiness
>>>>> as "a passing change of emphasis." A dozen years later, the protagonist of
>>>>> The Real Thing reiterates the statement with his observation, "Happiness 
>>>>> is
>>>>> equilibrium. Shift your weight." For Stoppard, equilibrium had become a
>>>>> credo, as he repositioned himself to suit the shifts in the world. Call 
>>>>> it a
>>>>> Stop-pardian sense of gravity. The playwright provides his own ballast, as
>>>>> he tries to remain in the moral center of his own universe. If one needs a
>>>>> symbol of Stoppard's own inner balance, consider the pronunciation of his
>>>>> name. It is STOP-PARD, with the syllables evenly accented.
>>>>> His life and his work are crowded with apparent contradictions.
>>>>> Although he was born in Zlin, Czechoslovakia (as Tomas Straussler) and 
>>>>> spent
>>>>> his early years in Singapore and India, he has become one of the most
>>>>> English of Englishmen. He currently lives in both Chelsea, London and 
>>>>> Iver,
>>>>> Bucks, where he is a country squire with an English garden, a lawn for
>>>>> cricket, a tennis court and his neighbor's cows peeping through the 
>>>>> windows
>>>>> of his house. His idea of Arcadia, of an idyllic environment, is the 
>>>>> English
>>>>> countryside. Yet he spends most of his time in cities, is frequently 
>>>>> flying
>>>>> from one to another, and has a very cosmopolitan nature
>>>>> Stoppard is one of the wittiest and most literate writers of the
>>>>> English language, but he left school at an early age and found his 
>>>>> education
>>>>> working on a provincial English newspaper. (Coincidentally, none of
>>>>> England's pre-eminent living playwrights--Harold Pinter, Alan Ayckbourn 
>>>>> and
>>>>> Stoppard went to university.) Although he has a gift for inventing 
>>>>> epigrams,
>>>>> metaphors and circumlocutions, in his own reading he has great admiration
>>>>> for the understatement of Ernest Hemingway. Stoppard has no background in
>>>>> philosophy, philology, physics, metaphysics, mathematics or circus
>>>>> acrobatics, but his plays are filled with knowledgeable references to 
>>>>> these
>>>>> and other specialized fields. In contrast to Pinter and Ayckbourn, he is
>>>>> untutored in the techniques of theatre, except for what he learned during
>>>>> his years as a drama critic and from working with and watching his
>>>>> directors. Yet his plays have a brilliant theatricality. He is, in fact, 
>>>>> an
>>>>> exemplary autodidact, and a very quick study.
>>>>> In the plays, things are never quite what they seem to be. There are
>>>>> plays within plays, and in The Real Thing, a play outside the one we are
>>>>> watching. The image is that of an endless series of Chinese boxes or an
>>>>> exercise in recursion. Time plays tricks, as past and present coexist and
>>>>> sometimes brush against each other on the same stage. In many of his 
>>>>> plays,
>>>>> there are echoes of his previous writings. The subject matter may shift 
>>>>> from
>>>>> moral philosophy to quantum physics, but the voice is that of the author
>>>>> caught in the act of badinage, arguing himself in and out of a quandary.
>>>>> Most of his plays are inspired by a single central image (philosophy as
>>>>> gymnastics, a madman who thinks he has a symphony orchestra in his head).
>>>>> But, as the plays evolve, they become prisms, reflecting and refracting 
>>>>> the
>>>>> author's ingenuity. Is Stoppard too clever by half, an intellectual rather
>>>>> than an emotional playwright? He confronts this and related questions 
>>>>> during
>>>>> our conversations.
>>>>> When I talked to Stoppard in December 1994 in New York, he was on the
>>>>> brink of a very busy season. Hapgood, in its new version, was opening the
>>>>> following evening in Lincoln Center Theater's intimate Mitzi Newhouse
>>>>> Theater in a production starring Stockard Channing. That was to be 
>>>>> followed
>>>>> several months later by Arcadia at Lincoln Center's large Vivian Beaumont
>>>>> Theater. Arcadia was a continuing success in London, and in February 
>>>>> Indian
>>>>> Ink, his stage version of his radio play, In the Native State, was 
>>>>> scheduled
>>>>> to open in the West End.
>>>>> Arcadia is one of his most ambitious and satisfying plays, a prismatic
>>>>> exploration of English history, horticulture, the chaos theory and the
>>>>> difference between the classical and romantic traditions. In the subtext 
>>>>> are
>>>>> such issues as the pursuit of epiphany and the nature of genius. Along the
>>>>> way, people keep leaping to the wrong conclusions, which heightens the
>>>>> hilarity and the complexity. One of the many mysteries is who did what to
>>>>> whom in the game room or, rather, the game book, where Lord Byron, as a
>>>>> guest in this elegant country house, is recorded as having shot a hare. At
>>>>> the center of the play is an historian, Hannah Jarvis, but she is only one
>>>>> of a houseful of kaleidoscopic characters that emerge from the 
>>>>> playwright's
>>>>> fervid imagination.
>>>>> In contrast to Arcadia, Hapgood had not been a critical success in its
>>>>> original production in London (in 1988). Since then, Stoppard had revised
>>>>> the play and clarified the plot. This devious comedy-mystery equates the
>>>>> wave-particle theory of light with the doubledealing world of espionage. 
>>>>> The
>>>>> new version is 20 minutes shorter and clues the audience earlier that the
>>>>> spy named Ridley might have a double. In this Rubik's cube of a play, 
>>>>> there
>>>>> are triple, perhaps even quadruple agents and a multiplidty of secret
>>>>> identities.
>>>>> After sudden shifts in his busy schedule, the peripatetic playwright
>>>>> was in a suite in a New York hotel, prepared for a long conversation. He 
>>>>> lit
>>>>> the first of many cigarettes. His body was reasonably at rest, his mind
>>>>> restlessly in motion.
>>>>> MEL GUSSOW: You've said, "If there's a central idea in Hapgood, it is
>>>>> the proposition that in each of our characters is the working majority of 
>>>>> a
>>>>> dual personality, part of which is always there in a submerged state."
>>>>> TOM STOPPARD: That was the hypothesis which generated the play
>>>>> itself--that the dual nature of light: works for people as .well: as 
>>>>> things,
>>>>> and the one you meet in public is simply the working majority of that
>>>>> person. It's a conceit. It may have some truth to it.
>>>>> And the dual personality doesn't refer simply to counter-spies, but to
>>>>> Hapgood herself and others.
>>>>> It's not really dual personality. It's just that one chooses to "be"
>>>>> one part of oneself, and not another part of oneself. One has a public 
>>>>> self
>>>>> and a submerged self. It's that sort of duality.
>>>>> Is one real, the other false?
>>>>> No, they're both part of the whole person.
>>>>> And it's something other than multiple personalities.
>>>>> It's not multiple personalities. It's a complex personality only part
>>>>> of which runs the show.
>>>>> Is that true in your life as well?
>>>>> Well, I wouldn't have the presumption to exempt myself [laughs] from
>>>>> this general rule.
>>>>> When you were a journalist, you operated both as a critic and as an
>>>>> interviewer, and you used different names.
>>>>> I did, only because it seemed a bit second-rate to write too many
>>>>> things on the same page. It wasn't that I was trying to conceal half of
>>>>> myself. But the thesis is really to do with people's temperaments. Their
>>>>> personal histories, like my personal history, is not central to the idea 
>>>>> at
>>>>> all--the fact that I was born into one language, and grew up in another, 
>>>>> and
>>>>> so on. That doesn't sound irrelevant by any means, but ifs not supposed to
>>>>> be a comment about that kind of life, about my kind of life.
>>>>> Do all your plays have an element of autobiography?
>>>>> I wonder. Perhaps it's something which it's impossible to escape, and
>>>>> one shouldn't protest against it, though I wouldn't have thought 
>>>>> Rosencrantz
>>>>> and Guildenstern [Are Dead] had anything autobiographical in it. I'm not
>>>>> really the right kind of writer to oblige such a speculation because the
>>>>> area in which I feed off myself is really much more to do with thoughts I
>>>>> have had rather than days I have lived.
>>>>> A number of misconceptions have sprung up about you and your work, that
>>>>> your plays are divorced from your own life; also that you're very
>>>>> intellectual and unemotional. One certainly doesn't feel that in the scene
>>>>> in which Hapgood is so moved that she cries.
>>>>> That particular duality has become a bit of a cliche about me. It's
>>>>> rather a high-tech production of Hapgood, so it does encourage that view 
>>>>> of
>>>>> the work.
>>>>> But there is a heart there.
>>>>> I don't think you would bother to write about it if it was about
>>>>> robots. It's only interesting because they're human beings.
>>>>> In searching for the arc of your career, I made a list of the principal
>>>>> subjects in the plays: Rosencrantz and Guildenstern, theatre-philosophy; 
>>>>> The
>>>>> Real Inspector Hound, theatre-journalism; Traveslies, lit-phil; Jumpers,
>>>>> phil-gym; Dirty Linen, pol-sex; Night and Day, journ-pol; Every Good Boy
>>>>> Deserves Favor, music-pol; Cahoot's Macbeth, theatre-pol; The Real Thing,
>>>>> theatre-love; Hapgood, sci-spy; Arcadia, lit-math-hortarch; Indian Ink,
>>>>> lit-art-pol-soc. It seems that the plays are becoming more inclusive or
>>>>> expansive.
>>>>> And yet Indian Ink is actually a very intimate play. It's a play of
>>>>> intimate scenes. There's something working against the notion that the 
>>>>> plays
>>>>> are expanding in them horizons. There is a lot of lit in the plays and a 
>>>>> lot
>>>>> of phil, which I think is a fair comment on what I'm made up of.
>>>>> A lot of lit and phil and more and more sci and phys.
>>>>> I've got a funny feeling the sci and phys are a phase, like
>>>>> delinquency, which one goes through.
>>>>> It's lasted two plays.
>>>>> Exactly, it's two plays. Two suggests purpose, misleadingly.
>>>>> One is singular, two is a coincidence, three is a trend.
>>>>> In the case of those two plays, they began because I stubbed my toe
>>>>> against two pieces of information or two areas of science which I found
>>>>> really interested me. It didn't seem to be a release of some scientist
>>>>> within me. On the contrary, it seemed to be going against what really
>>>>> interests me, what I choose to read, and so on. I thought that quantum
>>>>> mechanics and chaos mathematics suggested themselves as quite interesting
>>>>> and powerful metaphors for human behavior--not just behavior, but about 
>>>>> the
>>>>> way, in the latter case, in which it suggested a determined life, a life
>>>>> ruled by determinism, and a life which is subject simply to random causes
>>>>> and effects. Those two ideas about life were not irreconcilable. Chaos
>>>>> mathematics is precisely to do with the unpredictability of determinism.
>>>>> Hifalutin' words, but it's actually a very fascinating door, a view 
>>>>> through
>>>>> a cracked-open door. Pinning myself down to your question: I have no sense
>>>>> of looking for a third such fascinating scientific metaphor, and I have no
>>>>> reason to suppose that I'll stub my toe on a third one.
>>>>> How did you stub your toe against those two?
>>>>> Casually.
>>>>> Books in an airport?
>>>>> I joke like that, but it's not one book on one day. My life is
>>>>> sectioned off into hot flushes, pursuits of this or that. Rather in the 
>>>>> same
>>>>> way as a year ago or more, a fairly quiescent interest in or sympathy
>>>>> towards Roman poetry and literature of antiquity suddenly had its turn. I
>>>>> think it turned into something more obsessive through reading about A. E.
>>>>> Housman, again somebody whom I had read for years on and off. That was
>>>>> another quiescent interest.
>>>>> Do you read Latin?
>>>>> I can't say I read Latin. I studied Latin up to what we call in England
>>>>> A level. So it's not gibberish to me. But I read it with cribs. What I 
>>>>> enjoy
>>>>> is reading a particular poem or a poet in numerous translations, to see 
>>>>> how
>>>>> different translators try to find the original. There's a play to be 
>>>>> written
>>>>> about translation, I think.
>>>>> For your own translations, do you always work from a literal version?
>>>>> Yes. I've done two Schnitzlers, a Nestroy and a Molnar, and I worked on
>>>>> a Lorca. It doesn't feel like much over 30 years. Years and years ago, one
>>>>> of my resolutions--now a failed resolution was to learn a language well
>>>>> enough, Russian by choice, not simply for purposes of translation but so
>>>>> that I could read things the way they were meant to be understood.
>>>>> And what have you done about that?
>>>>> Nothing. I postponed reading War and Peace until I could read Russian.
>>>>> The result is now I cannot read Russian and I have not read War and Peace.
>>>>> Perhaps you need a long sabbatical.
>>>>> I don't know about these sabbaticals. My ambition is to retire, and has
>>>>> been for ages. When I say retire I mean just pladdly writing at my own 
>>>>> speed
>>>>> without owing anything to anybody, without anybody waiting for what I'm
>>>>> writing. I never seem to manage to do that. I think it's a temperamental
>>>>> defect. That's pretty clear by now.
>>>>> To return to Arcadia, where did it begin? With James Gleick's book,
>>>>> Chaos?
>>>>> I think so. At the same time, I was thinking about Classicism and
>>>>> Romanticism as opposites in style, taste, temperament, art. I remember
>>>>> talking to a friend of mine, looking at his bookshelves, saying there's a
>>>>> play, isn't there, about the way that retrospectively one looks at poetry,
>>>>> painting, gardening, and speaks of classical periods and the romantic
>>>>> revolution, and so on. Particularly when one starts dividing people up 
>>>>> into
>>>>> classical temperaments and romantic temperaments--and I suppose it's not
>>>>> that far from Hapgood in a way. The romantic temperament has a classical
>>>>> person wildly signalling, and vice versa.
>>>>> You and I tend to talk about all this as if it really works like that,
>>>>> as if there's this acorn that you find somewhere and put manure around, 
>>>>> and
>>>>> water, and hope it grows into some kind of sapling, and so on and so 
>>>>> forth.
>>>>> It doesn't seem to me to be that kind of orderly natural development.
>>>>> No single acorn?
>>>>> It's more than that. I have the feeling that you throw the acorn away
>>>>> at some point. You encourage me to talk about a book or a thought which
>>>>> generates everything that follows. It's true in a limited sense, but an
>>>>> alternative way of making a picture of the process would be to say that 
>>>>> it's
>>>>> something that starts you up, like a motor gets started up, like a 
>>>>> cranking
>>>>> handle. Then you throw the handle away, and drive off down the road
>>>>> somewhere and see where the road goes.
>>>>> What's an acorn that you've discarded?
>>>>> When it comes to it, I don't think Arcadia says very much about these
>>>>> two sides of the human personality or temperament. I don't think it's in 
>>>>> the
>>>>> play. It's by no means in the foreground. And yet, it's firing all around
>>>>> the target, making a pattern around the target.
>>>>> Where does the texture start? Suddenly horticulture enters, and then
>>>>> Lord Byron. You didn't set out to write a play about horticulture and 
>>>>> Byron?
>>>>> No, I didn't, but I had read one or two books about Byron over the
>>>>> years, and I was reading them with a faint sense of undisclosed purpose. [
>>>>> suppose if you're my kind of writer you're always working. One's leisure
>>>>> reading is subconsciously purposeful.
>>>>> You still write in longhand and then dictate it into a tape recorder?
>>>>> Yes. I do exactly that with new work, but when I'm rewriting or
>>>>> changing things, I now prefer to give my secretary lots and lots of pages
>>>>> with longhand and squiggles, "insert here." I love working on a 
>>>>> typescript.
>>>>> I love the power of the blue pencil. "This is rubbish, take it out. Put 
>>>>> this
>>>>> in. Turn it around."
>>>>> Is it a canard that you're a conservative?
>>>>> Would it be one? I always thought of myself as a conservative, not in a
>>>>> sort of ideological way. I'm really a bit of a failure talking about
>>>>> politics because I never get into the subject or issues in the manner in
>>>>> which a responsible citizen really ought to. I respond in some other way
>>>>> aesthetically even, certainly emotionally. Emotionally I like to 
>>>>> conserve. I
>>>>> don't like impulsive change. But what I like and don't like certainly
>>>>> doesn't divide up into things that the Conservative Party or the Labor 
>>>>> Party
>>>>> does.
>>>>> I was very pleased with Mrs. Thatcher at the beginning. I thought of
>>>>> her as being a subversive influence, which I found very welcome. The
>>>>> Wilson-Callaghan pre-Thatcher years in English politics I thought were
>>>>> nauseating. I thought politicians had become people one didn't bother to
>>>>> listen to because they seemed desperately anxious not to expose their 
>>>>> flanks
>>>>> to any side. There were very few unqualified statements of intent. I loved
>>>>> the way she came in. I was very personally interested in the whole saga of
>>>>> print unions, for example, a huge corrupt scandal which government after
>>>>> government wouldn't tackle.
>>>>> Which brings us to [Rupert] Murdoch as well. I think he's a very had
>>>>> influence on English, or indeed global, cultural life. Ten years ago, he 
>>>>> was
>>>>> a sort of hero for me, for sending the printers packing. The printers were
>>>>> making newspapers into an impossible economic proposition, and I love
>>>>> newspapers. I was excited when Murdoch came in his Australian underhanded
>>>>> way with a lot of money behind him and just destroyed them. It was well
>>>>> overdue.
>>>>> You've been so strong on human rights. What about human rights for
>>>>> printers?
>>>>> I don't think you have a human right to cheat and steal. There were
>>>>> printers signing on as Mickey Mouse. I just think they pushed their luck.
>>>>> Murdoch said, it's not a union, it's a protection racket. I think that was
>>>>> probably quite fair.
>>>>> But then you turned against Murdoch.
>>>>> That's part of a shift of feeling about the press as a whole. Night and
>>>>> Day contains statements which are still flourished. I read one last week 
>>>>> by
>>>>> people who want to leave the press completely untrammelled. I don't know
>>>>> what I want now. I've arrived at a kind of defensive position, which is 
>>>>> not
>>>>> entirely where I stand intellectually. I've decided that getting cross 
>>>>> about
>>>>> the press is like getting cross about the Flat Earth Society. It's become 
>>>>> an
>>>>> awful joke. What I find upsetting about the notorious end of the British
>>>>> press is what it says about the readership. I think the tabloid press 
>>>>> treat
>>>>> their readers almost as if they are morons. And it's awful the way the
>>>>> readers don't seem to mind.
>>>>> You've said, "Journalism is the last line of defense in this country."
>>>>> I think that's still true. I think people would be getting away with
>>>>> much more, were it not for newspapers blowing the whistle, or just being
>>>>> there to observe.
>>>>> Could you imagine having stayed in journalism and not being a
>>>>> playwright?
>>>>> No. Looking at it now, I would think of that as an unhappy outcome, not
>>>>> because I love the theatre, in quotes, but because it was wonderful to 
>>>>> work
>>>>> for myself and not have to be accountable to somebody. I have a 
>>>>> formulation
>>>>> about the luck we've had, which is that people like myself appear to have
>>>>> promoted a recreation into a career. We're getting away with it, and it's
>>>>> the getting away with it part which I don't want to lose. It seems quite
>>>>> capricious, the way one profession is rewarded over another one. There's 
>>>>> an
>>>>> evolution in every kind of society, particularly now in what we call the
>>>>> free-market society, where certain pursuits are amazingly over-rewarded.
>>>>> Being a popular singer, or in a band. There's no logic in it.
>>>>> For you, having chosen playwriting, it's a kind of super freelance.
>>>>> You're not beholden to anyone.
>>>>> No. I'm one of the people who fall into the over-rewarded category, I
>>>>> suppose. I don't coast on it. I work harder than I used to when I was a
>>>>> reporter. But it feels different. I do it for myself.
>>>>> You've talked about writing a play about your growing up in India. Is
>>>>> Indian Ink the play?
>>>>> No. I had talked about writing about the ethos of empire, and I suppose
>>>>> that's a very good example of what we were speaking about earlier: the 
>>>>> acorn
>>>>> hasn't been thrown away. But it's not really just that. It's much more an
>>>>> intimate play than a polemical play. One kids oneself along that every
>>>>> little shred of reference to the larger subject resonates through the 
>>>>> whole
>>>>> piece, and enlarges the play. That's just a kind of sweet thought by the
>>>>> playwright.
>>>>> Does it surprise you that you've dealt with so many different subjects?
>>>>> No. I'm a bit of a gadfly. Different things catch my interest for a
>>>>> while, and I have a hot flush about it, and something else catches my
>>>>> interest. Of course, a gadfly is not the ultimate compliment.
>>>>> It borders on the dilettante.
>>>>> Precisely. What we're leaving out: The cake is upside down. Theatre is
>>>>> a popular art form, it's part of the world of relief and release, of
>>>>> entertainment. That's what it's for. The other bit of the cake which is to
>>>>> do with formulating and promulgating and examining and revealing issues,
>>>>> life that's a program that can be continued through other means: 
>>>>> journalism,
>>>>> television, essays. There's a case for the view that if you've chosen to
>>>>> work for the theatre, your fundamental objective is to be part of an art
>>>>> form that diverts, entertains and instructs rather than that you're 
>>>>> engaged
>>>>> in teaching your fellow citizens certain lessons.
>>>>> You said that if you wanted to change the world, the last thing you
>>>>> would do is write a play.
>>>>> What I really meant was that if there is a local concrete problem which
>>>>> you want to change, yes. I said that, but I'm not sure that it's entirely
>>>>> watertight. Maybe the way to continue our conversation about newspapers
>>>>> would be to write a play.
>>>>> Is plot still difficult for you?
>>>>> Can't you tell? [Laughs.] With Arcadia I got lucky. I didn't know it
>>>>> would work out like that. Like most writers like most people-- if I could
>>>>> live a slightly different kind of life, it would make an enormous amount 
>>>>> of
>>>>> difference to how much I wrote, and the quality of what I wrote.
>>>>> Occasionally you get into a period where mentally you're living with this
>>>>> play, nothing is interrupting you, and all the possibilities the neurons 
>>>>> or
>>>>> nerve ends you're aware of them all and, consciously or subconsciously, 
>>>>> you
>>>>> make the best possible use of them. If you have enough solitude and
>>>>> concentration, you can make the best of the opportunity. But a lot of the
>>>>> time I'm writing in a kind of harassed, interrupted way. I came to the
>>>>> conclusion the other day that the information is being fed in the wrong
>>>>> order in the second act of Indian Ink. I came back from Hapgood and looked
>>>>> at it for an hour and a half before I fell asleep. It's all done in the
>>>>> space of an hour here, an hour there. That's not how to do these things.
>>>>> You might say from the evidence that you thrive on that process.
>>>>> Well, no. With Arcadia, I had a really good period of time, where
>>>>> somehow I could keep it all in view and look further down the road and see
>>>>> where things were heading, and manipulate the material so I could 
>>>>> intersect
>>>>> properly. The more I got into it, the more I realized that this was going 
>>>>> to
>>>>> work as a piece of storytelling. Hapgood was a kind of struggle from the
>>>>> word go, and I was still dealing with it at Lincoln Center, trying to
>>>>> explain, simplify. We started off by referring to it as a melodrama. The 
>>>>> way
>>>>> you label something is very helpful; it gets you out of the corner. Once I
>>>>> began to think of Hapgood as a melodrama, I felt much more comfortable 
>>>>> with
>>>>> it, because it is melodramatic. It's not satiric about the spy business. 
>>>>> It
>>>>> operates on a heightened, slightly implausible level of life. It's 
>>>>> probably
>>>>> the only play I've written, as far as I can remember offhand, in which
>>>>> somebody shoots somebody else on stage.
>>>>> It has to work on that level for the audience to accept it.
>>>>> It absolutely does. The thing about melodrama is that if the audience
>>>>> makes the right decision about it, they accept everything. If they make 
>>>>> the
>>>>> wrong decision about it early on, then the drama actually becomes silly.
>>>>> How would you categorize Arcadia?
>>>>> Because I was happy with it anyway, I didn't need to label it. I didn't
>>>>> need to get myself off the hook.
>>>>> Some people think it's your best play.
>>>>> I know they do. I think that's what they're talking about: the story
>>>>> works best.
>>>>> But you know some of your plays are better than others.
>>>>> Of course. And in spite of defects I'm aware of and would like to
>>>>> correct on all of them, I also think that some of them actually are good,
>>>>> better than good sometimes. I'm now contradicting myself. If I have to 
>>>>> talk
>>>>> about them at all, which I never volunteer to do, I'd rather use a phrase
>>>>> like "madcap comedy," to dissemble. In a much simpler sense, there's a
>>>>> modest person hiding a proud person, I suppose. I never thought I would
>>>>> manage to write a play at all. It was something I wanted to do, but I was
>>>>> astonished when I managed to do it. Just seemed to be something that would
>>>>> be too difficult for me to do when I was starting out.
>>>>> You used to say, and I never entirely believed it, that all your
>>>>> characters sounded like you.
>>>>> I used to say it because I used to think it was true, and maybe it was
>>>>> true in those days. i think everybody in Night and Day, sounds like me, 
>>>>> for
>>>>> example. It's less true now. This was literally true of Night and Day in 
>>>>> one
>>>>> isolated case: I took a speech away from one character and gave it to
>>>>> another, and it made no difference. I just needed somebody to say 
>>>>> something
>>>>> at that point. In that sense, they were all speaking with my voice. In a
>>>>> limited way, you might say that they were interchangeable. So I meant it
>>>>> when I said it, but I wouldn't say it nowadays.
>>>>> It's not true of Arcadia, and it's not true of Indian Ink.
>>>>> No, it's not.
>>>>> Years ago, at the time of The Real Thing, Mike Nichols said you were
>>>>> one of the few happy people he knew. When I mentioned that to you, you 
>>>>> were
>>>>> offended by the word happy, you said that you were as unhappy as the next
>>>>> man.
>>>>> Boasting about my unhappiness!
>>>>> Are you a happy man?
>>>>> Yes. I'm just looking at the word happy for a moment. Mike was always
>>>>> tremendously pleased by the definition of happiness in that play. 
>>>>> "Happiness
>>>>> is equilibrium. Shift your weight." Attaining your happiness, if you're
>>>>> talking about me, is learning that lesson. You try not to stand in the way
>>>>> of the onrushing train, to change the metaphor. But in fact I suppose what
>>>>> you're remembering is that happiness seems to imply a turning away from
>>>>> whatever might compromise your happiness. One is exposed naked in the 
>>>>> winds
>>>>> of the world, and everybody around you has got problems. Some are acute,
>>>>> some are less serious than others. You live in the little world of your
>>>>> family and the larger world of your colleagues and the huge world of
>>>>> newspaper and television news. So happiness is not really a very adequate
>>>>> word. When I said I felt blessed by good fortune, that's generally the
>>>>> truth. Clearly your life and everyone's life is full of things that make 
>>>>> you
>>>>> unhappy from time to time. You just deal with them.
>>>>> That reminds me again of the boy in your play, Where Are They Now?
>>>>> That indeed is the play where that character says happiness is a
>>>>> passing shift of emphasis. I do have an idyllic vision of life. Whether 
>>>>> one
>>>>> has a right to live it is another matter. It's to do with self-reliance.
>>>>> It's cultivating your garden without being pulled, without having one's
>>>>> sleeve tugged by what's happening outside the wall.
>>>>> PHOTO (BLACK & WHITE): Tom Stoppard
>>>>> PHOTOS (BLACK & WHITE): Classical or romantic? You be the judge in
>>>>> Stoppard's Arcadia, seen here in two productions directed by Trevor Nunn. 
>>>>> At
>>>>> right, Felicity Kendal and Samuel West appeared at Britain's National
>>>>> Theatre. Below, Billy Crudup and Jennifer Dundas at New York's Lincoln
>>>>> Center Theater.
>>>>> PHOTOS (BLACK & WHITE): "Hapgood is not satiric about the spy
>>>>> businesszz It operates on a heightened, slightly implausible level of 
>>>>> life."
>>>>> Above, Jo Ann Carney, Dan LaMorte and Gus Bustinice, left to right, in a
>>>>> production directed by Mary Zimmerman at Chicago's Center Theatre 
>>>>> Ensemble.
>>>>> Below, David Lansbury and Stockard Channing in Jack O'Brien's Lincoln 
>>>>> Center
>>>>> Theater staging.
>>>>> PHOTOS (BLACK & WHITE): "I'm a bit of a gadfly." Above, a scene from
>>>>> Rosencranz and Gaildenstern Are Dead, in a production at the New Jersey
>>>>> Shakespeare Festival; which featured, from left, Davis Hall, Bub Ari, Eric
>>>>> Tavaris, Eduardo Patino and John Nichols. Above right, Michael Gross and
>>>>> Linda Purl in The Real Thing at the Doolittle Theatre in Hollywood. Below
>>>>> right, lsiah Whitlock Jr. and DeAnn Meats in Night and Day at San
>>>>> Francisco's American Conservatory Theater.
>>>>> ~~~~~~~~
>>>>> Mel Gussow, who writes about theatre for the New York Times, is the
>>>>> author of Conversations with Pinter and Conversations with Stoppard (both
>>>>> Limelight Editions). This article is excerpted by permission from the
>>>>> latter, which was published last month.
>>>>>  ------------------------------
>>>>> Copyright of American Theatre is the property of Theatre Communications
>>>>> Group and its content may not be copied or emailed to multiple sites or
>>>>> posted to a listserv without the copyright holder's express written
>>>>> permission. However, users may print, download, or email articles for
>>>>> individual use.
>>>>> Back
>>>>>  ------------------------------
>>>>> Windows Live™ Hotmail®:…more than just e-mail. Check it 
>>>>> out.<http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_HM_more_042009>
>>>>>  ------------------------------
>>>>> Hotmail® has ever-growing storage! Don’t worry about storage limits. Check
>>>>> it 
>>>>> out.<http://windowslive.com/Tutorial/Hotmail/Storage?ocid=TXT_TAGLM_WL_HM_Tutorial_Storage1_052009>
>>>>  --
>>>> Christopher W. Jones
>>>> Towson University '09
>>>> Dartmouth College '08
> --
> Christopher W. Jones
> Towson University '09
> Dartmouth College '08

Christopher W. Jones
Towson University '09
Dartmouth College '08

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