TO DO: FROM PAGE 31
sciences division into a professional training program at the conservatory. For 15 years, the drama program used Wilson Auditorium as its base, although the facilities left a lot to be desired; with the renovation and expansion of the CCM Village in the late 1990s, the drama program moved into CCM’s main building.
In a CityBeat feature about the program in 2000, drama chair Richard Hess likened his program to a regional theater, because so much was going on. He told me, “I want my actors to get hired. That validates what we are doing. We’re training professionals here.” Today CCM drama attracts approximately 20 new students annually, many of whom go on to careers onstage in Contempt New York (1997 grad Aaron Serotsky was in the cast of the Tony Award-winning August: Osage County) and in film and TV in California, like 1995 grad Diana Maria Riva, who’s had regular roles on several TV series, including The West Wing. The event is being marked with a daylong package of planned events, including panel discussions in the Cohen Family Studio Theater involving alumni and current students, plus CCM and campus tours. There’s a gala celebration set for Patricia Corbett Auditorium at 7 p.m. which will offer video presentations from actors around the world and an afterparty at the Dieterle Vocal Arts Center with food drinks and music. Admission to public events is free, but reservations are required. 513-556-5803. — RICK PENDERSUNDAY05 LIT: PUBLICO POETRY takes over the Weston Art Gallery for an evening of readings by Bay-area poets Brandon Brown, Alli Warren and Stephanie Young. See feature on page 45.
TUESDAY07 EVENTS: CINCINNATI WORLD CINEMA If forced to choose at gunpoint, I’d have to say Contempt is my favorite Godard film. Less fractured and fleeting than his more experimental ’60s films, it digs deeper while not sacrificing any of the master’s metaphysical or formal hijinks. The thing works on all kind of levels, the least of which is its lacerating take on the moviemaking process itself. (The filming of Contempt, which is considered Godard’s lone “commercial” movie, was just as tempestuous as what we see onscreen.) Based on Alberto Moravia’s novel Ghost at Noon, the narrative centers on a French playwright/screenwriter (Michel Piccoli) who is hired to rewrite the script of The Odyssey, a film adaptation of Homer’s epic directed by Fritz Lang, who plays himself. The writer’s wife (Briggite Bardot), for whom he has taken the job in order to buy her a new apartment, simultaneously begins to fall out of love with him — she believes he is compromising his integrity by bowing to a blowhard American producer (played with hilarious virility by Jack Palance). Things come to a head during a lengthy, fascinating sequence in the couple’s apartment — a masterpiece of psychological realism that seemed to mirror Godard’s own disintegrating marriage to actress Anna Karina. Forty-five