Paul Volcker answers a question from one of the students who greeted him and President Crouch, right, before Obama’s economic adviser spoke to the campus community. From left, Natalie Hymer, a freshman from Louisville; President’s Ambassadors Daniela Fuentes, a junior from Temuco, Chile, and Ashlee Gordon, a junior from Dallas; Julia Smith, a freshman from Rineyville, KY (Hardin County); and Ashley Hashampour, a junior from Virginia Beach, VA. Hymer, Smith and Hashampour are all Global Scholars. Photos by Paul Atkinson/Rockledge photography

Melinda Moyo ’09 was proud to tell Mr. Volcker and President Crouch that she had just been hired as a client analyst with Fellon-McCord, an energy consulting and management company in Cincinnati.

SGA President Lynnesy Rowland, a senior from Louisville, chats with Volcker before she introduces him.

Paul Volcker, the Chairman of the Federal Reserve in the Carter and Reagan administrations and still one of the of the most influential economists in the country, spent some time speaking to two very important Kentucky audiences on Thursday (Oct. 22) – the campus community of Georgetown College and many of the top CEOs in the state at the 2009 Round Table at Shaker Village.

Even at age 84, Volcker’s advice is frequently sought. After last November’s Presidential election, he accepted the role of first chairman of 1st Chair of the Obama administration’s Economic Recovery Advisory Board.

President Bill Crouch helped line-up Volcker, a Georgetown College trustee fellow, for the Round Table – and his prominent guest agreed to share his economic wisdom and insight with Georgetown students, who are certainly anxious about their futures and where this country is headed.

Daniela Fuentes, a President’s Ambassador and part of a student greeting committee, got to ask Mr. Volcker “In this recession, what part of the business cycle are we in – are we still going down or are we on our way up?” He told her she should feel good about being a junior because “We’ll have another year before recovery…and it’s going to be a slog.”

At a short reception in the Hall of Fame Room – primarily for area bankers – Mark Hendryx, a commercial surety manager with The Hartford’s Cincinnati office, had a good laugh with Volcker about the former’s days as Finance major in the early ‘80s. The Miami (Ohio) University graduate told him “I had to take four semesters of Economics and not a day went by your name wasn’t mentioned in class.”

In his 30-minute session in the College’s John L. Hill Chapel, Volcker told the large student audience, “You better work hard and polish your skills so you can beat the competition in this economy.”

Then, aiming at all leaders and citizens of the United States, Volcker said, “People need to push to change their habits. We need to produce more, finance less…we need to save more, spend less.”

Afterwards, President Crouch whisked our special guest off to Pleasant Hill in Mercer County where Mr. Volcker was to be featured in a discussion about the economy with Kentucky leaders at the 2009 Round Table at Shaker Village, an annual public policy forum for CEOs.

The Round Table was founded in the early 1970s to bring private sector leaders together to address the concerns of Kentucky and its position relative to the nation and the world. After a hiatus of several years early in this decade, the Round Table was reinstituted in 2007. This year’s session includes leaders from Kentucky’s banking, health care, investment, education, energy, agricultural, entrepreneurial and government sectors whose discussion is to focus on the roles of government and business in the current economic climate and other issues related to the economic downturn and recovery.

By Molly Shoulta ‘13

In a world of flat screen televisions and phones with far more functions than actually needed, a sense of inconvenience has been lessened to sitting for more than a half hour in traffic. Generation “Y” and even Generation “X” cannot fully understand inconvenience like those in the generation before. The Great Depression emblazoned an understanding of material nothingness but then sense of pride in work and in family appreciation like no other time in modern history.

The frightening part, however, is that this previously escaped and remedied reality for some may be in the near future for others. Paul Farrell of marketwatch.com postulates the next Great Depression will be seen by 2011, if not sooner, because of bailouts and continued debt. Just exactly when, however, is uncertain.

Wall Street execs all the way to local cashiers are finding themselves searching for optimism to grab onto. But playwrights Hart and Kaufman would have anyone believe that hope is not found in the bailout packages.

The end of October will open the curtain to the Georgetown Maskrafters’ production of “You Can’t Take It With You,” a play surrounding the Great Depression in the 1930’s. This is the second time the play has been at Georgetown; it appeared twenty-five years ago as well with some familiar faces involved in production including Ed Smith, now a professor with the Theatre & Performance Studies department, his wife Betsy, and Garvel Kindrick, now the College’s Vice President for Enrollment.

This time around, however, Dr. Smith’s son, Ethan, is under the direction of George McGee. “It’s always interesting,” Ethan explains. “You have to create a character in your head and be able to change them when the director tells you to.” He also spoke of the challenge but reward it is to work with the other actors, trying to shape the play’s time period and characterization just right.

The play opens to the living room in the home of Mr. Martin Vanderhof, known as Grandpa, which the playwright explains could be used for a myriad of entertainments: “meals are eaten, played are written, snakes collected, ballet steps practiced, xylophones played, printing presses operated – if there were room enough there would probably be ice skating.” The colorful family’s living condition is shaped by the fact that Grandpa walked away from a life in business simply because his passion for his work was no longer there. So for the time being, the family lives in a house, free to do whatever they wish.

The plotline follows the blossoming love story of Alice and Tony through three acts. While Tony’s family strives for the riches in life and seems to follow the societal current of materialism, Alice is a Vanderhof, though still the most normal of them. Their love story seems impossible. As the families convene for the first time over dinner at Grandpa’s house, their differences are all too obvious. Each sees the flaws in the other’s way of living. For the couple to truly find happiness in their upcoming marriage, it only seems appropriate for one of the families to bend to the other’s standards to insure the happiness of their children. But which family finally realizes a need for a shift in priorities is quite unexpected.

Even amidst the greatest financial crisis in American history to that point in time, the Vanderhof family enjoys the moments with each other rather than chasing after wealth. After all, as Grandpa states to Mr. Kirby, Alice’s father, “You’ve got all the money you need. You can’t take it with you . . . Don’t you think there ought to be something more, Mr. Kirby?” The play sparks the minds of theater patrons to explore this idea of what the “more” may be and asks if this generation is missing out. Since this “more” has slowly but surely once again become materialistic, it becomes much easier to blame a weakened economy, a war, or politicians for the unhappiness befalling millions.

This season, “You Can’t Take It With You” and “The Music Man” boast as the country’s most popular productions. Director George McGee believes this is because both describe a simpler time where smaller houses and cutting back were necessary for survival; he explains that today is “the closest we’ve come to the Great Depression.”

But even at this, McGee also believes the play offers a sense of hope. He praises the writers, believing Hart and Kaufman offer a comedic aspect to a matter not easily or appropriately laughed off. The New York playwrights know their craft well and in turn pace the script appropriately for strategic plot and diction. As the scenes unfold, so does the message, portraying the need for simplicity and understanding of nothingness. Above all, McGee believes the play instills a sense of hope, reassuring the audience that life is not about having the biggest bank account. “For the last 20 years”, he explains, “We’ve been collecting as many toys as possible. But these toys don’t mean happiness. It’s learning to enjoy other’s company as a simple joy of life.”

The first weekend of the show is Oct. 30-Nov. 1 followed by four more dates – Nov. 5, 6, 7, and 8 – all in the Ruth Pearce Wilson Lab Theatre. Curtain time is 8 p.m. Tickets are on sale at the campus bookstore, $3 for students and $5 for adults. For reservations, call 502.863.8134. For more information, call 502.863.8162.

Georgetown’s 2009-10 Fulbright Fellows: Bethany Byrd Hughes, Michael Clemons, Jordan Sanderson

The Fulbright Program recently announced the complete list of colleges and universities that produced the most 2009-2010 U.S. Fulbright Fellows. The success of the top producing institutions was highlighted in the October 19 print edition of The Chronicle of Higher Education.

Three students from Georgetown College won Fulbright awards for 2009-2010 – Bethany Byrd Hughes (Germany), a German and Pre-Med double major when she was here, from Rockwall, TX and Danville, KY; and a pair of Spanish and Commerce, Language & Culture double majors Michael Clemons (Spain) of Louisville and Jordan Sanderson (Mexico) of Union, KY.

“I’m particularly proud that this is the second time we’ve appeared on the list of top Fulbright producers – the only Kentucky institution to make a repeat appearance,” Provost Rosemary Allen said. “This level of consistent success is evidence of the quality of the students we produce at Georgetown College and their ability to compete at a national level.”

The three Fulbrights from Georgetown College clearly benefited from Dr. Allen’s dual role as Fulbright Program Adviser (she’s advised 20 of the school’s 21 Fellows since 1989; www.georgetowncollege.edu/Fulbright). Our current Fellows were gratified by the Chronicle recognition, but cited Georgetown’s tradition over any surprise.
Jordan Sanderson, who was awarded the special Fulbright Binational Business Grant, is working full-time at Rothschild, an international investment bank specializing in Mergers & Acquisitions and financial restructurings. He wrote in an e-mail, “I’m excited, but not surprised, to hear that Georgetown is being recognized by The Chronicle of Higher Education…Thanks to Georgetown’s cultivating environment and some hard work, I now get to go to my dream job everyday while living in one of the largest cities in the world — Mexico City. The energy in this city is incredible and I am definitely considering extending my time in Mexico as a result of the Fulbright grant.”

Michael Clemons wrote, “I am honored and excited to continue the College’s tradition of excellence.

“My experiences of teaching English to Spanish high-schoolers has confirmed my love for education, no matter what age or what nation,” continued Clemons, who teaches seventh- and ninth-graders at IES Profesor Máximo Trueba in Boadilla del Monte, a suburb of Madrid. “It is truly a life-changing experience that Georgetown College greatly prepared me for.”

Making the Chronicle’s list again places Georgetown among many of the top liberal arts colleges and universities in the nation for success in this prestigious competition. Among the other institutions with three Fulbrights are Bard College, Bates College, Carleton College, Colgate University, Haverford College, Washington and Lee University, and Wesleyan University. Also with three Fulbrights was Transylvania University, the only other Kentucky institution to be honored.

Under this program, 1,559 American students in more than 100 different fields of study have been offered grants to study, teach English, and conduct research in over 125 countries throughout the world beginning this fall.

Of the 1,557 Fulbrighters, 19% are at the Ph.D. degree level, 17% are at the Master’s level, and 65% are at the Bachelor’s degree level. Students receiving awards for this academic year applied through 570 colleges or universities. Lists of Fulbright recipients are available at: www.fulbrightonline.org/us.

The Fulbright U.S. Student Program equips future American leaders with the skills they need to thrive in an increasingly global environment by providing funding for one academic year of study, research or assistant teaching abroad. /p>

Fellows undertake self-designed programs in disciplines ranging from the social sciences, business, communication and performing arts to physical sciences, engineering and education.

Since its inception in 1946, the Fulbright Program has provided approximately 294,000 participants worldwide with the opportunity to observe each others’ political, economic and cultural institutions, exchange ideas and embark on joint ventures of importance to the general welfare of the world’s inhabitants. In the past 63 years, more than 42,000 students from the United States have benefited from the Fulbright experience.

The Fulbright Program is sponsored by the United States Department of State, Bureau of Educational and Cultural Affairs. Financial support is provided by an annual appropriation from Congress to the Department of State, with significant contributions from participating governments and host institutions in the United States and abroad. The Presidentially appointed J. William Fulbright Foreign Scholarship Board formulates policy guidelines and makes the final selection of all grantees.

In the United States, the Institute of International Education administers and coordinates the activities relevant to the U.S. Student Program, including conducting an annual competition for the scholarships.

The Fulbright Program also awards grants to American teachers and faculty to do research, lecture and teach overseas. In addition, some 3,850 new foreign Fulbright students and scholars come to the United States annually to study, carry out research and lecture at U.S. universities, colleges and secondary schools.

Editor’s note: Freshman Molly Shoulta, a Parks Scholar from Louisville, makes her GC News Bureau debut with this first-person piece on her experience as the Storyteller for the Lyric Theatre Society’s Oct. 23-25 performances in Hill Chapel. Her twin brothers, Josh and Jeremy, are 2006 alumni; Josh is an Admissions counselor at his alma mater.

By Molly Shoulta ‘13

I’m not the only one who ever believed opera was for the high society, the wise, or the bored. Or at least I keep telling myself that. When the posters announcing tryouts for the children’s operas went up around Georgetown’s campus I instantly brushed them off as just another music department production I was either too ignorant too understand or too limited in range without the ability to hit the glass-shattering notes.

I tried out anyway. Perhaps it was an attempt to try new things, or maybe a small push from my voice teacher on campus. Either way, the cast list went up a few days later. And my name was on it. My trek into the world of non-understandable syllables and ear-piercing high notes seemed to have begun, as did my journey down the path of discovering just how much I had misinterpreted the art form.

The Lyric Theater Society has combined two beloved children’s operas into one performance: The Impresario and Hansel and Gretel. While both are still soaked in classical music, their ability to reach out to children and adults alike in an understandable fashion is remarkable. The script itself is original and at times, the words are by no means today’s vernacular. Still, the acting and vocal ability of the performers outshines any previous interpretation of “opera” any viewers may have.

The Impresario is the lesser known of the two operas to those outside of the operatic world. It centers on an Impressario, Mr. Scruples, a theatre owner discontent with his job and surroundings, striving to leave his business and turn to the simpler life of farming. His assistant, Mr. Bluff, wants to be a singer in the company but is laughed at by Scruples, only making his passion stronger. The play house is then overtaken by a banker, vicious for a powerful spot in the company and determined to prove his ingenious plans. Meanwhile, a talented new opera singer clashes with the famous Madame Goldentrill, an aged veteran of her craft. When all five compete for the top place of power and fame, there seems to be no compromising among them.

The tale of Hansel and Gretel is undoubtedly one of the most common tales on children’s bookshelves. When Hansel and Gretel are ordered by their mother to seek food deep in the forest, they soon become lost, relying only on whatever blessings may find them. As the Sandman blesses their dreams and the Dew Fairy wakens them to a new day, they discover a house made of candies, and immediately begin feeding their empty bellies on the shutters, windows, and bushes – all made of the sugary sweets. When a wicked witch emerges from the cottage and reveals her plan to fatten Hansel only to eat him and his sister, the two children forge a plan to knock her into her own oven. But as Hansel is held by a cage of trees and Gretel is too scared to try to flee, they fear the witch and her magical powers that could mean life or death and soon find themselves in a sugar-coated, sticky mess.

The opportunity presented to me to be able to work in an LTS production has been tiring over the first few days of “Tech Week,” but nonetheless very rewarding. My character is found nowhere in the original script for either play. Music faculty Dr. Heather Hunnicutt and Junior Shawn McPeak have written in a transitional character, the Storyteller, to which the young minds, or older minds, can connect. Recent graduate Hannah Davis designed a coloring book for the show as well that will be handed out at the door. With all the help, consider it impossible to get lost, except for within the fun of the show itself!

The set is pretty sweet – literally. Boasting every candy from Hershey’s bars to lifesavers, from the ice cream cone chimney to the oversized lollipops, the witch’s house from Hansel and Gretel is certainly nothing to scoff at. But even sweeter is the story behind it.

The LTS held a design contest in the local Scott County elementary schools this fall for the best gingerbread house drawing and Anne Mason third-grader Callie May pieced together the most creative design. On Monday night, the set was revealed to her and she was shown all the details of her very drawing that had come to life. Hunnicutt kept the set true to form and color throughout the building process. After over 24 hours of painting, cutting, and constructing, the set now stands complete and ready for the show. Callie May, daughter of Bien and Shelli May of Georgetown, will be recognized during the performance for her fantastic work.

The LTS production of The Impresario and Hansel and Gretel will play this Friday and Saturday (Oct. 23-24) at 7 p.m., and this Sunday (Oct. 25) at 3 p.m. All adult tickets are $10 each and students are $4 with ID. Children under 8 may enjoy the show for free with a complimentary coloring book. The production also counts as a CEP/NEXUS credit for Georgetown Students.

“Opera” may seem like a frightening word, but in all reality, is no different from any other box office production. Glass is not shattered and laughs are still had. Both operas are very comedic with colorful sets and even more colorful characters. Don’t be afraid to revert to childhood, even if for just one night!