Education
Luna Lab Is Building a Future for Female Composers
Luna Lab is far from the only program for young composers in the United States. Besides conservatory classes, there is the Los Angeles Philharmonic’s Composer Fellowship Program, open to all high-school students from sophomore to senior year, and Wildflower Composers, which provides mentorship to female, transgender, nonbinary and genderqueer early career composers.
What’s different about Luna Lab, Mazzoli said, is its commitment to its alumni. Reid and Mazzoli remain available to former fellows for advice and networking. Yuri Lee, 21, who was in the program from 2018-19, consulted with them about where to go to college, for example. She had studied composition in Juilliard’s Preparatory Division and it was her “dream school” for college. Reid and Mazzoli — and her teachers at Juilliard — encouraged her to attend Princeton University instead, for a well-rounded undergraduate education.
Luna Lab alumni can apply for stipends, from the Toulmin Luna Composition Lab Alumni Fund, that can be applied to creating recordings, producing concerts, purchasing software, creating a website and more. Alumni can apply more than once and can receive a total of $5,000 over time.
The nonprofit also furthers alumni careers through commissions from partner organizations and special projects like 25 for 25: A New Time for Choral Music. For that, the Cincinnati May Festival, celebrating its 150th anniversary, collaborated with Luna Lab to commission 25 works by alumni for 25 different choral ensembles.
About three-quarters of Luna Lab alumni who attend college have studied composition, and virtually all continue to be involved with music. Many have gone on to graduate school in composition. And Mazzoli and Reid say they can foresee a time when alumni will be ready to return as mentors.
For many of the alumni, the Luna Lab fellowship was life-changing. Maya Miro Johnson, 25, a 2017-18 fellow, said that its impact on her life was “incalculable, because I would not be a musician or a composer.” Growing up in a low-income family in Utah, she did have dance and violin lessons as a child but, she said, she was not good at the violin.
In our national memory, George Washington is a mythic figure, cast in metal, carved in stone. His leadership, first as general, then as president, is so intertwined with the roots of this country that it is sometimes hard to separate the man from the idea of America. How does one imagine the living presence of such an icon, much less embody him?
There is a small fraternity of men bold enough to try. At historical parks and commemorations from Virginia to Seattle, these interpreters (their preferred term) transform themselves into Washington. Each has his own approach, but what all their representations seek to capture is a legacy that has endured from his time to ours. If America, at least in part, is an idea, then our national project becomes, like theirs, an act of interpretation, an imperfect attempt to translate some idealized vision into the messy reality of our own time.
— Ezekiel Kweku
“By some strange quirk
of genetics, I have
Washington’s exact
dimensions. Where my
sleeves fall on my wrist,
the size of my chest, the
size of my thighs, where
the breeches fall to my
knees, are all identical.”
John Koopman, 67, often performs
while riding his horse, Bear. He
has portrayed Washington for 20 years.
James Fryer, 70, wears a replica of a general’s uniform that Washington designed himself. He recently completed training to portray Washington for the nonprofit Historic Philadelphia.
“Some people portray George as a marble statue. I don’t do a marble George. I am interested in talking to everyone, even those who yell at me because George was a slave owner. I want to respect them, try to educate them, or maybe even inspire them.”
Vern Frykholm, 77, was moved to bring his interpretation of Washington to Washington State, where he lives, after seeing a 2011 performance in Pennsylvania.
Dean Malissa, 73, signs his personal
correspondence, including emails,
as Washington did: “Your Most Humble
and Obedient Servant.” He became
the Official George Washington
at Mount Vernon in 2004, and held
that role for nearly 20 years.
“I describe him sometimes as just a dude. I look at him and think, I could see myself in the same world, making similar bad decisions or similar good decisions.”
Daniel Cross, 39, portrayed a young Washington at Virginia’s Colonial Williamsburg until last year. He now works with organizations around the country.
Curt Radabaugh, 62, has 13,000 history books in his personal library, including several hundred about Washington. He is a veteran of the U.S. Marines and a retired police officer.
“He’s a mentor, a father
figure, and not only in the
sense that he’s a patriarch
of the country. Because
I grew up without a
father, he kind of became
my surrogate father.”
Brian Hilton, 58, says he researches
Washington’s era every morning before
his children get up and at night after
they go to bed. He is a high school history
teacher near Richmond, Va.
Daniel Shippey, 57, partners on interpretations with his wife, Kelly, who portrays Martha Washington. Kelly researched 18th-century hair techniques to create her husband’s costume hairstyle. They live in Virginia.
“You’re playing the myth of George Washington as well as the historical figure. I make his voice a little firmer and deeper than it probably was in real life. I play him a little funnier than he probably was. In reality, if you came to see him, he probably wouldn’t talk to you as much as I do.”
Doug Thomas, 53, is Washington’s second cousin nine times removed.
John Godzieba, 67, has reenacted
the crossing of the Delaware as
Washington every Christmas for the
past 16 years at Pennsylvania’s
Washington Crossing Historic Park.
“In many ways I don’t look like him. My eye color is wrong. My nose is wrong. My hair color is wrong. I wouldn’t have cast myself in this role.”
Ron Carnegie, 64, has portrayed Washington at Colonial Williamsburg for 20 years.
Ryan Williams, 37, is a veteran who specializes in playing a young Washington during the French and Indian War. He lives in Virginia.
“Some people portray
Washington almost
like a superhero.
I like to bring out that
he has faults. He’s a
person like you or me.”
Michael Grillo, 64, is a historical
tailor who hand-sews his own clothes
for reenactments. He also makes
period props, including two American
battle flags and pewter mugs
engraved with Washington’s crest.
Martin Schoeller is a photographer and director known for his close-up portraits of everyone from world leaders and celebrities to female bodybuilders. For this project, he used a large format camera to photograph 13 historical interpreters of George Washington — many of whom arrived in full uniform — over three days in Virginia and New York City.
Additional reporting by Tenzin D. Tsagong. Interviews have been edited and condensed for length and clarity. Top quotes from Brian Hilton, Daniel Shippey and Daniel Cross.
Produced by Sara Barrett, Danny DeBelius and Sam Whitney. Additional production by Olivia James.
One task the robots can take from us? Cleaning. Especially hard-to-access windows. So when writers Caroline Mullen and Evan Dent found this little guy — whose government name is “EcoVacs Winbot Mini” — they were intrigued. Could he clean the uncleanable? Caroline and Evan put their robot friend to the test at both the Wirecutter office and a high-rise apartment. Is a robo-window cleaner more effective than scrubbing yourself?
new video loaded: School Year Cut Short and Aid Delivery Slowed Amid Fuel Crisis in Cuba
By McKinnon de Kuyper
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