It’s the time of the year when many collegians look at their wardrobe and realize they need something for an upcoming summer internship or their first post-college job.

If you find yourself in that position, ignore your inclination to visit the big department stores and instead head to Edward’s Men’s Shop, a 65-year-old family business in Saginaw Township.

Walking into Edward’s, you’re immediately greeted by friendly and helpful staff.

While thoroughly modern, there is still an old-school haberdashery feel to Edward’s. This is certainly a guy’s shop — there’s no need to bring along your better half along because owner Jim Silk will ensure you look your best.

“We have taken the good things of 65 years and at the same time kept pace with trends not only in what we carry but our retail environment,” said Mr. Silk, whose store is one of two remaining independent menswear stores in the Saginaw Valley.

With Hart Schaffner & Marx, S. Cohen, Jack Victor, Coppley and several other brands, Edward’s carries a wide selection of tailored clothing, along with sportswear and casual attire, that appeals to everyone from recent graduates to captains of industry.

Dennis Lennox is senior consultant for public affairs at Sterling, Hoffman & Co.

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Malcolm Field opened its doors this evening to reveal the stage for ‘Agamemnon’. The set, built by Jerry Dennis is superb. It shows a land that has fallen into decay without its leader, the colors sapped from the stone. Bits and pieces have crumbled off the buildings, but the foundation stays strong. The texture of the stone is fantastic, and the lighting begins with a cool purple and blue hue. It gives a terrific royal feel to an almost surreal setting. It’s unfortunate that the stage right side of the building stays in an abundance of shadow throughout the show, but it was difficult to tell if that was a lighting misstep or a conscious choice.

Dave Ryan’s sound design fills the house with music that’s very relaxing, about seven minutes before the show starts. It doesn’t sound very Greek unfortunately. The sound design throughout the show suffers from being very quaint. It does little to get the audience interested in the show, and tends to be a missed opportunity outside of Agamemnon’s entrance. The sound files seem to be low quality — that, or the sound system at Malcolm Field is showing its age because the music sounds were low in quality.

Any interest lost due to soothing music is instantly put out of mind, due to Patrick Demo’s portrayal of the watchman. We are immediately drawn into world with his great comedic timing. Throughout his opening monologue, the audience laughed numerous times and Mr. Demo did a wonderful job of connecting with the audience. There was a hint of Mardi Gras, and that just felt right. This was Greek theater for a contemporary audience.

As the show progressed, we were introduced to the chorus, led by Rusty Myers and Lexee Longwell. The masks worn by the cast (designed by Kristen Phillips Gray) look absolutely spectacular. They aid in the social structure of the characters, as the stoney wooden texture the chorus own is a massive contrast to the gold and silver of other characters. The mouths seemed to constrict some of the actors faces, resulting in a lisp sound. Overall, however, the actors did asupremely commendable job keeping their words clear and easy to understand.

The design elements of this show have been handled brilliantly by Steven Erickson. This is one of SVSU’s most visually bold shows. Karli Jenkins’ and Eric Johnson’s lighting was simple, but clever and illuminated the characters in a deliciously surreal fashion. The costumes for the chorus melded perfectly with the masks. The female principal characters wore dresses that were absolutely beautiful.

Unfortunately, the men wearing armor came across as very silly and I would have enjoyed a different approach to their design. Elise Shannon balanced the costume design very cleverly though, helping even the very brown, bland chorus with little costume pieces to help them stick out from each other.

With all of those elements in place, it was up to the principal characters to draw the audience into the drama. Despite a very strong chorus, the spectacle seemed to eclipse the substance of the play often. The stage itself is designed in such a way that Agamemnon can ride a massive chariot into the middle of the action. Unfortunately, he’s forced to stand in that chariot and deliver a monologue for a good five minutes or so. While the masks are great fun to look at, and that chariot is really fun to witness, the end result is an actor standing in the same place for minutes at a time without even having his face to show expression. He’s forced to use little more than his voice, and his voice seems to be in a very different show. It’s difficult to empathize with Ryan’s ‘British baptist preacher singing opera’ take on Agamemnon. Without this, it’s even more difficult to become emotionally attached to the events that unfold.

With the stage designed to have actors stand in the same place constantly (Clytemnestra almost never leaves her allotted space) and the costume design requiring masks, the actors have very little other than their body to communicate things. Some actors are better at this than others and some characters are caught making the same motions over and over again — sometimes for minutes at a time. This causes a massive disconnect between the audience and the
actors, and very rarely does this play make it conducive to let yourself get lost in it.

Tillie Dorgan and Travis Woolie do a good job breaking those shackles however. Woolie, as the Herald, does his best to make the stage his own, and his subtle interactions with the chorus members end up being more interesting than anything he’s saying. Dorgan struts around the stage, demanding the audiences attention and earning every second of it.

The show doesn’t feel entirely whole until the climax. Dakotah Myers appears as Aegisthus, revealing his plans that had been in motion the entire time. He finds a wonderful mix between what is expected from Greek tragedy, and keeping things interesting for a contemporary audience. The show is best when the actors are talking to the audience, instead of at the audience. These moments are fewer than I would like, but if you’re a fan of Greek drama there is definitely something new here you haven’t seen before.

Student Association shot itself in the foot during its last regular meeting by rejecting the nomination of Bethany Thrun for ombudsman. Ms. Thrun was, and remains, clearly the most qualified eligible individual for the post.

The ombudsman position also carries with it the position of chairman of the student concerns committee, a committee that even though it doesn’t have a chairman, has met several times during the past few weeks, often with Ms. Thrun taking charge and exhibiting laudable displays of leadership and ability. Multiple members of the committee have expressed credulity that everyone who voted against Ms. Thrun’s nomination did not sit on the committee and had not witnessed her capabilities.

Even this week, after being rejected by the association, Ms. Thrun took charge of a makeshift meeting of the student concerns committee on Monday, doling out responsibilities to members for events such as an anti-bullying initiative.
The concerns raised about Ms. Thrun’s ‘inexperience’ are laughable and without merit.

“There’s a lot she doesn’t know because of her inexperience,” Megan Potts said to the association when the group was considering Ms. Thrun’s nomination. Summer Tanner unfortunately agreed, adding that the new ombudsman “should have ties to the administration.”

Ms. Potts declared her concerns much like she did most of the evening when examining the students applying to join the association: with a lack of a clear understanding of the qualifications needed to serve.

It should be noted that Ms. Thrun spent four years in high school serving as a mediator. Ms. Potts complaints about Ms. Thrun’s ‘inexperience’ are troubling, considering the most experience a Student Association member can garner is usually only three years. Even when taking Ms. Potts’ concerns seriously, the difference between a senior association representative and Ms. Thrun is negligible.

The level of scrutiny that has evolved within the association when examining qualified applicants and candidates who are willing to serve has become ridiculous. It becomes especially ironic when members who have poor voting records and disappointing views on university issues start to express their displeasure with candidates who are far more capable and worthy of leading.

Instead of opting to be transparent and accountable to SVSU students and each other, members decided to secretly cast their votes when they rejected Ms. Thrun. After all, it’s much easier to make unintelligent decisions under the cloak of anonymity.

There is also a flaw in the appointment process that hasn’t existed until recently.

Ms. Thrun told The Journal that she wasn’t aware of her nomination until it was announced by association president Ted Goodman, just seconds before the vote. Likewise, Daniel Chapman, the nominee who was rejected for the position of parliamentarian, was informed of his nomination 30 seconds before it was announced by Mr. Goodman. There is simply no excuse for this. To expect an informed and educated vote from the association in less than a minute to fill two crucial positions is absurd. Nominees should be released well in advance of the group’s meetings in order for the members to garner a clear understanding of the qualifications and merits of each nominee.

In this instance, there have been reports that the delay choosing nominees was the result of a disagreement between Mr. Goodman and speaker Jordan L. Garland.

Initially, association leaders were under the impression that all SVSU students were eligible for the vacant positions. Mr. Goodman and Ms. Garland even interviewed non-association members Julie A. Boon and Joshua Fleming.

Sometime during the week, however, Mr. Goodman and Ms. Garland were made aware of Article I, Section 7, Subsection 1 of association charter, which says that the vacancy must be filled with a member of the association at the time of the resignation of the officer.

It’s also been reported that even after learning of this provision, Ms. Garland still insisted to Mr. Goodman that non-association members would still be eligible for the position. Ms. Garland would not respond to multiple e-mail messages seeking comment about the appointment process, but if those reports are true, it speaks directly to how capable association leaders are in handling their current responsibilities.

Even now, there is a small packet of association members still maintaining that non-association members may be nominated next Monday for one — or both — of the vacancies, despite what the charter says. In order to bring much-needed credibility back to the association and to the vacant positions, Mr. Goodman must reign in his apparently renegade speaker.

No matter who the next ombudsman is, however, they will be playing second fiddle for the rest of the year, especially during committee meetings, to Ms. Thrun.

Why do Students leave school?

While the exact details of retention comprise a science in and of themselves, students leave for a variety of reasons, the most common reasons being money, relationships, homesickness, and issues adjusting to college. While the university has put much effort into keeping students on campus, students still bear most of the responsibility for their college experiences. There are no cure-all solutions; rather, students should be constantly looking for ways they can deal with challenges of campus life.

With the economy, more people are facing the effects of having an empty wallet. College is expensive; with financial aid declining, fewer students can afford to stay in school.

For a student worrying about paying for college, it may be beneficial to change his or her meal plan, taking fewer credits, or finding a job and saving up money during the off-school season. It would be wise to talk to financial aid early and plan ahead, as well as filling out a FAFSA form as early as possible. Also, cuts in luxurious spending can deifinitely be made–maybe that weekly Starbucks is not the best use of one’s money.

Sometimes a student misses a boyfriend or girlfriend back home, or he or she meets someone at college; his or her friend changes schools, so the initial student does as well. Bear in mind that relationships and people do change–in fact, over half of all marriages end in divorce. If a person is considering leaving or changing school of choice, particularly because of a relationship, he or she should think carefully before making the choice. In time, the student’s partner may realize that his or her partner has a different idea for his or her life. The counseling center offers relationship help to people on an everyday basis. Talking to someone else can provide a different perspective.

For some people, being alone away from home for the first time can be frightening. Some people just cannot deal with the shock at first. If feeling homesick, a student should try to be active in the college community. There are a lot of clubs, sports, activities ranging from intramural sports to the creative and performing arts. A new student shouldn’t mope around in his or her dorm; insted, he or she should go outside and see what there is to see.

College Is very different from high school. There are places a new student can go for advice. RAs can give advice. A first-year student should talk to one if he is having a problem. They are students, too. Peer Health Educators, Counseling office, Writing Center, Math Resources center, are also solid resources for students, they don’t charge students for services and they’re already on campus. New students should talk to professors as soon as they have a problem. They are people too, they won’t bite and tuition goes towards paying them–they’re an underutilized resource.

Students are not alone on campus. There are people and places that can help, but students need to take action, too. If a student has a question, chances are at least ten other people have the same question.
The only dumb question is the one that is not asked. Students shouldn’t wait until New Year’s Day. They need to resolve to take action now, before the problems get too big.

Justin C. Kokkinis is deputy opinion editor at The Saginaw Valley Journal.

There is a certain alchemy to the holidays that has caused them to be so successful. Christmas for example, is represented by red and green. That shouldn’t work, but it does. “It’s A Wonderful Life” mixes faculty members with students and a similar effect is achieved.

Walking into the theater, you’re greeted by a set that flicks a little switch in your head. It’s Christmas time. Officially. Great big wreaths and mistletoe brought a sense of Christmas nostalgia that’s important to this production. It’s A Wonderful Life is a classic of American cinema and of Christmas itself. For this radio show production to work, it has to make you feel like its the right time of year to watch it. The set succeeds in that endeavor, and once the show starts the set never once gets in the way of the action. Frequent viewers of SVSU’s stage productions will notice that every set piece has been used in other shows. This is a great testament to Jerry Dennis’s ability to make gorgeous sets on a budget, while keeping true to the spirit of each show.

As a radio show, the charm comes from live sound effects and colorful character voices. There are a few rows of chairs for the cast to sit at, with mics at the end of the stage to give us that genuine radio sound. At the beginning of the show, the cast mingles with the audience, and interacts with each other on stage. They have well developed characters as the radio show actors and it’s nice seeing them interact. Unfortunately, anything that could be going on with these actors once the play starts is upstaged by the actors on the mic. This makes sense from a directorial standpoint, however the problem is heavily reinforced by using the same actors at the mic over and over again.

Ric Roberts, faculty member of the theater department and co-director of this show carries a heavy load on his back, as well as Dave Rzeszutek (fellow co director and faculty member). Rzeszutek plays the iconic role of George with a bit of an edge. Due to the show being shrunk down and adapted to the stage, we really only see George at his weakest moments and it makes the stage production darker than the film that inspires it. Roberts also toys with Clarence’s character and trades wisdom for youthful naivety. These two definitely give the show a different feel from the film, and it’s good to see something original come from it.

There is a definite theater magic seeing Roberts swap between the radio announcer to Clarence the guardian angel, however with such a large talented cast we keep seeing the same people performing at the mic. It would have been fantastic to see more diversity. Raheem Saltmarshall starts the show as young George, in an interesting colorblind casting which gets the audience ready to see some really bold characters. Then we never see him again. He is not the only actor that turned in an interesting role, to never be seen again.

This would not be an issue if there was a lack of characters, but that just isn’t the case. We see Dakotah Myers turn in a stable of characters, many of which are hard to distinguish from one another. The same can be said of Rusty Myers to a lesser extent. Addison Spear is also trusted with a bulk of the character work, and delivers some real gut busters. The problem with not using the cast to its fullest was vocal dullness. Hearing the same voices over and over homogenized the overall experience.

However, don’t be afraid your ears will be left bored. The real stars of the show sat in the sound booth. Craig Wyse, Karli Jenkins and Blake Mazur fit the spirit of this show beautifully. From pre-show, while they carefully adjust their plethora of silly sound effects equipment, to when the show starts, they’re completely in character. These actors are having fun, and it’s contagious. Best of all, their live sound effects are terrific. Unfortunately, the canned sound effects are slightly aggravating. They sound absolutely terrific, J. Brent Morrison deserves a nod for his sound work but the fact of the matter is the live effects are so charming that anything prerecorded just stands out.

The production also has a live musical accompanist. Janna Kern lends a terrific atmosphere to the show, and deserves special mention for her part in the classic “Do you HAVE to keep playing that song?” scene in which her deliberately amateur piano skills drive our lead into a tizzy.

Overall, this show is about vocal work and great live sound effects. Seeing a handful of risks from from the undergrads was especially enjoyable. Dr Steven C. Erickson delivers a vocal performance for his students to aspire to, and while he never leaves the character voice of Mr. Potter, every time he took to the mic was an utter treat. There’s great work here from great actors, the students stand next to the faculty, giving visual performances meant to entice your ears. And it all somehow works. If you’re looking for good, family friendly Christmas nostalgia look no farther.

We don’t enjoy publishing articles that bring light to wrongdoing by public officials, such as our lengthy report on the misconduct of Student Association speaker Jordan L. Garland.

We’d much rather report on undefeated football teams, Battle of the Valleys victories, or on grants awarded to the university.

We must do so, however, from time-to-time. Of course, we have an obligation to our readers to present the truth. Reporting ‘bad news’ is not something in which we revel, and it pains us very deeply when we must do so.

Ms. Garland’s actions were deceitful and wrong. They’ve tarnished the Student Association greatly, and it’s with disappointment that we note that some members do not see that. The rest of the campus community must find the patience to wait until, perhaps five, or ten years later when the truth will finally hit them, most likely long after they’ve left SVSU.

Even thought it’s a troubling subject, we’re proud of the journalism we conducted and we stand by the report. It is indeed a serious article that includes very real allegations.

SVSU is a very close community. Everyone, at times, seems to know everyone else, and the most common excuse when defending a friend or colleague from a scathing news article is to blindly rush to their defense. The bonds of friendship, we’ve found, are too often stronger than the bonds of truth.

Student Association should immediately refrain from holding secret ‘committee chair meetings’. The only thing the meetings have done, so far, is embarrass organization leaders. Earlier this year, the group used the meetings to discuss the matter of missing t-shirt sales funds. The secrecy of the meetings is being used — quite amateurishly — to attempt to hide embarrassing association business. This is unacceptable.

If association leaders want to conduct the meetings, there are no good reasons — absolutely none — why the meetings shouldn’t be open to the public, the same folks who are spending $142,000 this year to fund the association, not to mention Ms. Garland’s personal salary of $5,200.

Ms. Garland is smart, and she is pleasant, and she is a capable leader. This mistake should not define her. But she does need to acknowledge it publicly and directly. She should no longer hide from it. She needs to find the courage to face the folks whom she misled and apologize without making excuses. This incident is not worthy of her resignation, but without a public apology, it most certainly is.

It’s hardly a coincidence that we don’t see this type of behavior within the ranks of the SVSU administration.

I was invited to watch the final dress rehearsal of Incorruptible before the plays public opening Wednesday at 7:30. Minor glitches and last minute fixes are to be expected during this process, though the show went off without a hitch. The last rehearsal before the public comes in to witness the show is typically marred with lackluster energy and technical gremlins coming to light. This was not the case.

Director Dave Rzeszutek and his technical crew seemed to have all the elements to give the actors the proper environment to stretch their legs and really show their acting chops. The blocking made for excellent stage pictures, with every part of the performance space capitalized on. The costumes were terrific and quite authentic looking. The stage lighting is very competent. Shadows stretch against the stone walls and make the set so much more believable than it would if lit at full power. The shadows stayed far away from the actors faces, allowing us to see each and every little detail the actor chose to convey.

The set looks believable, and the set dressings were overall quite successful. A few things stuck out unfortunately, such as body bags that were holding some exceptionally small people, or a knife that barely read from the stage even while sitting in the front row. None of these things really detract too much from the overall feeling of the “world” however and it never seemed to bother the actors either. Of course, none of these things matter if the actors don’t capitalize on these advantages.

Actor Rusty Myers has had some magnificent turns on the SVSU stage, and this particular performance isn’t one to put a blemish on his career. His “Charles” character came across as somewhat weak at first, but in an excellent scene in act I he firmly establishes his relevance in both the churches pecking order, and his upperclassman status. As his character assumes control, his lion-esque bellow solidifies the depth that the character seems to sometimes lack.

Dakotah Myers provides a standout role in his portrayal of “Martin”. His confidence on stage is terrific, but it was his ability to temper his role that made this such a success. There is a twinkle in his eye, and a desire to take control in everything he does. He stays true to the characters role though, and never chooses to chew on the scenery. He begins the show by injecting a fabulous amount of energy into the play, making the dire situation the monks face seem exceptionally real. Dakotah keeps the stakes real, and the energy going, proving a massive asset to the show.

Dave Milka II brings a “Jack” to the stage that firmly reminds us that this is a comedy. His presence is that of a standup comedian, and with that presence comes a desire to ultimately see him succeed in his endeavors.

Cameron Thorp however, reminds us that these characters are supposed to be real people. He initially seems slightly unsure of his “Felix” character, but by the time act II roles around its clear he is the emotional nucleus of the show. A large responsibility, and it was handled very well in the moments that were most important.

Dave Ryan played an “Olf” with a subtlety not yet seen from Ryan on the SVSU stage. His character speaks rarely, but every word is handled with delicate care. His timing was careful, and his delivery enthusiastic. Quite possibly an audience favorite.

Cassidy Morey played the “Peasant woman” in a way that completely fit the show. She was a delight to watch, and her physicality was matched only by her terrific vocal work.

Sam White is placed in a situation of living prop for much of her time on stage. Her character of “Marie” brought an element of sensuality that was necessary to drive plot developments along.

Mykaela Hopps brings an authoritative presence with her character “Agnes”. Her character falls into a massive caricature at times, and it just doesn’t seem to fit the rest of the show with her massive movements and over embellished line delivery. She finds great success in her more subtle movements and threats however, and in her finer moments, she deserves every bit of fear the rest of the cast lets her feed off.

The shows greatest strength is its humor. The jokes are tight, the choreography is tight and overall the show is well done. The shows greatest weakness is when It tries to convey very simple human emotions. The show runs at such a high octane, some times the actors forget to take a breath and let a scene unfold, to let the scene have its moment. Thorp however, does take his time when needed in act II and it is exceptionally refreshing. The driving force of the play ends up steam rolling some very nice moments, and makes characters baring their hearts almost unintentionally comical.

The show ran at a very solid pace, although sometimes a bit too fast to understand what was happening. Once an audience is introduced however, I suspect the actors pausing for laughs will keep the pace at just the perfect level. This is a show worth seeing, regardless of your knowledge of theater. The show is accessible, fun, and a good introduction to theater for those who are interested in what makes the stage such an exciting place.

“Hey, wanna go to the Ryder Center to work out?”

“I have class in Arbury at 4.”

“I have go to to Curtiss Hall.”

In everyday conversation, Cardinals mention names like Arbury, Wickes, Ryder Center, T.S.A.R.; they are an integral part of the SVSU culture. The full impact these building namesakes had on the university is too large to fit in this article. So, I present a brief summary from A to Z:

Arbury Hall is named after Dorothy ‘Honey’ Arbury, the granddaughter of the founder of Dow Chemical. She and her husband contributed and raised money for the building, and arranged for Marshall M. Fredericks to leave his collection to SVSU. She also served on the governing board for it’s first 25 years.

Brown Hall is named after Maurice Brown who served on the board from 1963-72 and personally negotiated the purchase of land to expand the growing school. Incidentally, the brick on the building could be considered a shade of brown.

Curtiss Hall is named after Charles Curtiss, the longest serving board of control member. He served for 32 years. During his time, he played a major role in shaping the campus we know today.

Doan Hall is named after a Ted Doan, the grandson of Herbert H. Dow. Mr. Doan was C.E.O. of Dow Chemical and one of the original incorporators of Saginaw Valley along with his father.

The Herbert Dow Science Building (better known to students as Science East and Science West) is named after the founder of Dow Chemical.

The Marble Lecture Hall in Wickes is not made of a fancy stone. It is, however, named after SVSU’s first president: Samuel Davey Marble. Marble is one of the founding fathers of the university. Before coming to Saginaw Valley, he was the President of Delta College. In 1964 he was appointed president of S.V.C., a position he held for nearly 10 years. During his tenure, Saginaw Valley grew from a small room in the basement of Delta to a full fledged college. The Lecture Hall was named in his honor.

The Ryder center is named after Dr. Jack McBride Ryder, who was the second president of SVSU from 1974 to 1989. After his presidency he taught in the College of Education until his retirement in 1991. During his tenure the college, the school added eight facilities and the student body increased 155 percent. He will always be remembered for the growth that happened during his time here at SVSU.

Groening Commons does not refer to the sound made by tired students after a night of studying. It was named after Bill Groening, who was vice president and general counsel for Dow Chemical, a member of the first governing board, and later served as chairman.

While I have never heard a student refer to the Robert Maurovich Student Life Center by anything but ‘student life’, Robert Maurovich was the vice president of student affairs and enrollment management for 15 years. It was named this year.

Wickes Hall is named after founding Board of Control member Harvey Randall Wickes. He founded the Wickes Foundation, and donated the first $1 million to the building fund and later left the bulk of his estate to the foundation. He played a major role in organizing SVSU.

Mel Zahnow was a member of the board, and the chair of the Wickes Foundation. The library is named after him.
So I wonder. What will be named after President Gilbertson?

Justin C. Kokkinis is a columnist and deputy opinion editor at The Saginaw Valley Journal.

U.S. President Barack Obama unveiled a package of changes to how student loans are handled on Oct. 26. The changes are intended to help relieve the growing problem of student loan debt, but while the reforms are well-intentioned, they ultimately fail to address the larger problem. The key piece of Mr. Obama’s plan allows graduates to calculate minimum payments based off income for certain loans rather than the usual payment plan. The plan also includes provisions for assuring that students have an adequate understanding of the debt they are taking on, and that students have the option to consolidate various federal loans.

Unfortunately, like many presidents before him, Mr. Obama’s reforms constitute nothing more than a platitude. Student loans are a massive problem growing at an exponential rate in American society. The youth of today are funneled into college under the false assumption that a bachelors degree will lead to the American Dream. In this instance, the assumption is self-defeating as a college education is rapidly becoming the standard employers expect rather than the bonus students are relying on.

Every year countless students graduate from institutions of higher education, and a vast majority of them find themselves thousands of dollars in debt. The average college student will accumulate nearly $24,000 in debt over the course of his education, according to the U.S. Department of Education, which is fine in a system where graduates can easily find jobs that pay well enough to dedicate enough income to offset their debt. The reality of the current economic climate in America is that jobs are not easily available, nor can graduates expect to find an entry-level job that pays well enough for them to pay back their debt.

The concept that Mr. Obama’s administration has failed to grasp — like his predecessors — is that if the American people expect their country to be the best educated in the world, their country’s education system has to be one of the best funded. As of 2002, the United States has only the 38th highest education budget by percentage of the gross domestic product. If the United States continues to expect that the average student has to work their way through college, which is not always possible, then we simply cannot pressure so many students into going to college.

While a college degree is unarguably a marketable achievement, our current economic and political climate simply cannot support the number of people going through college at their own expense. Several years ago we experienced the ‘mortgage bubble’ and the effects are still being seen worldwide. Student loan debt is quickly gathering attention as the next bubble, articles from both the Huffington Post and MSN have already begun to highlight that student loan debt may eventually weaken the American and worldwide economies.

Ultimately, if we as a nation intend to be the best educated among our peers, we need to step away from the student-pays model. Whether that comes from forgiving most loan debt, or massively boosting higher education funding is up to the politicians. Whatever they decide, the decision must come soon. For every year the problem goes unresolved more students find themselves graduating with un-manageable debt and few job prospects.

Incorruptible by Michael Hollinger is a complex show with a simple goal. It is a script that demands an audience that can weigh in on the heavier themes of faith and religion while not taking either too seriously. It is billed as “A light comedy set in the dark ages” and that’s a fair assessment of how SVSU is tackling this comedy.

Incorruptible fits neatly into the farce genre, a genre in which laughs come from absurd situations and exceptionally tight comic timing. Director Dave Rzeszutek and his cast are well aware of this, and much attention has been given to making this larger than life production feel grounded in reality.

Farces rely on plot developments to drive laughs, so no plot will be revealed in this preview. What you can expect, however, is a group of monks who are forced to act in very un-monk like behavior through a series of increasingly unfortunate events. Situations that are brought upon them through both external and internal sources. Small indiscretions snowball into problems that have no easy solutions. The script revels in twist and turns, and should easily keep its audience laughing almost the whole way through.

Though the play is set during the dark ages, the script is written in contemporary english rather than “old time english”. In fact, much effort has been made to increase the shows accessibility, by both the playwright and the director. The play may reference religion to fuel many of its jokes, however Mr. Rzeszutek says: “The show is about a question of faith. What do you believe, do you believe in your self or some sort of supreme being? I think Roman Catholics may get more of the jokes, but i feel the themes are something anyone can connect with”

The entire play takes place in a single monastery. Jerry Dennis, the technical director focuses on intense realism: “When you look at other farcical shows, even television shows like Married with Children, it’s important to keep things grounded in reality. If things get too fantastical it becomes ridiculous and no one cares about what’s going on because it’s completely unbelievable”. The set  Mr. Dennis has built for the show is keeping with this philosophy very faithfully.

Mr. Rzeszutek became familiar with the show two years ago while responding to another schools production of the play. When asked what inspired him to direct the play himself, and what he wanted to change for his own production, he replied “It wasn’t what I wanted to do different, it’s that I wanted to challenge myself. I haven’t directed a comedy of this caliber. I thought it would be a fun challenge.”

Things to watch for as an audience member; Rzeszuteks directorial concept is “A test of faith”. Each character has some obstacle to overcome in their own spiritual life. Some are more apparent than others, but each character brings a unique piece of the entire puzzle. Keep that in mind while watching the show, and you may be able to appreciate the nuance of each performance to a greater degree.

Most importantly however, Rzeszutek wants to keep his actors honest. As ridiculous as the situations may be, “the actors are living truthfully through heightened circumstances” and that’s where the real depth of the play lies. Dave Milka plays “Jack” a one eyed minstrel whose arrival throws the monks daily lives into disarray. On keeping his character believable even with all his characters bold traits, he said “As loud and crazy as he may behave, the things going on around him are more ridiculous throughout the play. So yeah, my character may be bombastic, but I can’t help but look around at what happens and ask am I really the crazy one?”

However, care has been taken not to fall too deeply into a heady intellectual space. Rzeszutek capped off our interview saying “The most important thing is to just have fun, it’s a comedy!”

Incorruptible will open November 16th at 7:30 in the Malcolm Field Theater. Regular performances will continue through the 19th with a final matinee showing at 3pm on the 20th.