UMS Lobby

Wow, I'm going to take the high ground. I just saw the President's press conference which dealt among other things with the topic of Syria using nerve gas and whether or not this merits US involvement in another Middle East ground war. The Trojan Women was written about 2,400 years ago. Was this or was this not a good production? I will leave this for the Classics professors. I fear I'm better versed in Classic Rock. Joe, good luck wherever you are going...but buy a Detroit car on the way out of Michigan. My final thought on the UMS season is summed up in a quote a graduate professor in history once told our reading table, "You pays your money & you takes your chances." Now was that P.T. Barnum?

Robert Kinsey

Posted: 4/30/13 -- 12:42 pm

I agree with Larry. I forgot to mention that I too loved the music. I could have sworn it was played on ancient-style instruments. But the musician on stage after the curtain just had a violin. I also agree with Larry's thought on Helen. She won over Menelaus and it's unclear whether he would have turned her over to the Spartan people to be killed after they arrived there. Also, the defense presented by the envoy, that he was just following orders, reminded me of World War II and the post-war trials of war criminals.

Tim

Posted: 4/29/13 -- 10:10 pm

This play evoked two very divergent opinions in my household. My wife and I are neither theater program graduates nor students of Greek tragedy but we have been avid theatergoers at Stratford for some 25 years and attend local productions. My wife found this among the most tedious plays she had ever sat through, enjoyed neither the acting nor text but was captivated by the music. My mind was racing the entire production while I recall barely being able to stay awake during a previously attended high level performance that was true to the original Greek text. Isn't that the purpose of adaptation -- to couch the message in a vehicle relevant to current day audiences? I did not care if there were some new characters. Instead, I was struck by the power of Hecuba and Andromache's bodily movements and dialogue (How does Ellen have any energy left for the 22 hours a day she is not on stage). To me, they cried out, yes and kept crying out repeatedly, that horrible message that runs counter to the "heroism" of wartime -- the message of wars' destruction of human lives, of human dignity and human hope. Additionally, although not central to the play's overall theme, I found that while many might wish it to be untrue, the Helen portrayed on stage would likely win over Manaleus... and most other men. Thanks to UMS for bringing this SITI production to our stage.

Larry Handelsman

Posted: 4/29/13 -- 5:32 pm

I didn't know that that part about Odysseus was made up, so now I know it's not part of ancient Greek myth.

Tim

Posted: 4/29/13 -- 1:44 pm

I have published pretty extensively on the play. I admired Lauren's voice and the way she moved. I liked the lighting. But the production as a whole left me cold--the stylization was estranging. Tim's comment makes me a little nervous, since as far as I know they made up the story that Odysseus made the deal with the suitors' oath to get Penelope--maybe it's in an ancient author somewhere, but it contradicts the standard version (since Odysseus takes the oath himself and has to go to Troy though he doesn't want to).

Ruth Scodel

Posted: 4/29/13 -- 1:31 pm

Thanks for the follow-up as I wasn't sure. "Over-the-top" is one of those phrases that people use to both praise and put-down. I, too, thought she was perfectly "over-the-top."

Michael Kondziolka, UMS

Posted: 4/29/13 -- 9:48 am

Let's not try that one out. Don't misunderstand, loved her!

Wil

Posted: 4/29/13 -- 9:45 am

You probably spent in fees alone the same amount of money supporting the athletics department. I wonder if you feel equally indignant that Michigan didn't win the NCAA Tournament this year. Did you complain to the athletics department for not providing you with an absolute victory this year? Did that sully your entire academic journey? Any time you purchase a ticket to an athletic event, you know you might win or lose. The same is true of any event. Certainly in a sporting event, certain players might make you grimace for making a bad pass, stepping out of bounds, or even every time they touch the ball. And then, If you leave at half-time and the team makes an amazing come back, you have lost out on that exuberant experience. I was enthralled by the opening moments of the production and followed the early scenes in anticipation of what was to come. I was completely engaged by the second half of the performance and the end left me in complete silence as I hope any transformative piece of art will do. For me the production was a victory. However, I completely understand that some people will not like every production, concert, event. AND even if, in your opinion, UMS missed on this one event, isn't their record of presenting a diverse season of quality programming a better record than all of the sports teams? Only 1 loss in four years. I bet any athletic department in the country would take that record for their entire cadre of teams.

Jeff

Posted: 4/29/13 -- 9:01 am

Perhaps you had a problem with your education. I'm not sure performances at UM was a requirement for graduation and your umbrage is misdirected.

Dennis

Posted: 4/28/13 -- 9:37 pm

Hey Joe...you are right. I didn't think for a second that you "absolutely hated" UMS. Frankly, I was just trying to draw you out. When you say that "anyone would have seen that many of the performers were sub-par and badly cast" to whom are you referring? Just wondering as I suspect that the three I loved the most -- The Envoy, Kassandra and Helen -- were the very ones you might think were so bad. I am just trying to gauge just how opposite we are in our view of this production. BTW, is this Joe M?

Michael Kondziolka, UMS

Posted: 4/28/13 -- 7:46 pm

In my experience with ancient Greek plays, a "monochromatic emotional high pitch" such woe, woe, woe is not unusual. Elektra, for example, is oriented that way.

Tim

Posted: 4/28/13 -- 7:28 pm

I thought the parallels with Iraq and Afghanistan were evident too. If only the Greeks had engaged in nation building after they won. Is there a parallel between the killing of Astyanax, the little son of Hector, and drone strikes in Pakistan that kill children?

Tim

Posted: 4/28/13 -- 7:17 pm

Hi Micahel, First of all, please don’t think that I absolutely hate UMS — but I don’t think you got that vibe for me in the first place. I was just a little annoyed that the last production I saw through UMS was such a dud, especially since you guys put on such quality performances. The classical music ensembles you choose are especially high quality and comparable to the kind of groups that play at Carnegie Hall (in fact, your seasons usually overlap quite a bit.) While I don’t have a “favorite” memory, I can say that I’ve been satisfied with 95% of the concerts I’ve seen — especially the orchestral concerts. And I do indeed have a response to JW. Speaking of ad hominem attacks, his/her comment has a blaring one — namely that I and some of the other commenters are unfamiliar with Greek tragedy. While I’m not a School of Theatre student here at U-M (which seems to be a prerequisite for JW in terms of fully comprehending Greek tragedy) I am a big fan of the plays of Euripides and Sophocles. But what I think JW fails to realize is that this wasn’t a pure example of Greek drama — it was obviously labeled an adaptation. If this were Greek theater, there would have been two choruses, as in the original Euripides play. There would have been more time allotted to choral odes, strophes, and antistrophes, which were mostly cut from this production. This production was trying to inject modern conceptions of theater into Greek drama, making it more “accessible” or “up-to-date.” But by doing so, the magic, mystery, and ritual of Greek theatre were lost. It was not, as JW suggests, trying to be faithful to Greek theater. If it had, I probably would have enjoyed it much more. But I think JW misunderstands what I was initially criticizing. It was not the genre of the production I was criticizing, but rather the awful performances. While he claims that the actors were “declaiming,” I would argue that they were doing nothing of the sort. Most of them — especially the male performers— were merely reading off lines with some expression. This wasn’t a matter of me “demonstrating my ignorance,” as JW said. I have no problem with out-of-the-ordinary or stylized productions; in fact, Robert Wilson is one of my favorite directors. The root of the problem was the bad performance, i.e. the poor execution of an already shaky concept. Regardless of “provincialism” or “ignorance,” anyone would have seen that many of the performers were sub-par and badly cast. -Joe

Joe

Posted: 4/28/13 -- 7:10 pm

I enjoyed it. But I love ancient Greek plays and ancient Greek myth, legend and history (if perhaps we have a combination of them in the Trojan war story). The actress who played Hecuba did a good job, and so did the actor who played Poseidon. I am fairly familiar with the myths and legends behind the Trojan war but I still learned more about them, especially that Odysseus had been a suitor for Helen but took Penelope instead. I was not sure if all the names were pronounced correctly but I could be wrong and that's not very important. (In the movie Troy they pronounced Menelaus as men-allow-us, interestingly enough.) I thought it was worth the money, at least for the cheap seat I had. And, again, I'm a big fan of ancient Greek drama and ancient Greek myth. Ancient Greek drama is not often performed these days (there was one at Stratford last year, Elektra), so it was a bit of a treat. Thanks to UMS for this performance.

Tim

Posted: 4/28/13 -- 7:09 pm

A powerful and memorable experience! There is much to be mulled over here. The play touches on so many troubling aspects of human life -- the senselessness of violence, the destructiveness of vanity and pride, what we do with what is left of ourselves after we have lost what we treasured. But mulling over does not become possible until one recovers one’s balance after these wrenching two hours..

Playgoer

Posted: 4/28/13 -- 7:07 pm

Eric Grode's review from the NY Times http://theater.nytimes.com/2012/11/30/theater/reviews/trojan-women-after-euripides-at-bam-next-wave-festival.html?_r=0

Michael Kondziolka, UMS

Posted: 4/28/13 -- 7:06 pm

Jenn McKee's Annarbor.com review: http://www.annarbor.com/entertainment/review-siti-company-trojan-women-power-center-ums/

Michael Kondziolka, UMS

Posted: 4/28/13 -- 7:01 pm

Thanks for writing Yiya. What was it that you would have liked to see in the characterizations of Kassandra and Helen? Just wondering. I thought they were completely captivating...and really strong in their approach to these characters.

Michael Kondziolka, UMS

Posted: 4/28/13 -- 6:54 pm

Thank you so much for you thoughtful comments and big picture view of things. Always a please to read what you have to say.

Michael Kondziolka, UMS

Posted: 4/28/13 -- 6:51 pm

I think if I had just been violently raped the night before and told I was being taken into slavery as a concubine in a foreign land the next day, I might act a little "over-the-top" myself.

Michael Kondziolka, UMS

Posted: 4/28/13 -- 6:49 pm

Joe, Thanks for writing and expressing your point of view. Sorry this production was such a disappointment to you. I quite liked it...flaws and all. Since it sounds like you have been a loyal UMS audience member during your time in Ann Arbor, what are your best memories of UMS offerings? Or the experiences you will like to remember when you think back on UMS shows? Also, just wondering if you had any thoughts about what JW posted...or even a rebuttal, perhaps?

Michael Kondziolka, UMS

Posted: 4/28/13 -- 6:41 pm

This was a very interesting adaptation. I loved the movement, lighting, and set. the problem for me came with some of the performances. The actresses who played Hecuba and Andromache were excellent. The actors were good as well. The actresses who played Kassandra and Helen...oh well, those two needed more work.

Yiya

Posted: 4/28/13 -- 6:25 pm

And thank you, Prue, for all you've done over the years to help make it possible for this amazing organization (UMS) to be audacious and risk failure.

Leslie Stainton

Posted: 4/28/13 -- 6:24 pm

Leslie - This is typical of Leslie's thoughtful, interesting review. Well done!

Prue Rosenthal

Posted: 4/28/13 -- 5:07 pm

I thought some of it was excellent and moving and other parts were not well acted or not well cast. Not sure which. I don't like mixing modern with ancient costumes but I think it drove home the point, particularly the envoy, that it was sometimes so close to home. I could really imagine an American soldier in Iraq saying "I don't even know why we are here any more." I thought Hecuba was fabulous and I like Andromache. Very mixed reviews in the Power Center Lobby.

Prue Rosenthal

Posted: 4/28/13 -- 5:05 pm

I love this exchange on the Lobby today, love the fact that theater—live theater—can provoke such thought and passion, both pro and con. Isn’t that why we go? We could have all stayed home and enjoyed the balmy evening and kicked back in front of our TVs and saved the ticket money, but for whatever reasons we didn’t. Do I always like what UMS offers? Do I always feel I’ve gotten my money’s worth? (How do you even calculate that?) Of course not. But thank god they’re not serving up predictable fare. That’s when I’d stay home. Was Trojan Women uneven? Sure. Did Jocelyn Clarke take questionable liberties with Euripides’ text? You bet. (Though it was interesting to hear Anne Bogart say today that one reason the company dispensed with a chorus was “we couldn’t afford it.” Ditto Athena, who in the original script engages in a long dialogue with Poseidon, but in this production doesn’t even show up. “We couldn’t afford two gods,” Bogart quipped.) Did this production make me think twice about the play, make me reflect on its meaning and on my own preconceptions? Absolutely. I didn’t love all of it. I didn’t always get why the actors were hanging around instead of vanishing the way they do in Euripides’ text. (Bogart explained today she wanted an ensemble piece, Chekovian in nature, rather than a sequence of two-part dialogues. She wanted the women to serve as their own chorus.) I came home from the production and thumbed through my copy of The Trojan Woman looking for some reference to a hermaphrodite. Didn’t find it. Didn’t quite get what was up. But were there moments onstage last night that ripped through me? Yes, yes, and yes. Andromache’s gorgeous, patiently rendered evocation of her love for her husband. The exquisite narrative in which the (single male) Chorus came downstage and with dancelike motions described the invasion of Troy by the horse-hidden Greeks. Hecuba’s howls. Hecuba’s one-liners. The riveting moment when Helen at last walks offstage and shadows first slice off her head and then cast her utterly in darkness while Cassandra plays in the light just beyond her. The way the viola came and went, shaping the action, hauling voices with it. Theater exists in the moment. Euripides’ text will outlast this production. Another director will have her way with it. There’ll be more Helens—let’s hope another 2,500 years of them. This afternoon, Bogart talked about the relationship between performers and audiences. She said a cast doesn’t “speak to just one kind of person. You speak to different parts of each person.” So this Trojan Women may not have clicked with some theatergoers. But it’s got us talking to one another. It’s got us going back to our copies of the play and thinking again about the issues Euripides addresses. It’s got me, at least, thinking not about the price of tickets but about the price of war, and about human nature, and about men and women, and about our drive to tell one another stories by acting them out in front of each other. May that process continue.

Leslie Stainton

Posted: 4/28/13 -- 3:29 pm

Hi all, Anna from UMS here. Thanks for participating in this conversation. We thought this might be a good chance for us to re-post some of our community conversation guidelines for the Lobby. They’re available in full here: http://www.umslobby.org/index.php/2009/01/ums-lobby-guidelines-12346 The UMS Lobby is a place to express both praise and criticism, to share differing viewpoints, and to create a fun and interesting conversation. You can participate in many ways, including commenting on past, present, and future UMS events, replying to blog posts, asking questions, generating new comment threads, and responding to others’ comments. That said, keep in mind the following when posting on umsLOBBY.org: • The Lobby is an avenue for community interaction. Although this is an online forum, developing good relationships is still the result of an honest, open approach to communication—the same as you would use in your face-to-face interactions with others. • Please, no personal attacks or posts that contain profanity, hate speeches, spam, or solicitations of any kind. While the content here isn’t likely to be controversial, use good judgment before hitting the “submit comment” button. • At this time, a comment may not be edited by the poster after it has been submitted, so please proof your comments carefully before submitting them. • The Lobby team reserves the right to moderate or remove comments that don’t meet these guidelines. If your comment is removed, you will receive a personal email explaining why.

Anna Prushinskaya

Posted: 4/28/13 -- 12:28 pm

When my family and I pay thousands of dollars for tuition and I pay hundreds of dollars out of my own pocket for UMS tickets, I think I have the right to feel indignant. Over the past four years I have given UMS a large chunk of my own money to see their productions because I trusted them to put on a good show or concert for me. UMS didn't pull through with their end of the bargain this time, so naturally I feel indignant--not because I'm an entitled brat, but because real money has been exchanged and I didn't get a good show at the theater, which is what I've come to expect from UMS over the past 4 years. So stop stereotyping me and lumping me together with a bunch of ignorant ingrates. And anyway, an ad hominem argument does nothing to support your argument.

Joe

Posted: 4/28/13 -- 12:21 pm

“Men will do anything to get what they want.” That’s Odysseus speaking near the end of the SITI Company’s stark and searing Trojan Women, one of the great anti-war plays in the repertory. Maybe it’s because I’d just watched a couple of installments of Nicholas Kristof’s Half the Sky, about the global oppression of women, or because lately I’ve been thinking and writing about eastern Congo, where rape is a weapon of war (with an estimated 200,000 surviving victims), but I couldn’t shake those words as I left the theater last night. Nor could I keep from making connections between what happens in this bleak 2,000-year-old text by Euripides and what’s happening in Iraq and Afghanistan. Watch SITI’s timeless take on this timeless text, and onsider what it means to inhabit a place where war has been raging for 10 years. There’s a reason this tragedy “keeps coming back,” director Anne Bogart said in last night’s post-performance Q&A. (For a contemporary take on the kind of desperate situation Euripides paints in The Trojan Women, read The Yellow Birds, Kevin Powers’s bleak indictment of America’s 10-year occupation of Iraq.) There’s so much to admire in this production—the haunting soundscape, the sacred circle of black rubble where Euripides’ women act out their grief with both ritualized gesture and miniature moments of endearment, the bare-bones feel of the thing. I was reminded time and again of Peter Brooks’s edict that the only thing needed for theater to take place is one person walking across an empty space while another watches. Bless Bogart and her ensemble for stripping away the kind of scenic and aural clutter that bogs down so many contemporary productions. Surely this comes close to what ancient Greek theater felt and looked like. Most astonishing of all is the astonishing Ellen Lauren, whose Hecuba is at once terrifying and beautiful and grotesque and lyrical. This is a monumental performance of a role that’s as tough as they get—as Lauren herself says here: http://www.youtube.com/watch?v=vrenWl-ZGtk Think Lear in the storm scene on the heath, and you begin to get a sense of what’s on offer at the Power. I heard more than one person remark after last night’s show, “How can she possibly have enough voice left for another performance?” There’s one way to find out—go this afternoon.

Leslie Stainton

Posted: 4/28/13 -- 11:00 am

I initially had a similar reaction, but I decided upon thinking about the production that it actually was helped by the fairly quotidian text. I have read Euripides’s original play, and I felt that on stage this text worked pretty well for what the production was trying to do. And, note that it was billed very clearly as an adaptation of Euripides, not as a production of the original version of the play, either in terms of text or cast. The bigger issue I see here is the notion that our students feel that they’re special and somehow deserve never to be disappointed, especially at the end of their time here. I teach at U-M, and I love it, and I love my students, but this attitude needs to stop. The childish, ungrateful reaction of many students a few years ago to holding graduation at Rynearson Stadium in Ypsilanti when Michigan Stadium was under renovation was particularly embarrassing for the U-M community, in my opinion. So, I’m sorry you were disappointed by the production, but acting indignant because it somehow sullied the end of your time with us is completely out of line.

Christian

Posted: 4/28/13 -- 9:57 am

This was intended to be a reply to Joe, but it seems not to have posted that way.

Christian

Posted: 4/28/13 -- 9:08 am

I initially had a similar reaction, but I decided upon thinking about the production that it actually was helped by the fairly quotidian text. I have read Euripides's original play, and I felt that on stage this text worked pretty well for what the production was trying to do. And, note that it was billed very clearly as an adaptation of Euripides, not as a production of the original version of the play, either in terms of text or cast. The bigger issue I see here is the notion that our students feel that they're special and somehow deserve never to be disappointed, especially at the end of their time here. I teach at U-M, and I love it, and I love my students, but this attitude needs to stop. The childish, ungrateful reaction of many students a few years ago to holding graduation at Rynearson Stadium in Ypsilanti when Michigan Stadium was under renovation was particularly embarrassing for the U-M community, in my opinion. So, I'm sorry you were disappointed by the production, but acting indignant because it somehow sullied the end of your time with us is completely out of line.

Christian

Posted: 4/28/13 -- 9:07 am

Well, I'm afraid that Joe and Iris are right on all counts. It gives pause that two other viewers were so moved, and I did see others in the audience experiencing the same inspiration, which is heartening. It is an absolutely dreadful translation and adaptation all around, and the performance was full of broad, melodramatic hyperpathos that came off nearly as caricature almost all the time. Ironically, the most genuine performance was that of the completely over-the-top Cassandra.

Wil

Posted: 4/28/13 -- 8:57 am

My response is closer to Heidi's. I found my self- my body, my heart- moved to tears and goosebumps for no rational reason; these responses ignited from something other than my head. Hecuba (Ellen Lauren's) clear voice, rational, in her first speech, moved me deeply. Staying on top of her circumstances, telling herself to stand...this was a highlight moment. Also (spoiler alert!!! Read no further if you have yet to see the show!!!) the moment when we recognize Andromache is taking the life of her child in her tender arms, before handing him over to the soldier was the most theatrical, powerful moment for me. Then, when she surrendered the babe to the soldier, the shape of her empty arms grieving for what she had done, as well as the loss of her child, and the future, was, well, the kind of human crisis moment I come to the theatre to witness. I was moved by the tenderness of the eunuch. I was moved by the depth of Ellen Lauren's voice to convey grief on a non- cerebral plane. I was refreshed by the counterpoint of activity upstage- negotiating the journey of the gold scarf, which had held Astynax, and then morphed into conveying a myriad of other actions/images depending on how a given character engaged with it. I deeply appreciated the generosity of Anne Bogart, and most of the acting company, as they quickly offered their perspectives, reflections, and experiences immediately following the production. They spoke so clearly as to how training prepares the ensemble for the work of the rehearsal room. Their public testimony of how their value snd practice of training and traditional dramsturgical preparation creates an open readiness for the work of the rehearsal room was inspiring for myself, and I daresay my students who were at this event Saturday night. Thank you for bringing the production and the conversation to Michigan audiences. I am moved, provoked, and inspired.

Janet

Posted: 4/28/13 -- 1:44 am

Wow. I'm reading these comments with dismay. Obviously two of the three have no experience with Greek drama, which is an entirely different style of performance than the pyschological realism of most contemporary productions. I just hope neither of them is a product of department of Theatre and Drama, and if so, they need to do a better job on the theatre history courses. Actors in Greek drama declaim, they don't often engage in the dialogue that is typical of contemporary work. Folks, this is stuff that has been performed for close to 3000 years. And these are actors and artists of international acclaim. You want to say it's not your cup of tea, fine. But to claim it's actually bad is merely a demonstration of your ignorance. I'm glad that UMS is bringing work that is more challenging (though this is pretty tame stuff by all standards). Ellen Lauren is a treasure, she was magnificent. I really liked the translation. One disappointment. I've followed Bogart for years. For someone who began with work that challenged gender roles, she's gotten very conventional recently. I thought the choices for Helen were very disappointing in both casting and direction. It was so... unsurprising. And ultimately sexist in a play that is all about women in the face of war. But this is something I've noticed in other recent Bogart productions such as Cafe Variations. I hope that UMS continues to bring work that doesn't just play to the Ann Arbor expectations. Afterall, it's part of a major university and I applaud you for not giving into provincialism.

Posted: 4/28/13 -- 12:56 am

This was an agonizing production played in a monochromatic emotional high pitch (oh woe, woe, woe!) with little variation. The male actors were exceptionally weak. The script was unduly repetitive, and some of the lines bordered on sophmoric (sorry sophmores)--eg "I'm leaving now" as an actor left the stage. For a few brief moments the production came alive when the issue of the ultimate responsibility and causation of Troy's downfall was debated but for the most part one felt as it one had just endured the Trojan Wars, and paid for the experience. A very disappointing production.

Iris

Posted: 4/28/13 -- 12:29 am

Wow. It's fascinating that two people could watch the same performance and have such entirely different reactions. I am not terribly familiar with Euripides' original text, but I found the translation and the performances compelling, visceral and heartbreaking. The addition of the eunuch priest provided an interesting perspective - because he was neither man, nor woman, and he falls somewhere in the middle of these very specific roles laid out in "Trojan Women," he was more of an observer and confidant to Hecuba. I thought the acting was powerful. The style of this company (and of the ancient Greeks) is more physical than many contemporary American productions (or films), but the circumstances of the play call for that style. It may be outside the comfort zone of some audiences...I'm not even sure if that's it, but I found myself getting goosebumps and crying without even realizing it was happening. I'm sorry for anyone who didn't have the same experience as me, but I think if we all liked the same things, the world would be a boring place. Thanks to UMS for bringing multiple perspectives and many different kinds of art to Ann Arbor!

Heidi

Posted: 4/27/13 -- 11:17 pm

What an awful production. I almost left 20 minutes into the show, but I stayed 20 minutes longer just to see if it got better. It didn't. I just couldn't stand to bear another minute of those amateurish performances. The eunuch priest made me grimace every time he tried to "act." (In addition, this ridiculous character isn't even in the original Euripides tragedy. It's called "Trojan Women" for a reason -- the characters who suffer are female, not eunuchs.) Even worse than this actor was the one who portrayed the envoy. It was like they plucked him from some community theater troupe. The moment I left, however, was when the actress playing Andromache launched into a monologue about how much she missed Hector. The translation of Euripides coupled with her bad acting made the scene come across like something from a soap opera. NEVER include this troupe in your seasons again, UMS. I'm a senior at Michigan, and this was my last UMS performance before I leave for grad school in another state. It's an unfortunate way to end my experiences with your company.

Joe

Posted: 4/27/13 -- 10:14 pm

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