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Ivy League Admissions - Case Study #2Robert Marchand: Poet Warrior
High school type: Private Writing sample: "No-neck" is a nickname I've had since I was five, and I'm proud to admit it. But it wasn't always that way. Until sixth grade, whenever someone called me that (or some other moniker intended to deride my combination of unusually large shoulder muscles, big head, and ample girth), I was hurt or angry. That all changed in the spring of my seventh grade year. Mr. Davidovich, my seventh grade English teacher, doubled as my school's drama coach, but even though I liked "Mr. D" immensely, I never considered taking a drama class or trying out for a school play. For some reason (perhaps because I was such a pudgy little kid) I had a long-standing fear of performing before an audience in a creative role. Even as four-year-old in nursery school, I refused to take my turn to be a "Busy Bee" and hand out the napkins and cups at snack time. At year-end, I would not hear of having a role in the class "circus" performance, although my teacher and my mother tried to entice me by offering me the job of ringmaster. When "Mr. D" singled me out and asked me to stay after class one day, and he explained that he wanted me to audition for a play to be staged at the local state university, my immediate reaction was unalloyed pleasure. Even though I had no experience on the stage and an exaggerated uncertainty about acting, the positive attention that Mr. D's suggestion obviously carried with it was enough to make me want to try out. I couldn't wait to get home that night to tell my mother about the prospect which had been laid before me, and to emphasize the urgent need to follow through, since the auditions were that very night. My mother, although also proud at the individual honor it so clearly represented, was somewhat puzzled (being my adoring mother kept her from being immediately and entirely skeptical). "But Robert why you? You've never been interested in acting and you haven't been in the drama club." Only then did I stop to consider how odd it was that Mr. D chose me. In typical seventh grade fashion, however, I did not dwell on the negative. I proceeded to dismiss this question from my mind, basking in the prospect of stage stardom which was laid before me and focusing on finishing my math homework so that I could be on time for the "call" that night. But my mother's realism intruded once more upon my secret world: "What play are you trying out for?" I didn't know that either. To me that was entirely irrelevant. I just knew I wanted the part! My mother and I arrived at the university's Music and Drama Building at the appointed time. The building is an art deco design. The edifice is both elegant and rundown at the same time. We entered the musty black and white checked foyer, and proceeded down a wide corridor and past dark classrooms, until we reached a pair of double doors with small glass windows in each which formed the entrance as well as the barrier to the rehearsal hall. Just outside these doors several battered brown folding chairs were lined up. Sitting or walking around near these chairs were several other children of both sexes, all about my age. A lady greeted us, clipboard in hand, identified herself as Mary, the stage manager for the production, and asked for my name, age and school. My mother and I answered all of her questions, and when it was clear all the questions were done my mother asked one of her own: "Excuse me, but could you please tell me what play is being cast?" Mary seemed a bit surprised that we didn't know. "Why, we're doing "Cat on a Hot Tin Roof", and tonight we're auditioning children for the roles of the 'no-neck monsters'." The mystery of what prompted Mr. D to encourage me to audition was now solved! My mother had a queasy look on her face, probably worrying that I would not want to wear such a label. However, notwithstanding the dubious honor of being recruited for my body type, I was actually thrilled at the prospect, and I acquitted myself well enough in the tryouts (which, by the way, mostly consisted of yelling, singing, hopping, skipping, and running) to be cast. Performing turned out to be a breeze for me. I had only one actual line to deliver, but I did have to sing (with the other four "no-neck monsters") some songs in honor of "Big Daddy's" birthday. Even without lines I was the focal point of what turned out to be a show-stopping scene--during the course of one of those songs I had my back to the audience, and, with youthful nonchalance, I had to scratch my pants' seat. My mother overheard someone pointing me out to a couple of people watching during rehearsals, remarking upon my prowess in the butt-scratch department. In fact, I was so good at it and my movement was so natural that the audience howled with laughter when I did it, and afterwards there were many people who were embarrassed to ask me whether it was intended or ad lib. Being a no-neck led me past "Cat" two years later, the fall of my ninth grade year, to a role with more lines and more responsibilities in a production of a play based upon Dylan Thomas's "A Child's Christmas in Wales." For that part I was not required to try out, and I rejoined my friends in the troupe in tackling a challenging and grueling schedule which included rehearsals during exams, a three-week run, and two performances each on Christmas Eve and New Year's Day. Unfortunately for me, summer football responsibilities and other school conflicts have made it impossible for me to take part in other plays, even backstage. I admit to being so spoiled by the caliber of my cohorts and the prestige and professionalism of an equity company that I have not been tempted even to consider whether other troupes might have productions which were more schedule-friendly. Although I may never act again, I shall never be anything but proud to have been called "no-neck." You make the call. Where did Robert get in? Next Ivy League Admissions - Intro |
