Fall/Winter 2003 Issue

The Last Word

by President Richard J. Cook

Superb Collaborative Efforts
Deserve—and Need—Our Support

Imagine being a member of a student team that submits a winning design for a public art project that you then create and install next to a busy intersection on a state highway—and the project subsequently garners a state-wide award. Or contemplate being a member of a federally funded research team that spends the summer at 11,000 feet in the Colorado Rockies studying the causes of salamander population cycles. Perhaps your interests lie at the intersection of psychology and classical music, and you publish your research results in a national journal after gathering mounds of EEG data at live musical performances in Ford Chapel.

If you are a student at Allegheny, there is no need to just imagine—these examples, and many more, are the daily reality on campus. Never have I been more enthusiastic about Allegheny’s essential place in the higher education landscape than during a recent meeting of the Board of Trustees’ Academic Affairs Committee. On that occasion, Professors Amara Geffen (art), Scott Wissinger (biology/environmental sciences), Alec Dale (psychology), Jeff Cross (neuroscience), and Alec Chien (music) described their research and creative work with students. These kinds of intense collaborative efforts have long been a hallmark of an Allegheny education.

Members of our Board of Trustees who attended this presentation were visibly enthusiastic about what they witnessed, and all of us left the session determined to spread the word about what we had seen and heard. Professor Wissinger commented that those particular presenters were representative of many others on the faculty who also do great work with students, engaging them in scholarly and creative pursuits as part of an extraordinary undergraduate learning experience.

Allegheny’s faculty are highly active scholars and expert mentors who draw students into their work as fully integrated and respected members of research and creative teams. Our record of scholarly productivity, and of winning foundation and government grants to support that work, places us among the highest quality undergraduate institutions in the nation. This collaborative student-faculty scholarship is one of the reasons that Allegheny ranks near the very top in both academic challenge and quality of student-faculty relationships in the National Survey of Student Engagement (NSSE).

These types of learning opportunities—part of the distinctive quality of an Allegheny education—set us apart from less personal or less intensive undergraduate experiences and are a source of pride for the entire college community. But academic performance at these high levels deserves more than just our enthusiasm. It also deserves—and needs—support from those who understand Allegheny’s important role in higher education. All great colleges depend on investments by individuals, foundations, and corporations who know their support is essential for a better future not only for students but also for society.

By supporting faculty and students through the Tradition & Transformation campaign, donor-investors become part of a dynamic process of teaching and learning that is based upon active investigation and exploration. They become partners themselves in the great educational enterprise that Timothy Alden began almost two hundred years ago.

Let me express my sincere appreciation to everyone who has already invested in this endeavor and appeal to those who are contemplating such an investment. Every one of you can experience the satisfaction and excitement of playing a part in accomplishing the Allegheny College mission. You may not be with us in the research labs or the art studios or any of the other myriad places on campus where exceptional work is being done, but you can still be a valuable partner in some of the most exciting and innovative work being done on any college campus today.

President Cook welcomes questions about the Tradition & Transformation campaign and what it is accomplishing on campus. He can be contacted by e-mail (richard.cook@allegheny.edu) or by regular mail: President Richard Cook, Allegheny College, 520 N. Main Street, Meadville, PA 16335.

This article was featured in the Fall/Winter 2003 Issue of Allegheny Magazine.

Two Retired Faculty Embody What Is Best About Allegheny

By Professor Emeritus of Mathematics Charles Cable

retired1

When I began teaching at Allegheny in 1969, Harold State had already been on the faculty for thirty-two years, Fred Steen for twenty-seven. Aside from their seniority on the faculty, I came to respect both men, and to see them as role models, for their passionate commitment to the liberal arts, to Allegheny, and, most especially, to their students.

Dr. State, who taught chemistry and served as chair of the chemistry department for many years, joined the faculty in 1937 and retired in 1975. Dr. Steen joined the faculty in 1942 and retired in 1977, and for much of that time—twenty-seven years, in fact—he was chair of the College’s mathematics department.

Fred and Harold were colleagues for most of their time on campus, and even today they make a point of getting together twice a month to have lunch at the Wendy’s in downtown Meadville. It can be hard to get them to talk about themselves—each is unassumingly modest—but in September they graciously agreed to forgo lunch at Wendy’s for burgers and coffee, and a little reminiscing, at my house.

Both men have been slowed by age—Dr. State is ninety-three, and Dr. Steen is ninety-six—but they enjoy contact with their families, listening to music, and, of course, hearing from former students.

retired2Both Dr. State and Dr. Steen enjoyed tremendously their contact with students—both in the classroom and outside the classroom—during their long teaching careers. They note that they still hear from alumni from time to time and deeply appreciate every contact.
“We all notice that students leave en masse—at graduation,” says Dr. Steen. “They’re not always stimulated to say goodbye. So it’s always surprising and gratifying to have them say, maybe ten years later, ‘I really enjoyed that course.’”

“Of course,” he adds with a laugh, “I’m sure there are others who have different opinions!”

It would be hard to imagine an Allegheny without these two wonderful teachers and mentors in the decades between the late 1930s and the 1970s—and I think it would be hard for them to imagine their lives without Allegheny. Both men speak of the school and its students with unabashed affection, recalling the camaraderie among colleagues and the beauty of the campus, especially on those evenings when the Singers would continue raising their voices in song as they left Ford Chapel and made their way across campus after rehearsals with Morten Luvaas.

They also recall, with a little less affection, their first encounters with Meadville weather. “When I first came to Meadville, I thought it was the wettest spot on earth,” Dr. State remembers. “I’d never seen so much rain as in those first seven or ten days.”
Dr. Steen adds, “When my wife, Marian, and I first came to Meadville, the weather was so bad that Marian said, ‘Well, we won’t be staying here long!’” The rest, as they say, is history.

retired3In my view, these two men were eminent faculty figures—the likes of which are seldom seen. I feel honored to know them and to have served on the faculty with them.

Editor’s note: Any former students of Dr. State’s or Dr. Steen’s who would like to get in touch with them are welcome to contact Kathy Roos at Allegheny magazine (kathy.roos@allegheny.edu; 814-332-6755). She’ll be delighted to forward all comments received to Dr. State or Dr. Steen.

This article was featured in the Fall/Winter 2003 Issue of Allegheny College Magazine.

Broadway Baby

An Interview with Allegheny’s Own Tony Award Winner
Michele Pawk

by Jim Bulman

Michele Pawk grew up in a small rural community outside Butler, Pennsylvania, and matriculated at Allegheny in 1980. Active in music and theatre from the moment she arrived on campus, she transferred to the College Conservatory of Music in Cincinnati for professional training, spent several years on the West Coast, then moved to New York, where, for the past decade, she has performed in major musicals both on and off Broadway—Kander and Ebb’s Cabaret and Chicago, the Gershwins’ Crazy for You, and Sondheim’s Merrily We Roll Along among them. Michele has supplemented her theatre career with frequent television appearances in shows such as Golden Girls, Law and Order, and L.A. Law and with occasional film roles as well (The Cradle Will Rock, Jeffrey). She currently is starring in a new Sondheim musical, Bounce, which is having tryouts in Chicago and Washington, D.C. prior to a New York opening.

In the fall of 1980, Michele performed in a revue called Side by Side by Sondheim on the Campus Center stage. A joint venture of the Playshop, the Music Department, and the Student Experimental Theatre, the revue featured several wonderfully talented student performers, but it was Michele who filled the auditorium with her rich mezzo and dynamic stage presence. I still remember the way she belted out the show-stopper “Broadway Baby,” a song in which—ironically, in hindsight—she yearns to make it big time on the Great White Way. I had the privilege of performing several numbers with Michele in that show. She was only a freshman; I was a young faculty member. One of us went on to win a Tony Award …

I spoke with Michele on the morning of August 20, shortly after she had returned to New York from the Chicago run of Bounce.

***

JB: Michele, you’ve just won the Tony for Best Featured Actress, for your role in Hollywood Arms. How does it feel?

MP: It’s thrilling. It’s flattering. I’m awed and honored, especially because this play closed in January, and many Tony voters hadn’t had a chance to see it. I was amazed that my performance was remembered so long after the play had closed.

JB: It’s a particular honor that you won for acting in a “straight” play, isn’t it, when you’ve made your name in musicals?

MP: It is. Often there’s an unfortunate stigma attached to musical theatre actors, an assumption that if you can sing and dance, you can’t act. So yes, the Tony carries a certain cachet. It brings a level of confidence that’s nice to have. The greatest thing about having won, though, is all the lovely cards and calls I’ve gotten from people I haven’t seen in years and years. Tony Chiroldes, a friend of mine from Allegheny—do you remember him?

broadway2JB: Sure I do. He’s remained in theatre too, hasn’t he?

MP: Oh, absolutely. He lives in New Jersey now. He and I have remained in touch, and I received the loveliest card from him. That’s been the best part of it.

JB: Hollywood Arms must have been a challenge. An autobiographical play by Carol Burnett, in which you were cast to play Carol’s mother.

MP: The biggest challenge was the fear factor. Carol Burnett is an icon, and when she walks into the room, you think, “My God, how can I perform in front of her?” But there was something about me that reminded her of her mother: essentially a physical resemblance, I think. She’d based the play on a memoir she’d written for her three daughters. Her daughter Carrie persuaded her to turn it into a play—or actually, a movie. But Carol sent the movie script to Hal Prince, who said, “God, kid, this is a play!” So she revamped it, and Hal directed it on Broadway.

JB: Was Carol present at rehearsals?

MP: Oh my gosh, yes. Hal structured them so that we’d rehearse in the morning, get a scene or two on its feet, and then we’d go to lunch. Carol would come in at three and we’d run what we’d done in the morning for her. After the first four or five times of thinking, “Okay, now I’m going to make a fool of myself in front of Carol Burnett,” I got over it. She was everything you’d dream her to be—generous and warm and friendly and smart. She couldn’t have been more supportive.

JB: Especially given the circumstances.

MP: Remarkably, yes. Carol’s daughter Carrie died of cancer before we opened, so many of us thought that the play would be canceled because Carol would need time to recover. But she didn’t. She threw herself into rehearsals as a sort of healing process and showed up every day. It was absolutely inspiring.

JB: The kind of fortitude she shared with her mother, possibly. I remember reading that although her mother is a rather unsympathetic character in the play—an alcoholic, wasn’t she?—you managed to make her sympathetic.

MP: When you live with a character and get under her skin, it’s easier to find positive reasons for the things she does. Carol’s mother was a dreamer in a very difficult time. She was a single parent in the 1940s. She had raised two kids and lived with her own mother, a domineering woman who wasn’t supportive of her dream at all. In the face of that, she still believed herself to be a player. She was a writer for Hollywood glamour magazines who loved to tell the story of how, when she interviewed Rita Hayworth, Rita asked her for a nickel to make a phone call. “Rita Hayworth owes me a nickel!” She was a scrapper, trying to be the best parent she could. I loved that about her.

JB: You did a lot of television acting when you lived in California, didn’t you, instead of musicals?

MP: I did a lot of television, yes; but musicals too. I moved to California after graduating because I knew a woman there who would offer me a job doing industrial shows. But I kept doing theatre, because that’s what I know and love. I got my first Broadway show while I was out there. Mail. It was a little musical that started at the Pasadena Playhouse—had a huge run there—then went to the Kennedy Center and finally New York.

JB: So that was the show that brought you to New York?

MP: It did. But I went back to California. Fast forward to a year or so later, when I auditioned for the Gershwin musical, Crazy for You. In those days producers held auditions in L.A. for all the big Broadway shows. I got cast in the show, but not in the role I ended up doing. I was cast as one of the dancers. I guess I was fortunate that my dancing was strong enough to get me the offer; but at that point in my career, I didn’t want to be in just the chorus or the dancing corps. I wanted to play featured roles. I wanted people to think of me as a lead. Someone gave me what turned out to be great advice, to turn down the offer and wait for something better, so I did. Sure enough, the girl to whom they offered the part that I eventually got was already committed to something else, so they called me. I flew back out to New York on my own nickel for another audition and got the part.

JB: And delighted Broadway audiences with your performance of “Naughty Baby” for hundreds of performances. It was pretty risky for you to be offered a role in a musical like that and say no, wasn’t it?

MP: Oh for heaven’s sake, every day is a risk in this business! I’m forty-one and still fly by the seat of my pants. I took a risk, sure. The risk of not working. There was probably a little naivete in my decision; but in hindsight, it was the best thing I could have done.

JB: And now you’re starring in a brand new Sondheim musical. The “Broadway Baby” you sang at Allegheny twenty-three years ago was prophetic.

MP: Yeah. How much more exciting can it get?

JB: You’re working with the best talent in theatre today.

MP: It’s such a thrill. I’m incredibly lucky. All I ever really wanted to do, I’ve been doing for the past four or five years. I’ve been blessed to be in the room with some amazingly gifted people: Sam Mendes and Robbie Marshall [the director and choreographer of Cabaret: Marshall’s Chicago just won the Oscar for best picture]; Michael Mayer [The Triumph of Love], Graciela Daniele [Hello, Again]; Frank Galati [Seussical]. And now Steve Sondheim and John Weidman, and of course Hal Prince [the composer, librettist and director of Bounce]. I’m in the room with greatness, and it’s joyous; but in a sense, they’re no different from any other theatre professionals. It’s all about collaboration. What they care about is the play, the process, having fun and doing the work. Working with talented people has become increasingly important to me. The question for me now isn’t how big the part is or what it can do for my career, but who can inspire me to be better than I think I ever could be.

JB: People you can keep learning from.

broadway1MP: Because what else is there? I think that the key to great directors is that they cast well; and by that, I don’t mean that the person they cast is perfect for the part, but that they trust. They’re smart enough to see something in you during auditions that makes them think that eventually they’ll be able to get something far greater from you. Then they give you the freedom to explore, and they stay out of the way a bit. That’s the greatest gift a director can give an actor: space, space, space.

JB: It’s analogous to the educational process, isn’t it, wherein a good teacher will give students the freedom to discover things for themselves?

MP: It is, yes. More like the kind of education I got at Allegheny than at the conservatory.

JB: Can you describe the differences?

MP: They’re night and day. The education I got at Allegheny was such a gift for me, and I imagine for most kids who go there. It gives you the freedom to learn about yourself—how to discipline yourself. You learn how to socialize, how to limit yourself. At eighteen, I wouldn’t have been ready for the conservatory environment. I was hardly ready at twenty. The conservatory didn’t allow me as much freedom. It was incredibly intense.

JB: Like a graduate program?

broadway3MP: Very much so. I wish I’d stayed at Allegheny and finished the four years there, then gone on for graduate training. I’m a big proponent of getting a liberal education before you get training as a theatre professional. Quite frankly, we don’t need any more dumb actors. The only thing actors have to draw on when communicating a scene is their life experiences, and if those experiences don’t include a good education, if their general knowledge is limited, they’ll make less interesting choices. You can be an actor any time. A broad education is the best foundation an actor can build on.

JB: You sampled both types of education as an undergraduate.

MP: Yes, and when I went to Cincinnati as a transfer student, I found myself way ahead of other students in terms of mind-set. I was more grounded; I’d had two years of college to consider what I really wanted to do. At eighteen, few people are willing to hunker down and do what it takes to survive at a conservatory.

JB: Very different from the balance of priorities we encourage students to strike at Allegheny.

MP: I have to tell you, though, that the training I got in theatre at Allegheny was some of the best I’ve ever had, even at the conservatory. Allegheny has an amazing theatre program. The teachers were nurturing, wonderful people, and I felt very, very lucky to have had them. Students today should be absolutely thrilled to be studying under you guys!

JB: This will make great copy for the magazine, Michele. I’ll put it in boldface!

MP: It’s the truth. And not just the theatre program. Music, too. There was a professor—very tall, with dark hair—who did choral music.

JB: David Cassel?

MP: Cassel, that’s right. I had a theory class with him that was—oh, my gosh—more intense than any class I had at Cincinnati. I tested out of all theory classes at Cincinnati because of that class. It was that good.

JB: Are you still in touch with any of your Allegheny classmates?

MP: Yes! Just this summer in Chicago, two people I knew from the choir came backstage after the show. I hadn’t seen them in over twenty years but I recognized them right away. I just couldn’t believe it! The dearest friends I have in my life are people I went to school with at Allegheny: Mary Ferlan, Sue Hodges, Liz Barnhart—

JB: Are you still in touch with them?

MP: Oh gosh, yes. My best friend Mary comes up to New York for every show I do and we have very festive weekends. She lives in Lexington and is getting married. I get down there when I can. And Sue lives just across the bridge in New Jersey. She has two kids, so I was just there last week. Our kids play together. Our boys are the same age.

JB: It’s nice that you’ve been able to maintain those friendships after twenty years.

broadway4MP: Those are my tried and true friends. The people who have been with me through it all. The good, the bad, and the ugly. And there has been some of that! I don’t have as many good actor friends.

JB: You met your partner John while performing together in a musical, didn’t you? [John Dossett is currently starring in Gypsy on Broadway with Bernadette Peters.]

MP: Yeah. We met when we were doing Hello, Again by John LaChiusa. That was back in ’94, I think.

JB: So you’ve been together a long time.

MP: Eight or nine years.

[At this point Michele’s little boy, Jack, runs into the room to hug his mother good-bye while dad waits at the door.]

MP: You’re going to the dentist today, my boy! She is going to have you open your mouth so she can look at your teeth. Go AAAAAAHHHHH! And she is going to tell you what a good job you’re doing. I’ll meet you there. All right? Bye!

[John tells Michele that they’re taking the stroller, and Jack runs out.]

JB: How old is he?

MP: Three. John and I waited, obviously, to have a baby. And you know, we wanted it so badly that by the time we had Jack, we were ready to put everything else aside.

JB: What’s it like to have two demanding careers like yours, and be raising a child? How do you manage it?

MP: That’s all about your partner and how supportive he or she is of you. You make the choice to have a child together. Our careers are important to both of us, and we’re lucky that we get to do what we love. But our son is the most important thing in our lives. So it is easy to juggle, because our priorities are the same.

JB: Do you have a nanny to help out?

MP: We lucked into a situation that’s just unbelievable. I was doing Seussical the Musical—I’d just gotten pregnant when it was in workshops, so I thought I wouldn’t be able to do the show; but rehearsals kept getting pushed back until Jack was four months old, so I thought, “Well, I’ll have to get myself back into shape, but I can do it.” I was breast-feeding all during the Boston run. By the time it came to New York, John was in another children’s show, Tom Sawyer, and we knew that with our schedules, we had to get a nanny. I wanted somebody who would come to the dressing room with me so that I could continue breast-feeding. I wasn’t ready not to be near the baby at this point. We hired the first person we interviewed. She was a great kid who had moved here from Seattle and planned to start school that coming fall. She’s still with us.

JB: You mentioned your schedules. What is a typical day like for a working actor in New York?

MP: It depends on where you are in your career. I still audition for things, for films and television and voice-overs—the sort of stuff that pays the bills. And I take classes. Yesterday I took a dance class, which at this point in my life is more about joy than anything else. It’s nice just to keep my chops up a little bit. I also want to take voice lessons again before I go back into the show, just to get myself back into shape [Bounce is on a brief hiatus before its Washington opening]. You spend a tremendous amount of time still working on your craft. It’s all you have.

JB: You’re about to go begin another month of rehearsals for Bounce. Will they last all day?

MP: Yes—ten to six, generally.

JB: That’s a long day.

MP: It is. And then you come home you tend to a three-year-old; and by the time he’s in bed, you’re about ready to shoot yourself!

JB: Or have a good stiff drink?

MP: We have an extraordinary circumstance, because our kid is on a theatre schedule. He sleeps till ten or ten-thirty with us, but he stays up till one a.m. So it’s not like we put our kid to bed at eight and we get some down-time. Oh no, no, no!

JB: That is extraordinary.

MP: It’s fantastic, though, because there have been many times when John and I are both working in shows and neither of us gets home till about eleven-thirty. The thought of having Jack asleep by the time we get home is just too hard to deal with. So we give him a bath and read books and still have a bit of time together. For another couple of years, we’re good.

JB: And after that, when he goes to school?

MP: When we have to get up early in the morning, one of us is going to die!

JB: Any particular roles you’d like to play before you do?

MP: I’d like to do some Tennessee Williams: I’d like to play those women. They’re complicated, and they’re women of a certain age, which I’m fast approaching. Or already in, I should say.

JB: You’re not there yet. You have a three-year-old!

MP: I don’t feel like it, but I suppose you never do. I feel like Dorothy Parker, who in the last interview she ever gave—she was in her seventies—was asked how old she was, and she said, “It’s a shame that I actually am this age when inside I’ve never felt cuter!” I know that feeling. You don’t realize you’re getting older because you gain more self-awareness and more respect and trust. It’s only when you walk by the mirror that it hits you: “That’s right, I’ve gotten middle-aged!”

JB: Not you, Michele. You’ll always be eighteen.

Jim Bulman is the Henry B. and Patricia Bush Tippie Professor of English at Allegheny College.


This article was featured in the Fall/Winter Issue of Allegheny Magazine.

Meeting the Challenges of Oxford

Two Alleghenians Study Cutting-Edge Physics at an Ancient University

by Doug McInnis

To anyone who has seen it, Oxford University looks as much like a museum as a great university. Its ancient buildings form a skyline of arches, domes, and spires that suggest the era when all-powerful kings ruled England.

But Oxford, founded in the twelfth century, is one of the world’s great universities. Its alumni include Lawrence of Arabia, Lord of the Rings author J.R.R. Tolkien, Oscar Wilde, and Roger Bannister, the first person to run a mile in under four minutes. Another alumnus, Stephen Hawking, has become the most renowned physicist since Einstein for his work with the mysterious space phenomena called Black Holes.
And now Oxford is a regular stop for some of Allegheny’s top students. A new program allocates a minimum of two spots annually for juniors to spend a year there. Last year, Allegheny sent two physics majors—Ibrahim Sulai and Greg Schivley—to study in one of the toughest undergraduate physics programs in the world.

Ibrahim Sulai ’04

meeting1At first, Ibrahim Sulai felt the same way that most of us might feel as we arrived to study at Oxford—like a tourist. There he was, standing amidst ornate halls of learning that predated the arrival of Christopher Columbus in the New World, and walking down streets once traveled by Oxford students who went on to number among the world’s great statesmen, writers, and scientists.

He found himself visiting Oxford’s Iffley Road running track, where Bannister broke the four-minute mile. Sulai is a multiple letter winner in track and cross-country at Allegheny and one of the College’s top distance runners.

As he settled in, the feeling of being a tourist humbled by his surroundings began to disappear. “It became the place where I studied and ate dinner,” he says. And if he needed a reminder that Oxford was in some ways a little like the rest of the world, he didn’t have to look far. There, among venerable stone and brick buildings, was a McDonald’s.

But in many other ways, Sulai found that Oxford wasn’t like other colleges. Oxford is a collection of colleges—nearly fifty of them—which operate under one university banner. Sulai attended St. Peter’s College, which was founded in 1929, and is among the newer colleges at an ancient university.

Sulai’s roundabout journey to Oxford began in his hometown of Abuja, Nigeria’s capital. After boarding school in Nigeria, he wanted to attend college in the United States, but he knew little about American higher education. He was familiar with Duke University and planned to go there. But an official in the U.S. embassy in Abuja had suggested he also apply to Allegheny.

When Allegheny came through with a terrific scholarship package—a great help to a family that was about to have four children in college—he was off to Meadville.

At Allegheny, he benefited from considerable attention from his professors, as well as the college’s practice of involving science majors in faculty research. He is now working with physics professor Dan Willey on experiments that simulate the chemistry found in clouds of gas in the regions between stars.

“He’s a natural,” says Willey. “He’s sort of wired for physics. Ibrahim really wants to understand what’s going on in physics even if it won’t help his grade. I’ll say, ‘You don’t really need to know this for the test.’ But he just wants to know. The wheels are always turning.”

Despite this training, Oxford still proved difficult. British schools are often more advanced than American colleges, and at Oxford, which has many of Britain’s top physics prospects, the pace is torrid. Sulai spent eight hours a day studying, in addition to classes.

Physics students from St. Peter’s take science classes with physics students from Oxford’s other colleges. But the tutors, who work closely with St. Peter’s students, are assigned exclusively to St. Peter’s. These tutors are world-class physics researchers in their own right, but they take time for one-on-one weekly discussion sessions with the college’s physics majors. The tutorials—called tutes in British vernacular—are a costly extra, and are found at only a few of Britain’s universities.

Visiting Oxford students get no grades. They either pass or fail based on the quality of their work, as judged by their tutors. “The beauty of the system was that the tutors were there to help us learn, not to examine or evaluate,” Sulai says. “Realizing that was very liberating.

“My primary tutor was Dr. Steve Rawlings. He is an astrophysicist and a person who loved what he did. We met once a week to discuss my progress in electromagnetism [a field that covers electricity and such things as the waves that allow us to take x-rays, listen to the radio, or watch television]. He helped bring it to life, for he seemed to be far less concerned about the numerical answers. He urged us to think through the problems ‘physically.’ Being a visiting student, I wasn’t very constrained by the syllabus, and Dr. Rawlings was always willing to branch off on a tangent and discuss related issues, even if they weren’t going to be on the examinations.”

But Oxford offered more than academics. “Being a cross-country runner, I found good company at the Oxford University Cross Country Club and the Oxford University Athletics Club. I fit in quickly, competing for St. Peter’s, and even for the university on a number of occasions.”

Oxford also played a role in the evolution of Christianity, Sulai notes. “St. Peter’s is located on New Inn Hall Street, right beside the Wesley Memorial Church. Not far from it is another building where John and Charles Wesley [two of the founders of Methodism] preached during their ministry.

“There were countless other monuments to men and women of faith that had played significant roles in shaping the history of modern England and the world. I felt privileged to walk the same halls as many of those people. I felt much greater joy, however, to be able to meet people, in 2003, who were willing and able to support me in my Christian faith.”

Oxford is often visited by currently famous names—from science, literature, and even sports. When St. Peter’s College held its annual physics dinner, for example, the speaker was Steven Chu, the 1997 Nobel Laureate in Physics. Last February, Sulai met Roger Bannister, now Sir Roger, who became a prominent British doctor and medical textbook author after his track career ended.

“ After introducing myself, Mr. Bannister asked, ‘So where in the U.S. are you from?’ I guess I have picked up quite an American accent. I laughed and told him that I was from Nigeria … and from Meadville.”

Greg Schivley ’04

meeting2For the uninitiated, Oxford can be both a cultural and an educational shock. “In one word it was just sort of Wow,” Greg Schivley says.

The streets were so narrow that he couldn’t fathom how his bus driver could negotiate them, and they were lined by the ornate buildings of Oxford’s oldest colleges, still intact after centuries of student wear. “It was,” he says, “like another world. Academically, it was like jumping straight into the fire. They cover a semester’s worth of material in eight weeks. They don’t ask if you have any questions. It’s just boom, boom, boom.

“The first couple of weeks, I felt like I was drowning under a sea of work—like I would never be able to catch up … would never understand it because we were always moving on to something new. That’s when I finally realized I had to sit down and take a couple of days to teach myself the things that everybody else knew that I didn’t.”

Among other things, Schivley quickly discovered he needed a crash course in vector calculus to be able to understand his physics lectures. “I just got a book on it. Instead of saying ‘My education is going to be given to me,’ I said, ‘I need to know this. I better just go learn it.’

“ I don’t know if I got quicker at learning, but I got a lot better at taking responsibility for my education. That’s where the fact that they don’t give grades became a tremendous advantage. Since I didn’t have to worry about grades, I could focus on what I needed to do to get oriented.”

Schivley also had to adjust to the tutorial system. The tutors, while willing to go to great lengths to unravel the complexities of physics, expected students to do most of the work themselves. “It was very much an independent learning style. I would meet once a week for a tutorial. The physics tutor would give you the relevant sections of three or four books and ‘say learn it.’”

The second term at Oxford, Schivley says, was easier than the first, although it involved quantum mechanics—the study of the strange interactions of particles at the sub-atomic level. Quantum theory is one of the toughest subjects in science. But Schivley had previously studied quantum theory at Allegheny, and he found the college had prepared him “very well.”

Schivley’s path to Oxford’s elite physics program was propelled by a desire to know how things work. Physics probably explains more phenomena than any other science, starting with the workings of atoms, the building blocks for everything else. Physics also explains the workings of a garden hose, an automobile, or a lunar rocket. “Why is the sky blue, but then turns red when the sun is setting? Physics explains these things,” Schivley says.

This sort of curiosity has helped Schivley to stand out at Allegheny. “He’s an incredibly bright student, very sharp, very thoughtful,” says his advisor Doros Petasis, assistant professor of physics. “He’s not flashy. He takes his time, and digs and digs into a topic.”

Schivley recently worked with Petasis to discover why precious gems at the Carnegie Museum of Natural History in Pittsburgh had begun to change colors. The project is being done jointly with Carnegie Mellon University.

“The museum wanted to find how the colors were produced and how they could be prevented from forming,” Petasis says. “The project didn’t go very far until Greg joined it. He found radiation from visible and ultraviolet light was striking the stones, knocking electrons free (from atoms within the gems’ crystalline structures). Those electrons reacted with other atoms, producing changes in the color of the gems.”

Oxford offered Schivley a chance to advance his knowledge of physics, as well as a lot of other topics. “At Oxford, you have a large university with lots of people who are extremely intelligent. I had great conversations with people from Russia, Bulgaria, Italy, and Spain about subjects such as the European economy. I got a decidedly different view of the world than we see in America. We are so far removed geographically and politically from the rest of the world. In Europe, they are closer to the world’s trouble spots.”

He also found time to indulge his outside interests in rock climbing—with side trips to the slopes of North Wales—and dancing. Oxford abounded with dance of all kinds, including numerous black-tie balls. “Seeing people dressed up in black-tie was a normal event,” he recalls.

One thing Oxford didn’t offer was a liberal arts education. Students focus on a single field while they are there. For example, a physics student would probably never take a literature course, and vice versa. After three years—the length of an Oxford undergraduate education—students are subjected to two weeks of examinations on the massive amount of material they have covered in their major. Since there are no grades in the first three years, everything hinges on these tests.

The system is intense, and has been quite successful in turning out famous graduates, but it’s not for everyone. “While I’m glad I was there for one year, I’m glad I wasn’t there for three,” Schivley says. “I love being at a liberal arts college and being able to take whatever course I want.”

St. Peter’s College

meeting4

St. Peter’s College was founded in 1920 by Francis Chavasse, a Liverpool bishop who was concerned that bright students of limited means were being frozen out of top-quality education. St. Peter’s helped to ease the problem by offering an Oxford education regardless of a student’s ability to pay.

St. Peter’s occupies a group of buildings far older than the college itself. The library is a former rectory built in 1797. The dining hall dates from 1832, and the chapel is the former Church of St. Peter-le-Bailey (1874). The former Oxford Girl’s school was recently acquired and turned into college dormitories.

College alumni include Carl Albert, the former Speaker of the U.S. House of Representatives, who attended Oxford as a Rhodes Scholar; Edward Akufo Addo, the former president of Ghana; and a large number of prominent figures in the arts, including Simon Beaufoy, who wrote the screenplay for The Full Monty.

St. Peter’s enrollment (420 undergraduates and 200 graduate students) is about a third the size of Allegheny’s. At any given time, St. Peter’s has only about thirty American students, which is an advantage, says Danuta Majchrowicz, who oversees international programs at Allegheny. “It’s far less likely that our students will end up hanging out in an American ghetto,” she says.

The agreement between Allegheny and St. Peter’s guarantees two qualified students a spot each year. But that is a minimum. “After the performance of Ibrahim and Greg, St. Peter’s would probably take more than two of Allegheny’s best students,” Majchrowicz says.

Small Liberal Arts Colleges Have Right Formula for Producing Top Scientists

Common sense would suggest that the best way to produce scientists would be to ship undergraduate students to a big technical school with lots of equipment and then stuff them full of mathematics, chemistry, physics, etc. The liberal arts would be jettisoned in favor of a science-only curriculum.
But there is another school of thought that rejects this notion. Its leaders include Tom Cech, a Nobel laureate in chemistry and graduate of Grinnell, a liberal arts college with an enrollment of 1,400.

Cech gathered up data showing that the top liberal arts colleges often turn out science Ph.D.’s in far greater numbers per one hundred graduates than the big schools. Swarthmore, on average, turns out 18 science Ph.D.’s per hundred graduates. That tops Harvard (11), Johns Hopkins (10), Cornell (9), Stanford (8), Berkeley (7), Pennsylvania (6), Michigan (5), Wisconsin (4), and Penn State (3).

Proponents of small liberal arts colleges say schools such as Allegheny serve up a cohesive formula for training scientists that includes small classes, close contact with faculty, and a heavy emphasis on student research at the undergraduate level.

It’s true that Penn State or Harvard will have more, bigger, and better equipment. But that may be beside the point. “We tell students who come to our college that if you go to a big university, they’ll have great equipment, but you may not get to use it,” says Jim Lombardi, professor of physics at Allegheny.

The liberal arts offer one more advantage, Cech said. The exposure to courses outside of science may create scientists with more facile minds, and this may give them an edge over the strictly technical types when confronting the toughest research problems.

“ Learning about the great books and the humanities can stimulate the sort of brain waves that serve a scientist pretty darn well,” Cech remarked in a recently published interview. “The more types of thinking you do, the more skills you can bring to a scientific problem.”

But you needn’t take Cech’s word for it. Great scientists have often had interests outside of science. Einstein read and wrote widely on religion, played the violin, and loved to sail. Isaac Newton’s library held more volumes devoted to philosophy and religion than to science.

“ You grow the most when you’re hit from something in a different direction,” said Cech, now head of the Howard Hughes Medical Institute. “You could study chemistry, chemistry, and chemistry. But there’s a point of diminishing returns.”

Nanna Sulai ’05

meeting3At any given time, hundreds of thousands of foreign students are studying at American colleges and universities, and after graduation many will stay in the United States. It offers prosperity and a safe distance from the strife found in much of the globe.

Nanna Sulai, a premed student, won’t be among them. She plans to make a beeline for her home country of Nigeria, where she wants to treat children, possibly as a specialist in pediatric neurology. “I definitely want to work with children,” she says, “and I definitely want to work back home. We have lots of trained doctors in the United States. Back home, there is a shortage of doctors for all kinds of specialties.”

There is also a shortage of women in medical professions. The problem stems from a historic imbalance in Nigeria’s school system, which once educated far more men than women. “That’s largely been corrected,” Sulai says. “The schools are approaching fifty-fifty.”

Coeducation is among the many changes that are transforming Nigeria, the most populous nation in West Africa. The country shed a military dictatorship four years ago in favor of democracy, and though Nigeria still retains Third World status, it is quickly modernizing thanks to an oil boom.

But one of the biggest reasons for returning is that Sulai misses her homeland, her parents, the native food, and Nigeria’s culture.

“No matter how bad it is, that’s where I’m from,” Sulai says. “There is this big sense of community, even though there are divisions over such issues as religion [the country is evenly split between Christians and Muslims]. We’re all Nigerians.”

That’s especially true when Nigeria’s national soccer team—made up of Christians and Muslims—is playing in international competition. “Soccer brings everybody together. People forget about religious differences. Soccer unifies the country.”

Dealing with homesickness was one of several adjustments Sulai made after she arrived in Meadville. Coping with the weather was particularly difficult. Pennsylvania is frigid by Nigerian standards, and in mid-February Sulai finds her mind drifting back to Nigeria. When she goes to medical school in the United States, she hopes it’s in the South.

Fortunately, she doesn’t have to travel more than a few hundred yards to see someone from home. Her brother, Ibrahim, is an Allegheny senior. “Because my brother is here, it’s not as bad as it could be,” she says.

When she returns home as a doctor, she would like to stress preventive medicine. Nigeria’s medical system is often short of cash, so there’s little money to pay for expensive care once people are already sick.

The problems are especially acute among children, who have less disease-resistance than adults. “Problems among children often go untreated until they have reached the fatal stage,” she says. Malaria, diarrhea, typhoid, cholera, and AIDS have proved particularly deadly to Nigerian children.

“ The country does not have a lot of money, so it’s important to prevent disease rather than to try and find the money for treatment after the fact,” she says. “In Africa, a lot could be done simply by preventing disease in the first place.”

This article was featured in the Fall/Winter Issue of Allegheny Magazine.