The Department of Theatre at the University The faculty seeks to identify artists who have the impulse – indeed, the internal imperative – to
of Tennessee consists of a full-time act, and the imagination, intelligence, will, courage, voice and body necessary to succeed.
faculty of ﬁfteen, offering a Bachelor
of Arts Degree in Theatre and We provide an environment and training that elicit and guide the individual creative
Master of Fine Arts degrees in spirit. If you are selected, we will work with you to cultivate your creative energies, to
Acting and Theatre Design. All address challenges, and to develop tools to realize your gifts freely and consistently.
faculty members are practicing
professional artists as well as The training will offer you:
dedicated teachers. Eight The MFA in Acting at the
faculty members teach in the University of Tennessee, Knoxville, A way of working that enables you to bring yourself fully to the
acting curriculum while work, and to transform self into character as written;
ﬁve teach design and
exists to identify, nurture, and train actors
A rigorous approach to texts, and to
technology. For faculty of diverse backgrounds who have developing the actor’s essential resources:
biographies, please visit our
website at theatre.utk.edu.
the talent to contribute substantially breath, voice, speech, movement, freedom
to the art, the profession of impulse and emotion, courage to
stand openly before others in
The Department of Theatre and the national culture. extraordinary experience;
operates The Clarence Brown
Theatre, a LORT D Equity theatre, A solid body of experience, including
to foster professional standards in opportunities to work in The Clarence Brown
our training programs, and to serve Theatre alongside professional actors, while
East Tennessee with high caliber theatre.The earning membership in Actors’ Equity Association;
Clarence Brown offers a full production calendar
of new and classical plays, musicals, and international Experience of differing performance modes and aesthetics,
work that are vital to the cultural life of the region. through exchange with national and international theatre artists;
MFA actors acquire production experience alongside
working professionals, under the guidance of a faculty of A working knowledge of the history, traditions, and forms
professional artists and scholars. of the art;
A vision of mastery to inspire the lifelong endeavor of the artist;
International theatre exchange is a strong component of
our programs. Students enjoy opportunities to work with A practical introduction to the profession;
distinguished artists in Knoxville and abroad, to travel
An understanding of the vital powers of the art within the
in study-abroad programs, and to observe or work with
community, the nation, and other cultures.
international touring productions.
It is art that inspires us, art we aspire to create. As a faculty, we
are interested in mastery, or skill so deeply accomplished as to
become free. Such skill is a life-practice: the three year MFA
in Acting at the University of Tennessee is best understood as
a rigorous apprenticeship to a lifetime of endeavor. It provides
a foundation for effective work in the art and profession
of acting. It is focused on a core aesthetic of American
realistic acting, and on the great classical sources of our contemporary traditions. It includes a program of international
exchange. And each year, The Clarence Brown Theatre season is carefully chosen to serve the MFA program as well as
the greater East Tennessee community.
Our training has four main themes: fostering the individual artist, skill in use of the self, skill in use of the dramatic text,
and skill in artistic collaboration.
The art of the actor is to illuminate the human condition through the medium of self. We provide actors with craft tools that
enable them to free their expressiveness and direct it into forms. But craft alone is insufﬁcient. The energy that transmutes
craft into art must come from the individual artist. We want actors to discover their own creative forces. We create an
environment of support, respect, and inspiration for the artist. As a faculty of artists, we do so ﬁrst of all by example.
We offer a clear curriculum that reﬂects our own creative pursuits. We uphold high standards of behavior and
endeavor. And the association of The Clarence Brown Theatre with The University of Tennessee provides
exceptional facilities and staff support for all of us.
The actor’s essential pursuit is twofold: to be personally and expressively available to the work, and
to be able to extend and transform self into the circumstances and character of a play. This dual
pursuit informs our curriculum, projects, and productions. A lot of our focus is upon helping the
actor to get free from anything that constricts or suppresses him/her in a moment of life before an
audience. At the same time, we want the actor to be able to direct this freedom into form that is
precisely chosen from a text, that reveals character, and that serves an overall production.
The actor’s art is fundamentally collaborative. We place a high value on skill in collaboration –
within the graduate ensemble, with a faculty of fellow artists, and with all the designers, directors,
production, and administrative staff that compose our community, or visit to work with us. Through
the international program we also emphasize the importance of collaboration with artists of other
cultures, in other languages.
We invite eight actors to enter the MFA program every other year. With eight acting faculty members,
each actor is assured in-depth attention to his/her work.
Year One: Foundations Year Three: Integration and Graduation
We are interested in values of training for the long The third year is about integrating
term. In the ﬁrst year, our focus is upon establishing the work of the ﬁrst two years and
sure foundations. Process takes precedence over graduating into the profession.
performance. We begin a full regimen of practice Studio work continues, but is
with the basic elements of craft: voice, speech, more about putting the craft
movement, and scene study. Clown, mask and together than breaking it down
improvisation workshops are of particular use at into components. Actors are
this stage. Much of the work is about the actor challenged to take full control of
becoming freer, more personally available, more fully their process. Production work
expressive. Basic tools for effective use of a script becomes more prominent, and
are also thoroughly practiced, mainly with modern the faculty begins to work in a
realistic texts. Theatre history, theory, and research coaching capacity. Actors are
skills are introduced, so that the emphasis on modern considered for major roles with
realism is understood in context as one mode of The Clarence Brown Company.
theatrical representation. In the fall term, there are
no rehearsal projects or productions. In the spring In the ﬁnal term, actors’ focus
term, work on projects begins, while full production naturally shifts to entering the
experience is held off until the second year. marketplace. We try to serve the
actor in two ways at once: to
re-emphasize the art and the practice
Year Two: Transformation of craft that will sustain them in a difﬁcult
profession, and to support them professionally.
In the second year, foundation work continues, Basic work in voice, speech, movement, text, and
but also extends into transformation. Basic tools acting is still done, though more independently. We
are applied to more complex tasks. The actor’s also offer: workshops in acting for the camera and
increasing freedom is directed into diverse auditioning; guidance in professional presentation;
forms; voice and speech work extend into use of assistance in arranging auditions and apprenticeships
heightened language; work upon presence of self with regional festivals and theatres; help with
moves into work upon character transformation; networking. An industry showcase of scenes is
work with modern realistic material moves to work presented in New York at the end of term.
with period and style. The leitmotif of the year is
effective use of language. Shakespeare is given
prominent play. Ibsen, Strindberg, Chekhov,
Brecht, Williams, and others also provide essential
experience. Actors enter the casting pool for
The Clarence Brown Theatre, and are
continuously in either Clarence Brown
productions or rehearsal projects.
Our curriculum reﬂects a careful integration
of the various disciplines of training with
experience in projects and productions.
The faculty collaborates closely to maximize
the impact of their work, and to address
individual actor needs. The core curriculum consists of Alexander Technique, Movement, Voice, Speech, Text,
Stage Combat, Theatre History, Theory, and Scene Study. We offer additional courses or workshops in mask,
clown, acting for the camera, and career issues. Projects and productions begin in the second term of training
and continue throughout.
The Alexander Technique underlies much of our training. It is based upon the premise that the ways in which
we “use” ourselves in our lives – how we stand, walk, breathe, speak, and so on – become ingrained habits
that, over time, deeply compromise our innate capacities. In short, most of us use our voices poorly, breathe
poorly, move poorly. Actors, however, need optimal conditions of function. They need openness and ease
under the extraordinary demands of performance. They need freedom from habitual efforts and tensions that
constrict spontaneity and expressiveness. The Alexander Technique provides a consistent means to observe and
improve habits of use. It promotes balance, coordination, and optimal breath and vocal function. It improves
rhythm, presence, and responsiveness to impulse. It fosters ease, or the use of appropriate energy for any
activity. It teaches actors how to be more open in any given moment before an audience, and how to cultivate
that openness in daily life. MFA actors receive group instruction, regular private lessons throughout training, and
Alexander is deeply integrated into acting classes and other work.
The core of our Movement training lies in deep individual work in The Alexander Technique. Movement classes
grow out of that experience, and focus on a variety of techniques including Laban Movement Analysis, neutral
and character mask, Corporeal Mime of Etienne Decroux, unarmed and armed stage combat, Suzuki Technique,
contact improvisation, social and period dance, and period styles.
Our Voice training is based in the Alexander Technique and in practices developed by Kristin Linklater, Catherine Fitzmaurice, and others.
We encourage actors to reach for the limitless expressive possibilities of the voice, and give them tools to do so. We want each actor to have
access to his/her full voice, in a healthy, vital, and sustainable way. We work ﬁrst to develop free, open, and expressive sound, unhindered by
habitual tensions, fully connected to self. As breath is fuel for sound, we work to free the natural pattern of the breath, to deepen it, and to
develop support and control. Then we work on ﬂexibility, range and power. Singing and ear training are also used to expand the range of
vocal expression and to foster ensemble.
Speech training is about shaping sound with ease, clarity, and precision. Speech gives form to breath and voice, feeling, and thought, and is
the primary way in which human beings act upon one another in life or drama. We help actors build a greater awareness of the possibilities that
exist in shaping sound, and of the relationship of speech to meaning, action, and character. Then we work on expanding the range, control, and
precision of speech choices. The International Phonetic Alphabet is used to approach the full range of human expression through speech, and
provides the basis from which we study dialects.
Study of Theatre History, Theory, and Dramaturgy provides actors with essential tools to work well within diverse production and playwriting aesthetics.
Research skills and historical context enable actors to get inside a playwright’s deep concerns in a particular play, and to truthfully inhabit period and style.
Previous course topics have included: Introduction to Graduate Research in Theatre, History of Theatre Theory, History of Directing and Production Styles,
Theatre of Bertolt Brecht, and Intercultural Theatre.
Master Classes in a variety of other disciplines are also offered during the MFA training. In Clown work, actors learn to stand in simple personal
openness before an audience. Clown brings the actor’s fears into sharp focus – all the ways we hide and seek to control how we are perceived – and it
reveals what is most interesting: personal truth. Among many other things, Clown teaches courage, commitment to clear choices, and recalls the necessity
of joy in performance. Mask work frees us from the mask of personality. Our familiar self is composed of layers of socialized behavior and suppression that
cover and block the true powers of the imagination and psyche. Well-used masks liberate the actor from the controlling self, and open access to the well of
experience and myriad characters within. Other master classes may include such topics as Rasaboxes, The Business of Theatre, or Website Design for Actors.
These classes are taught by distinguished guest artists and practioners.
In Acting class, actors put together the work of all their courses in the rehearsal and performance of scenes from plays. Each
actor’s process is carefully examined. Scenes are chosen in collaboration with the actor to serve individual needs. Emphasis is
upon making speciﬁc choices of objectives and actions that are rigorously derived from the text as written, on the actor’s personal
presence in a choice, and his/her ability to sustain imagined life. Hands-on Alexander Technique is used in scene work to foster
expressiveness and moment-to-moment life. Consistency and repeatability are also examined, and the process of character
transformation through self.
There are three kinds of rehearsal and performance experience at UT: Rehearsal Projects, University
Company Productions, and LORT/Clarence Brown Theatre Productions. Between August and
May, the Department of Theatre mounts a season of eight shows: four are LORT CBT, two are
University Company productions, and two are University Company studio shows. The number of
rehearsal projects varies, depending upon training needs of the graduate actors.
Rehearsal Projects are simply staged performances of excellent plays. Directed by professionals
but not advertised in the Clarence Brown season, the focus of projects is entirely upon the actors’
process. Plays are carefully chosen to serve the growth needs of the actors, and production
design elements are minimized. Actors are able to work more purely upon character, relationship,
and story; to take greater risks in their work and growth; to overcome fears and follow impulses;
to apply changes from their studio training. Offered to audiences of the general public in small
spaces, the result is often intimate and powerful work that actors ﬁnd vital to their development.
University Company Productions and Studio Shows are especially intended to serve our training programs. At the MFA
level, plays are chosen to serve the training needs of graduate actors and designers. Guest directors and actors provide
opportunities for working and learning alongside seasoned professionals. These shows are fully designed and have strong
production values. University Company Productions may also include large cast productions and musicals that bring
together guest artists, graduates, and undergraduates in a professional work experience.
LORT/Clarence Brown Theatre Company Productions make up the heart of each theatrical season at UT. These are
professional productions featuring prominent directors, designers, and actors. Graduate actors enter the casting pool for
these shows in their second year of training, and play featured roles in their third year.
The Department of Theatre offers a level of
international exchange that is exceptional among
MFA programs. Graduate actors and designers
enjoy opportunities to work with international
artists both in Knoxville and abroad. Guest artists
from abroad visit the campus to conduct workshops and master classes, and to direct and design fully mounted productions.
Graduates also travel to study, exhibit, and perform abroad. We believe this kind of artistic exchange is invaluable to the
contemporary theatre artist. Experience of diverse modes of theatrical representation and ways of working enables actors and
designers to see their work within the context of a larger world-view. Actors and designers often speak of the life-changing
impact of these experiences.
In January of 2009, the second year acting ensemble will undergo an intensive workshop in commedia dell ‘arte in Florence,
Italy. In 2007, MFA actors travelled to the Stratford and Shaw festivals in Ontario. In 2006, they spent ten days in London and
Stratford, undergoing more than 36 hours of master classes, and seeing theatre in the West End, at the National, on the Fringe
and in Stratford. Master Teachers included Patsy Rodenburg, Janet McTeer, Kedzie Penﬁeld (Laban/Bartenieff), Beret Arcaya,
Paul Burge, John Brown and Ruth Murray (all Alexander Technique). In 2005, second year MFA actors traveled to Moscow,
Berlin, and Bari, Italy for six weeks of intensive training. In previous years, International exchanges have included three-week
residencies at the Salzburg Seminar in Austria and, from 1998-2005, participation in the renowned International Theatre
Festival in Avignon, France. Graduate designers travel yearly, and in 2007 they attended the Prague Quadrennial 2007
International Design Exposition, where UT was a presenter program in the “Schools of Scenography Exhibit”.
The Department of Theatre and the Clarence Brown Company often hosts guest artists with national and international
proﬁles. During their residency in Knoxville, these artists participate in the production program and teach workshops and
master classes with UT students. Recent guests have included:
Beret Arcaya -- Master teacher of Alexander Technique
Jim Calder -- Master teacher of Movement
John Sipes – Director of All My Sons
Kathleen Conlin – Director of Born Yesterday
Ron Himes – Director of Ain’t Misbehavin’ and Fences
Paul Barnes – Director of All The Way Home and Major Barbara
Gerald Freedman – Director of The Dresser
Joseph Haj – Director of As You Like It and Metamorphoses
Frank Hanig – (Germany) Director/Designer for Nora
Jaraslov Malina – (Czech Republic) Scenic Designer for The Bacchae and The Crucible
Petr Matasek – (Czech Republic) Workshop in Puppetry Design
Veronica Nowag-Jones – (Germany) Director of The Trojan Women and The Brecht File
Alain Timar – (France) Director of the international co-production of Babel
The Department of Theatre at the University of Tennessee offers MFA degrees in Costume Design,
Scenic Design and Lighting Design, as well as in Performance. There are 4 students in costume
design, 4 students in set design, and 4 students in lighting design. The presence of this spectrum
of theatrical artists creates a community of endeavor that is a vital part of our mission and
The emphasis of the Design program is upon rigorous applied experience as well as research and
theory. MFA candidates study under the close supervision of a distinguished professional faculty.
They have opportunities to design for The Clarence Brown Theatre and other graduate and
undergraduate projects and shows. They also beneﬁt from the Department’s extraordinary
International Exchange programs.
In June 2007, MFA Designers attended the Prague Quadrennial 2007 International Design Exposition,
where UT was one of the schools representing the United States in the “Schools of Scenography Exhibit”.
Other study-abroad opportunities have included exchanges with the Mozarteum in Salzburg, the Academy of
Fine Arts in Dresden, attendance at the Salzburg Seminar and summer study with German designer, Frank Hänig,
at his school in Cyprus. Guest designers with whom design students have had the opportunity to study, collaborate or
interact include: Ralph Koltai (Great Britain), Pamela Howard (Great Britain), Martemaria Scheuneman (Germany), Frank
Hänig (Germany), Jean-Guy LeCat (France), Marina Raytchinova (Bulgaria), Henk Van Der Geest (Netherlands), Petr
Metasek (Czech Republic), Jaroslav Malina (Czech Republic), Susanne Raschig (Germany).
Design students also have regular opportunities to study or collaborate with American designers and directors from New
York and regional theatres. These opportunities have included master classes with two-time Tony Award winning costume
designer Martin Pakledinaz, lighting designer Beverly Emmons, and set designer Scott Bradley.
To reinforce in the classroom what is practiced in production, the design program trains according to a collaborative
model. As in production, students design classroom projects as teams of set, costume, and lighting designers. Through
in-depth research and rigorous development of drawing and painting skills, design students prepare for full participation
as creative partners and resources for actors and directors in play production.
For more information about the Design Department and Program at UT, please contact:
Marianne Custer, (for set or costume design): firstname.lastname@example.org
Kenton Yeager, (for lighting design): email@example.com
Chris Pickart, (for scene design) firstname.lastname@example.org
The University of Tennessee has excellent
training and theatrical facilities. In addition to
The Clarence Brown Theatre, the department
has two other performance spaces: The Ula Love
Doughty Carousel Theatre, and The Clarence Brown
Recent Seasons in The Clarence Brown
Lab Theatre. MFA actors enjoy the full-time use of
studio spaces for coursework, and scheduled access 2007 – 2008
to all department facilities. The Honky Tonk Angels, by Ted Swindley creator of Always...Patsy Cline
Major Barbara, by George Bernard Shaw
The Clarence Brown Theatre is a 581-seat proscenium Antigone, by Sophocles, adapted by Jean Anouilh
theatre built in 1970. It is dedicated to Clarence Brown, A Christmas Carol, by Charles Dickens
distinguished ﬁlm director and UT alumnus. Located The LIfe of Galileo, by Bertolt Brecht, adapted by David Edgar
in the center of the UT campus, The Clarence Brown Intimate Apparel, by Lynn Nottage
houses extensive costume and properties collections, Stop Kiss, by Diana Son
as well as light, sound, scene, and costume shops. The Guys and Dolls, based on a story and characters by Damon Runyon,
theatre provides access and seating for the physically music and lyrics by Frank Loesser
challenged, and listening systems for the deaf and
2006 – 2007
Born Yesterday, by Garson Kanin
All My Sons, by Arthur Miller
The Ula Love Doughty Carousel Theatre is an intimate, The Laramie Project, by Moises Kaufman
versatile 400 seat arena space, featuring A Year With Frog and Toad, by Robert and Willie Reale
ﬂexible seating and staging. Located next Fences, by August Wilson
to the Clarence Brown Theatre, the King Lear, by William Shakespeare
Carousel Theatre was renamed Assassins, by Stephen Sondheim and John Weidman
in 1991 in tribute to Mrs. A Flea In Her Ear, adapted from Georges Feydeau by David Ives
Doughty, a devoted patron
who has provided for the 2005 – 2006
building’s future. Arsenic and Old Lace, by Joseph Kesselring
The Trojan Women, adapted from Euripides by Klaus vandenBerg
A Christmas Carol, adapted from Charles Dickens by David McCann
The Clarence Brown Lab
As You Like It, by William Shakespeare
Theatre is a 100-seat
Stones In His Pockets, by Marie Jones
black box venue located Big River, adapted from Mark Twain by Roger Miller and William Hauptman
inside The Clarence
Brown Theatre. The Lab 2004 – 2005
Theatre is home to the The Dresser, by Ronald Harwood, starring John Cullum
undergraduate group, Anna Karenina, adapted from Tolstoy by Helen Edmundson
All Campus Theatre, and Into the Woods, by Stephen Sondheim
to a variety of under-graduate The Odd Couple, by Neil Simon
and graduate projects Metamorphoses, by Mary Zimmerman
and productions. All the Way Home, adapted from James Agee by Tad Mosel
The University of Tennessee is one of a small number of universities nationwide
with its own professional theatre associated with the League of Resident
Theatres (LORT). The Clarence Brown Theatre is a LORT D theatre produced by
the Department of Theatre to foster professional standards in training programs
and to serve East Tennessee. It is home to one of the older resident companies
in the League. Each season, four of the department’s eight subscription
productions are produced on the LORT contract, allowing students to work
alongside seasoned professionals. Founded in 1974 with Sir Anthony Quayle
as Artistic Director, The Clarence Brown has a distinguished history of hosting
artists of stature, including John Cullum, Zoe Caldwell, Mary Martin, Carol
Mayo-Jenkins, and David Keith, among others. The Clarence Brown Company
also tours productions to national and international festivals. Recent venues
include the Avignon “Public Off” Festival in France and the Piccolo Spoleto
Festival in Charleston, South Carolina.
All faculty members of the Department of Theatre
have dual appointments as Resident Artists with the
professional company. MFA Design students have
the opportunity to work on LORT productions
throughout their graduate training. MFA Acting
students join Actors Equity during the course of
The University of Tennessee, Knoxville is an extensive, diverse and thriving community
dedicated to a mission of teaching, scholarship, artistic expression, public service, and
professional practice. UT was founded in Knoxville in 1794, two years before statehood
was achieved. UT Knoxville remains the statewide university’s main campus, and UTK
ranks as one of the nations top 10 educational values among all colleges and universities.
Over one hundred countries are represented among the 19,000 undergraduates and
7,000 graduate students who attend UT Knoxville. The Master of Fine Arts program in
Theatre is a part of the College of Arts and Sciences, one of the oldest established colleges
within the university. All graduate students enjoy access to a broad array of outstanding
campus facilities, including extensive libraries and state-of-the-art athletic facilities.
The city of Knoxville is located on the upper Tennessee River, in the foothills of the Great
Smoky Mountains – one of the most beautiful areas of the eastern United States. The
metropolitan area has a population of more than 500,000. The city consistently rates
among the nation’s top cities in quality-of-life surveys, boasting a strong economy combined
with a relatively low, student-friendly cost of living. Its cultural offerings are exceptional
for a city its size. They include a nationally accredited art museum, a symphony, opera
and ballet companies as well as The Clarence Brown Theatre. The UTK campus is near
downtown Knoxville and is easily accessible by public transportation. A wide variety
of affordable living accommodations, including inexpensive graduate student housing,
is available within walking distance. Knoxville’s temperate climate features long,
spectacularly colorful autumns and springs.
I. Graduate School Requirements: II. Department of Theatre Requirements:
1. Graduate Application for Admission 1. A current photograph of you and a professional resume.
2. $35.00 application fee 2. A brief essay (2 pages maximum) about your commitment to
3. Ofﬁcial Copies of Transcripts from ALL a life in art, your interest in training, and your creative and
schools attended career interests.
(Note: These must be sent directly from 3. Two letters of recommendation
the school itself to the Graduate School. 4. The Application for Graduate Assistantship (available at theatre.utk.edu)
Secondary copies will NOT be accepted.) 5. An audition/interview. Auditions will take place in New York,
4. Foreign Students must take the T.O.E.F.L. Chicago, Las Vegas and Knoxville in January and February
and submit their scores. of 2009, for entry into the program in the fall term of 2009.
Please prepare two 2-minute monologues and part of a song.
Ph.: 865.974.3251 Monologues should contrast in the following ways: classical/
Fax: 865.974.2805 contemporary, comedic/dramatic. The classical monologue
Website: web.utk.edu/~gsinfo should be in verse (back-ups may be in prose). Please contact
Email: email@example.com Professor Terry Weber, Director of Graduate Studies, to arrange
an audition. Speciﬁc dates and locations of auditions will be
posted at theatre.utk.edu
III. Financial Package P1: John Cullum (UT Alumnus) and JD Cullum in The Dresser, ‘04
P2: Christopher Tramantana (MFA ‘08) and Jed Diamond in A
Christmas Carol, ‘07; Jessica Culaciati (MFA ‘08) and Roderick
All MFA candidates receive a full waiver of tuition and fees, plus teaching assistantship stipends of over Peeples in The Life of Galileo, ‘08; P3: Shinnerrie Jackson (MFA
$8,000.00 per year. This is supplemented by stipends for national and international travel, and generous ‘08) and Adeoye in Intimate Apparel, ‘08; P4: Zack Fine (MFA ‘08)
scholarships may be awarded to selected graduates during the second and third years of training. The total in Major Barbara, ‘07; Christopher Tramantana (MFA ‘08) and John
Liddiard (MFA ‘08) in King Lear, ‘07; P5: Steve Pickering, David
ﬁnancial support MFA candidates receive over a three year period amounts to nearly $75,000.00. Brian Alley, Christopher Tramantana (MFA ‘08) and Lena Hurt (MFA
‘08) in Major Barbara, ‘07; P6: Adam Heffernan (MFA ‘08) in
Guys and Dolls, ‘08; David Brian Alley and Matthew Detmer in
Please send the above materials to: Stones in His Pockets, ‘06; P7: Tulika Srivastava and Juan Salvati
The Department of Theatre Telephone: Terry Weber, Director of Graduate Studies in Babel, ‘04; P8: Designs from Major Barbara, ‘07; Designs from
Prof. Terry Weber, Director of Graduate Studies 865.974.7062 The Illusion, ‘01; P9: Jessica Culaciati (MFA ‘08) in Guys and Dolls,
206 McClung Tower Department of Theatre: 865.974.6011 ‘08; Jon Liddiard (MFA ‘08) and Lindsay Torrey (MFA ‘08) in A
Christmas Carol, ‘07; P10: Tony and Connan Morrissey in The
Knoxville, TN 37996-0420 Fax: 865.974.4867 Illusion, ‘03; Terry Weber and Mary Alice Skalko in To Kill A
Mockingbird, ‘04; Jeremy Fischer and Alecia White in Nora, ‘01;
P12: Lena Hurt (MFA ‘08) in Major Barbara, ‘08.
To view recent MFA acting alumni, go to: utkactors2008.com