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Volume 02 June 2008
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experimentation
LINES is a bi-annual
publication of THDN
produced by
Pam Stone
w w w . c o l o r a d o . e d u / t h e a t r e d a n c e
Looking Back
OZUZU,
g Back PANG Create Collaborative Theatre and Dance Performance Project
Preface from Don Fried: In October 2007 Here I Am Here neutral element between theater and dance. We
I Stay, a Theatre & Dance integrated process perfor- would have both the life and the works of the
mance project based on the life and works of artist as inspiration. The artist’s life would
French sculptor, Camille Claudel, was presented provide a linear story line, and the timeless
in the University Theatre. Here I Am Here I nature of the artwork would be non-
Stay was was conceived and created by linear.
Onye Ozuzu, CU Associate Professor of
Dance, and Cecilia J. Pang, CU Associate I had been introduced to the work
Professor of Theatre and Head of and life of sculptor Camille
Performance. Claudel as an undergraduate.
There were several biographies
Onye’s story as told by Don Fried: of her because of her long-
standing affair with Rodin. I
I wanted to do a collaboration suggested Claudel; Cecilia
between theater and dance. I had looked into her and loved her.
choreographed before, with a script,
but that involved creating movement Cecilia delved into the biogra-
to reflect the script, and I didn’t want phies and the characters, and I
to do that againn. I was interested in immersed myself in the imagery
making a show where dance and of the artwork, dipping some-
theatre were each representing them- times into the life story and
selves – integral, but representing them- narrative. I was interested in the
selves -- with common subject matter, but context of the works and what the
not starting with a pre-set script. Obviously critics and Claudel had said about
it had to be a new work. them. I wanted to understand the
works themselves as deeply as possible.
So I put out a call, and Cecilia answered. She had a
slot on the Mainstage Theater, the first slot for fall I wanted the dances to look as though the sculp-
2007. We discussed a method of producing which would tures had come to life. The ideas that helped create
integrate the processes of theater and dance. We decided we the artwork would be exemplified in movement, not the
wanted our subject to be an artist. Visual art would be a third, context of Claudel’s life being represented in the movement.
1
Looking Back
OZUZU,
PANG
t
c o n t i n u e d . . . . .
g Back
a s
c
“here i am, here I stay”
At that point, I think the nature striking contrast. It was surpris-
of the collaboration shifted from ing. That’s the number one
integration to “clash collabora- reason to collaborate. To be
tion.” I liked the clash. It was surprised.
dangerous and stressful. We’d
go into rehearsals, Cecilia with Artistically it pushed both of us
the script and me with images. to go outside of our comfort
We tag-teamed the rehearsals at zones and do something that
the beginning, essentially work- was new to us. Who’s to say I
ing separately, Cecilia with the should get my way? The fact
script and me with images. She’d that Cecilia wrote a script
do the scenes and lines and 1 challenged me. The fact that I
blocking with one group, while didn’t read it challenged her. If
I’d be working on improvisa- what you create is outside of
tional exercises and interaction the things you know, it takes a
and emotions with another while to see it and understand
group, and then we’d switch. it. Some of it I appreciated after
the fact. Collaboration is all
Slowly, various dance moments about giving up what you think
started emerging. I had concepts you want. Then you surprise
and ideas I wanted to focus on: each other. Eventually you have
loving the body and its move- to get something done in a
ment; looking at the sculpture certain time, and you end up
and feeling like you’re watching a surprised. That’s the best part.
frozen moment of motion.
The cast was a huge part of the success. We didn’t have time to handhold the
There was a sharp, intentional contrast between the dance and the action. performers. They had to help each other, the dancers and actors turning to
Cecilia went for a “Brechtian” feel – exaggerated, stylized acting. In contrast, each other, teaching each other constantly in the rehearsal process. The cast
the dances were rounded, swirling, turning. Very grounded and very fleshy. got very tight. It was a tremendous exercise in collaborative art-making.
They showed a lot of skin like the sculptures. That was my favorite part. The by Don Fried
2
Looking Back
50
50th Anniversary
g Back for Dance Graduates at CU
ALUMNI SPOTLIGHT: Virginia A. Wilson – class of ‘58 Labanotation with members of the Notation Bureau. During my senior year I did
my student teaching, first at the elementary school level in PE in the fall, and then
Graduation this coming spring of 2008 will mark the 50th anniversary of the first in the spring at Boulder High School teaching dance; I also taught a freshman class
dance major to graduate from the University of Colorado and the success of Char- in modern dance at CU. At the end of my senior year I presented a senior recital
lotte Irey in getting a dance major established. For many years, before I entered to guests and dance faculty of CU and received my degree which read BS in Physical
CU, Charlotte had petitioned to have a dance major established; and the best way Education (Dance Education).
to do that was to add the major to the Physical Education department where all
the dance classes were currently being taught as a part of the Physical Education Following graduation I again attended the American Dance Festival at New London,
program in which all students participated. And I had the privilege of being that and then went to New York and auditioned and was admitted to the dance
first graduate. program at Juilliard (Graham technique). I was there only one year (and during that
time I met the man who became my first husband). We moved to Washington, D.C.
I came to CU as a freshman in the fall of 1954 and immediately enrolled in the and I taught swimming and dance at Howard University for 3 ½ years. And I also
advanced modern dance class for my physical education course. I had studied performed with the Ethel Butler Modern Dance Company (Graham technique)
dance for 13 years at the Rose Lorenz Dance Studio back in Des Moines, Iowa. I during those years.
also auditioned that fall for the Orchesis Modern Dance Club and was accepted. In
those days Orchesis was the only performance group at CU dedicated just to Activities like raising children occupied most of the rest of my life (and I did get a
modern dance. Charlotte Irey was head of the dance division, and Marilyn Cohen Masters in Art Education in 1976). But I continued to study dance at every oppor-
and Patty Eckert were the other instructors. All dance classes were held in the big tunity and performed with the Consuelo Atlas Studio Company in Cambridge, MA
upstairs gym in the PE building. (Alvin Ailey technique) for a while in the mid-70s.
During my sophomore year Charlotte was finally successful in getting the new The curriculum for a dance major at CU today is much different than it was back
dance major approved and she began recruiting people for the major. Since I had in 1958. The faculty has grown in number and has, as well, attracting many talented
been very active in Orchesis she approached me and asked if I would like to dancers to come to CU. Dance now has its own studio named for Charlotte Irey,
become a dance major. Needless to say, I said YES. I transferred into the major for and students may receive a degree in dance without having to be a PE major. Now
the spring semester of my sophomore year. there are BA, BFA, and MFA degree programs, and my cousin’s daughter, Gretchen
Bruner, graduated as the first musical theater major. (It must run in the family!)
For the remainder of my 4 years at CU I took the classes outlined in the new dance
major curriculum and performed with Orchesis. In both my junior and senior years I may not be the most talented and accomplished dancer to ever graduate from
I was elected President of Orchesis. CU, but I am extremely proud of my place in history as the first dance graduate
from CU. You have done a wonderful job of continuing to spread the knowledge
In the summer between my junior and senior year I attended classes at the Ameri- and love of dance, and I am most pleased to call myself a member of this grand
can Dance Festival held at Connecticut College in New London, CN and studied tradition.
technique with Martha Graham and José Limón, composition with Louis Horst, and by Ginnie Ely – January 2008
3
Oliver Gerland
Several years ago Oliver Gerland was teaching a Looking Back
graduate seminar in 17th & 18th century
English theater when he came upon
George Lillo’s 1731 play, The London
Merchant. Gerland, an Associate
Professor in the CU Theatre
Department, had read the play
before, but this time he was Adapts 275 Year Old “THE LONDON MERCHANT”
struck with the fact that, while
some of the themes were
archaic, others were remark-
ably contemporary. The
encounter started a journey that
was to culminate in the presenta-
tion of Gerland’s adaptation of The
London Merchant in CU’s Loft Theater
in October and November 2007.
The London Merchant is based on a contemporary
18th century folk song, “The History of George
Barnwell.” Barnwell, a young merchant’s apprentice,
falls under the spell of Millwood, a scheming prosti-
tute. In the hopes of financial gain, Millwood incites
Barnwell to murder his wealthy uncle; both the
apprentice and the prostitute are sentenced to death
for their crimes. “I didn’t have to add themes.” says
Gerland, “The play is about the frailty of human
beings. But it is also about forgiveness and redemp-
tion. My job was to structure an event to get at the
good stuff in Lillo’s play and eliminate the stuff that
was getting in the way.”
What was getting in the way? “It’s easy to lose the
relationships between the people in all the bombas-
ticness,” said Gerland. “Also, there’s lots of tell
instead of show.” Did he feel guilty about changing a
275 year old classic play? “No. My job was to serve
Mr. Lillo. The play would originally have been done To accomplish this, Gerland invented a background for Millwood in which her mother died when she was young and she was
on a large stage. There were changes needed sexually molested by her father. In the original play Millwood represents the dark side of capitalism. On the other hand,
because we were in the Loft Black Box Theatre. And Gerland says that Millwood’s strong feminist message was in the original play. “I didn’t add that. I just had to reposition it.”
to speak to our 21st century emotional idiom.”
Gerland says he is pleased to have had the opportunity to bring The London Merchant to the CU stage. “Both as an academic
One of the things that Gerland added in his adapta- exercise and to give the audience an impression of it. It’s a combination of currency and archaism. One of the messages is
tion was a sense of sympathy toward Millwood. “It about avoiding lewd women—not that one shouldn’t, but ‘lewd’ is so archaic. On the other hand, I teach Intro to Theater and
grew out of her claim in Lillo’s play that harsh treat- many of my students are business majors. The London Merchant has a strong message about choices and the consequences of
ment by men had turned her into a monster.” choices that is very relevant to them.” by Don Fried
4
Looking Back
Costa Rica
C U S t u d e n t & F a c u l t y D a n c e Te a c h i n
g Back
In late September 2007, CU Theatre & 1993 to 2006; currently he is teaching in
Dance Department Professor and Director New York City at Hunter College. He and
of Dance Toby Hankin and 5th year senior Hankin have worked together in the past,
Dance major Michael Richman traveled to including professional dance engagements.
San Jose, Costa Rica, as part of an artistic
culture exchange. The trip was in connec- Hankin says that the week that she, Capps,
tion with the Promising Artists of the 21st and Richman spent in San Jose was intense.
Century program supported by the North “We got there on Sunday, did lots of
American Cultural Center (NACC) in San rehearsing, and performed at the Eugene
Jose. NACC has been bringing artists from O’Neill Center on Friday.” NACC’s public-
North American universities to teach and ity people were equally active; there were
perform in Costa Rica since the 1950s. CU’s large posters displayed throughout the city,
participation, which grew out of a chance interviews and articles in local newspapers,
discovery on the Internet, has been develop- and a spot on a Costa Rica Spanish-language
ing for the last 6 years. While there have television program.
been several previous trips by CU faculty
and graduate students, Richman, who has When they were not rehearsing or speaking
returned to CU to complete his under- with reporters, Hankin, Capps, and Richman
graduate degree after working as a profes- were teaching at a number of dance
sional dancer, was the first undergraduate to institutes, including 15 class hours at the
take part in the exchange. prestigious Taller Nacional de Danza, a
school of the arts for college age students.
In Costa Rica, Hankin and Richman were According to Hankin, “The students were
joined by Associate Professor David Capps, totally hungry and appreciative and focused
who had participated in one of the first and tireless and motivated and talented. We
Promising Artist trips to Costa Rica. Capps were taken with the quality of their partici-
was a member of the CU dance faculty from pation in classes. It was exhilarating.”
by Don Fried
5
Chip Persons
Our Faculty
Experienced Professional Actor and Colorado Shakespeare Festival Veteran,
Comes to Teach at CU
Chip Persons has been acting since his early childhood in southern California. At age 8 he joined the San Diego Junior Theater,
and in fourth grade he enrolled in the San Diego School of Creative and Performing Arts (SDSCPA). Over the next nine years
at SDSCPA, in addition to taking college prep academic courses, he anchored student television broadcasts, edited the yearbook,
and sang in a vocal group which won statewide jazz and classical competitions and performed with such renowned artists as Dave
Brubeck and Paul Anka. At 16, Persons was cast as one of the young princes in Richard III, directed by John Houseman at San
Diego’s venerable theater The Old Globe. “Working with actors Paxton Whitehead, Frances Conroy and Jacqueline
Brookes,” says Persons, “I learned not only professional acting techniques, but also how to behave as a professional
actor.”
When Persons enrolled in the University of California at Santa Barbara (UCSB), he initially decided
to major in Communications. “By college I wasn’t gung ho [about majoring in theater],” he says. “I
saw friends graduate and struggle in the arts.” By his sophomore year, however, he had switched
to the BFA program. “UCSB had a strong theater program, and I fell back into it. I joke that I
was dragged kicking and screaming back into the theater.” After graduating from UCSB, Persons
was cast in several professional productions in the San Diego area before departing in the
summer of 1994 for a tour of Europe.
On visiting Prague, Persons found it to have a low cost of living and to be a “culturally rich
place.” “I was thrilled to be in a country that had the wisdom to elect a playwright as presi-
dent,” he says, “so I thought I’d spend the rest of the summer there and go home,” He
supported himself at first by working in an English language book store and later by teach-
ing English as a Foreign Language. “The hours were more flexible and the pay was better,”
says Persons, which left him free to become involved in Prague’s burgeoning English
language theater scene. Misery Loves Company, one of the groups that Persons worked
with in Prague, had been founded with the intention of providing Czech audiences with
exposure to Western drama and techniques, as well as to Czech works with themes which
had been repressed during the communist era. By working closely with Czech theater
artists, however, Misery Loves Company developed a unique, hybrid style. Says Persons, “My
friends in the States were waiting in casting offices while I was exchanging ideas and challenging
artistic boundaries with the Czechs.”
A planned stay of one summer became a year, then two, and then three. In 1997, Persons came to the
1st New York Fringe Festival with Dumb, (an adaptation of the Czech fairy tale, The Wise Goldsmith, by
Bozena Nemcova) and decided to stay in New York. “We had found what the boundaries were, and the
leadership [of Misery Loves Company] was turning over,” he says. “I decided it was time to move on.”
In the fall of 1999 Persons entered the MFA in Acting program at Columbia University. “The program had a
European bent which appealed to me, having been an expatriate and semi-reluctantly coming back to the states.”
Persons was also attracted by the prospect of studying under such luminaries as Anne Bogart, Kristin Linklater, and
Andrei Serban.
6
Chip
Our Faculty
on
e
or
M
During the summers of his years at Columbia, Persons and his wife, actress Erin
Wright, acted in the Colorado Shakespeare Festival (CSF). In 2002’s CSF, he
played the title role in Richard III to rave reviews, including a nomination
for a Best Actor by The Denver Post. The Daily Camera wrote, “Darth
Vader can hang up his helmet and go home. There’s a new
leather-clad bad boy in town.”
From his graduation from Columbia in the spring of 2002
until he came to CU in August, 2007, Persons worked as
a professional actor in New York with roles on the
stage, in movies and on television. He’s also had parts
in several nationally released TV commercials; you
may have seen him getting splashed by a beluga
whale while eating Starburst candy, or as an AOL
customer moving and talking in slow motion due to
having contracted a computer virus.
In New York, Persons also taught part time at New
York City’s Hunter College. He was looking for a full
time teaching position when he saw the listing for a
position at CU. Because he and Erin had enjoyed their
summers in Boulder with CSF so much, he was excited to
apply and delighted when he was offered a position.
Persons comes to the CU Theatre Department as Assistant Professor
of Acting. Regarding his first three months he says, “I’m impressed with the
students’ work that I’ve seen here. Having been through undergraduate and
graduate Fine Arts programs, I appreciate the process of a conservatory-style
program within a large liberal arts university. And I’m happy that I’m able to bring
actor training from the viewpoint of a professional actor.”
How is Persons settling into Boulder after spending the last fourteen years in
Prague and New York? “It was a culture shock coming back to the U.S. from
Prague. I missed the introduction of the Internet!” he says. “And it is a culture
shock coming to Boulder after New York. Some days we miss New York, but
we’re thrilled to be here.” by Don Fried
7
Our Faculty
Markas Henry
designs costumes &
scenery for the new play
“GRAY AREA”
Assistant Professor of Costume Design as he is subjected to “Final Jeopardy” in
Markas Henry designed the costumes and the woods.
scenery for the new play, Gray Area, by
John Ahlin, and presented by The Barrow Throughout the hilarious and thought
Group in New York City, Feb. 12 - March provoking debate, Ahlin shows that the
16, 2008. battle of the War Between the States has
not been relegated to history, but in fact is
The play’s central location is an encamp- very much alive 140 years later.
ment in the Mississippi woods complete
with campfire, tent, rocks, logs and The Stars and Bars (a.k.a. Confederate
budding spring trees. The scene is inhab- Flag), slavery and racism are the subjects
ited by three modern day Confederate of the debates; and while Ahlin uses the
Re-enactors (Keith, Randall and Horse) path of humor to breach these taboo
who still seem to be battling the Civil War. topics, he does it with a deftness and
The fourth character, Farragut, is a respect that leaves the audience seeing a
Northern syndicated radio personality bit more clearly than they had just two
and self-proclaimed “pundit of put hours previously.
down” who finds himself the victim of
kidnapping by the Rebel forces. Gray Area director Seth Barrish,
Co-Artistic Director of TBG, invited
The battle that ensues places North Henry to be the Production Designer.
against South, but their weapons are not Frequent collaborators since 1991, Henry
muskets and mini-balls, but rather meta- was both thrilled and challenged by the
phors, similes, and haikus. “This is ‘Hee tasks at hand.
Haw’ written by Beckett,” quips Farragut
8
Our Faculty
more on
Markas
current design projects Markas is working on:
Scenic Design for Kiss Me, Kate for Boulder Broadway Company
Costume Design for A Marriage Minuet, by David Wiltse, at City Theatre in Pittsburg
Costume Design for Love’s Labour’s Lost at CSF
Scenic Designs for Little Shop of Horrors, Crimes of the Heart, Rounding Third and
Seussical for Theatre Aspen.
“Once I recovered from laughing after costume rental sources were not going to
reading the play, I was immediately work. Instead Henry let his fingers do the
daunted by the scope of the project at walking, via a keyboard and the Internet,
hand. The play required a wooded setting and located various Civil War Mercantiles
complete with campfire, tent and ‘bear and Suttlers (people who sold provisions)
bags’ strung up in a tree to protect the who outfit the “modern day Re-enactors.
food, AND seven Civil War uniforms, Through these sources he was able to
including a General Robert E. Lee in full completely costume the characters in
parade dress!” authentic reproduction uniforms and
accessories.
“I wasn’t as concerned about finding 30
small trees and carrying them up three “In the end I couldn’t have been happier
flights of fire escapes in Manhattan (the with the work that was created,” says
theatre is on the 3rd floor); but where Henry, “and sitting in the audience, I felt
was I going to find the uniforms?” Since like I was looking into a Diorama at the
there are very few plays or musicals that Natural History Museum. That is truly a
take place in this era, standard theatrical great feeling of accomplishment.”
9
Our Faculty
Michelle Ellsworth
Michelle Ellsworth, Assistant Professor in the CU Tifprabap hailed as a
Department of Theatre & Dance, recently
received her second Creation “completely, winningly
Fund grant from the National ridiculous new solo”
Performance Network. The grant is for
Ellsworth to create and tour with a new performance by the NEW YORK TIMES
work entitled The Objectification of Things. The Objectifi-
cation of Things is part performance art, part ritual,
part ethnography, part philosophy, and part techno
extravaganza.; it celebrates the soulful and reliable
nature of things and takes objects from the prop table
to the spotlight.
Ellsworth has also received a First Light Commission
grant from the Dance Theater Workshop (DTW) in
New York City for her solo web-integrated perfor-
mance work, TIFPRABAP. TIFPRABAP stands for The
Institute for Potential Religious Artifacts, Beliefs and
Procedures. Visit the website, tifprabap.org, for a
quirky, very funny view of this surprisingly compre-
hensive religious world.
The New York Times Dance Review, April 19, 2008, GO tifprabap.org!
reported “pleasure” at finding Tifprabab.org’s
existence online “and not just as the title of Michelle
Ellsworth’s completely, winningly ridiculous new solo,”
after seeing the performance at Dance Theatre Work-
shop in Chelsea, NY.
Both the National Performance Network and the
Dance Theater Workshop are supported by the
National Endowment for the Arts.
by Don Fried
10
Where are they now?
CU - Boulder Theatre Alumni
RETURNS TO DIRECT
Philip Sneed Zachary Andrews
Jim Doyle
After graduate work at USC, Jim Doyle (CU
A graduate of CU's first BFA in Performance class,
Philip Sneed has returned to Boulder to take up
the reigns as the Producing Artistic Director of
the Colorado Shakespeare Festival. After receiv-
Zachary Andrews will be entering the MFA in
Acting program at University of Missouri
Kansas this Fall. Zach’s audition at URTA earned
him 3 offers (U. of Florida, Indiana and UMKC)
and one wait list (Rutgers) and after much
Theatre, 1978) went on into film, television, and ing his MFA in Acting from University of California
theme park design and effects. / San Diego, Sneed became a professional actor, deliberations, he has decided to go into UMKC
and then the Artistic Director of The Foothills which is affiliated with the Kansas Repertory
Doyle won an Academy Award in 1992 for Technical Theatre Company / Sierra Shakespeare Festival Theatre and has showcases in New York – plus
Achievement; he designed and developed the Dry for twelve years. Sneed directed Around the World he’s got a free ride for the next three years!
Fogger, which uses liquid nitrogen to produce a safe, in 80 Days summer 2007, and staged his own adap-
Ira Spector
dense, low-hanging dry fog. His special effect work tation of CSF's first holiday presentation, A Child's
in film includes A Nightmare on Elm Street, The Nutty Christmas in Wales (7-24 December 2007) in the
Professor, Even Cowgirls Get the Blues, and Friday the Univ. Theatre. www.coloradoshakes.org
Carolyn D. Miller
13th part VII: The New Blood.
Ira Spector will be the FIRST MFA Directing
For the last 12 years Doyle has been with WET
student at San Diego State University this Fall
Design as a Technology Director which draws exten-
– SDSU has one of the best MFA in Musical
sively on his design background. WET Design
Theatre programs in the country and in
specializes in the design of water features worldwide Carolyn graduated Summa Cum Laude in 2004 expanding their program to include a directing
and is a leader in the development of innovative from the Theatre & Dance Department with a BFA for Musical Theatre component, they have
design and technology; projects include the Foun- degree in Musical Theatre. As the Artistic Director selected only one student – our very own Ira
tains at the Bellagio Hotel in Las Vegas, Crown of the Boulder Broadway Company, a non-profit Spector.
Center Fountains in Kansas City, the Salt Lake City musical theatre company that was founded while at
Lindsey Wilson
Cauldron for the 2002 Winter Olympic Games, and CU, Carolyn has directed five musical productions
the new Columbus Circle in New York City. including A Chorus Line, Into the woods, You're A Good
Man, Charlie Brown, Bat Boy: the Musical, and the May
You can view Doyle's work at www.wetdesign.com 2008 production of Kiss Me, Kate at the Lakewood
Cultural Center. Locally, Carolyn has worked for
the Colorado Shakespeare Festival, Central City Lindsey Wilson, BA Theatre '04. Lindsey moved
Opera and Opera Colorado. Currently in New to New York City after graduation, where she
York City, Carolyn is an Associate with Junkyard was the Off-Broadway critic for
Dog Productions, a commerical producing company www.TalkinBroadway.com for three years. She
specializing in the development of new musicals. will receive her master's degree in Arts Journal-
Credits include: Make Me a Song: The Music of ism from the S.I. Newhouse School of Public
William Finn (NYC and London productions) and Communications at Syracuse University this
the upcoming Broadway productions of Vanities: a summer. While at SU, she interned at The
New Musical and Memphis. Syracuse Post-Standard and Playbill Magazine.
11
pg 9
Fun Stuff
CU Profs & CSF Director
VisitVladivostok to Plan Theatre Exchange
bud’sdanceclass sveta bud efim philipsneed budcoleman
In October 2007, CU Chancellor Bud Peterson and cally been a melting pot. However, as the headquarters of simultaneous translation of the Russian dialog in the
Rector Igor Zaslavsky of the Far Eastern State Institute of the Tsarist and Soviet Pacific fleets, visitors to Vladivostok United States and the English dialogue in Russia.)
Arts in Vladivostok, Russia, signed a Memorandum of were severely limited until an easing of restrictions
Understanding indicating interest in collaborating on between 1988 and 1992. Today Vladivostok is a thriving The 2007 trip coincided with the 75th anniversary of the
academic activities. In the same month, CU Theatre & city of 750,000 residents. It was recently designated by Gorky Theatre and the 60th birthday of the Gorky’s color-
Dance Department Chairman Bud Coleman, Senior UNESCO as one of the ten cities with the highest devel- ful, visionary artistic director, Efim Zveniatsky. Conse-
Instructor Kerry Cripe, and Colorado Shakespeare opment potential in the world. quently, there was a steady stream of plays and “galas”
Festival Producing Artistic Director Philip Sneed traveled (cabaret-style presentations with dramatic scenes, musical
to Russia to discuss possible future exchanges between Sneed and his wife, costume designer Clare Henkel, had skits, dancers and acrobats). During the week-long
CU, CSF, the Institute of Arts, and Vladivostok’s renowned traveled to Russia several times since 1994, resulting in six celebration Coleman, Sneed, and Cripe attended three of
Maxim Gorky Theatre. exchange projects, three in Russia and three in the United each, all in Russian, during their ten day visit. Although they
States. These projects included Sneed performing Hamlet had a translator who had seen all of the productions
“Vladivostok is at the end of the world,” says Cripe, “but and directing Dracula at the Gorky, and the Gorky before and occasionally gave them a synopsis of the play
they will not allow themselves to be isolated. The Gorky company coming to California to perform Ivanov before hand, neither Coleman nor Cripe felt that their lack
is always bringing people in or sending them to other (delivered in Russian, with simultaneous translation into of Russian was a problem. “I was never overly distracted by
places. It’s their artistic director’s vision of working.” English) and collaborating with the Foothill Theatre Com- the language barrier,” says Cripe. “The quality of the acting
pany in bilingual versions of A Midsummer Night’s Dream in was such that we could understand the emotion.” Cole-
Vladivostok is Russia’s principal Pacific port, 6,400 km California and Noises Off in Russia. (In the bilingual man taught two dance classes; the translator was not
from Moscow at the end of the Trans-Siberian Railway. productions, there were both Russian and American there for the second. “It actually went better, says Cole-
Being close to China, Korea and Japan, the city has histori- actors in the cast, each speaking their own languages, with man. “It forced me to be clear physically.”
12
Fun Stuff
Vladivostokcontinued
Coleman and Cripe were particularly impressed with the organization and versatility government, though. The Governor of Primorsky was constantly around, and they
of the Gorky company, which has 200 permanent members, including 30 actors, and consider him their ‘boss’.” Most artistic members of the company supplement their
large numbers of acting interns and technicians. “Where we take a play and put all our income by teaching outside of the theater for private after-school dance, music and
efforts into it for two months, they have 20 plays in active repertory that they can acting institutions.
produce at any given moment. I don’t know of Much of the visit was spent discussing plans for
anywhere else that does that,” says Cripe. a student exchange targeted to start in 2009.
“They don’t post a season, they go month to The current plan is to have Russian students
month. They may put on a play they haven’t come to Colorado, be paired up with CU
put on in 13 years. If it doesn’t go well, they “host” students, and take classes at CU in the
close it. If it goes well, they might continue spring 2009 semester. During the summer, they
until it doesn’t sell any more.” Coleman was would be actors and understudies at the Colo-
equally enthusiastic. “To see what the entire rado Shakespeare Festival. For the fall semes-
company was capable of – a kid show at 10 in ter, the Russian students and their CU hosts
the morning in the main (800 seat) theater, a would travel to Vladivostok where the CU
full production in the black box theater in the students will be able to take classes at the
evening, and a gala back in the main theater Institute of Arts. There is also agreement for
the next day. We saw some of the same actors the Gorky’s artistic director to come to Colo-
– and these were the stars -- in all 3 shows. rado to direct a classic Russian play for the
And they were giving it their all. They weren’t 2009 Colorado Shakespeare Festival.
saving themselves.”
A related project will occur under the auspices
The goodwill which Sneed and Henkel had of the U.S. State Department “Artistic Envoys”
developed over the past 13 years immediately Program. Under Artistic Envoys, foreign coun-
overflowed to Coleman and Cripe. “We were tries can nominate one cooperation project for
swept up in a continuation of their friendship,” funding per year. A proposal for Coleman and
says Cripe. But even when they were meeting Henkel to travel to Vladivostok in September
with new people on their own, they found the 2008 has been approved by the U.S. State
Russians to be amazingly warm and welcom- Department. They will stage and costume
ing. “The shows, theater and productions Stephen Sondheim’s Company, using students
were wonderful, but they all paled in compari- from the Institute of the Arts.
son to the people,” Cripe added.
Coleman and Cripe are enthusiastic about the
Coleman observed that Gorky is undergoing a prospects for the future of the exchange. “We
period of financial change. “In the past they found the Russian students to be well
lived off of government support. But now Efim disciplined, focused and attentive,” Coleman
is embracing western funding models, with says. “We’re excited about future collaboration
some productions having business and corpo- with professional and educational institutions
rate funding and private donations. The in Vladivostok.”
theater is still owned and supported by the by Don Fried
kerrycripe
13
Fun Stuff
CU DOCTORAL GRAD
MCFARREN RETURNS TO DIRECT
she LOVES me
After receiving her doctorate from CU in 2003, Cheryl McFarren worked for 2 years between 1963 and 1994. “It’s the most darling musical I’ve ever encountered,” says
as the director of the Theater Department at Arapahoe Community College. McFarren. “It has a spirit of youthful playfulness and innocence. To present this
“Initially, I was the Theater Department,” she says. After two years she was innocent, crystalline piece during the hustle and bustle and angst of today’s
promoted to the position of Dean of the division which included the technologically driven world is a contrast worth pursuing. But the play
theater program. It was an administrative position which left her doesn’t have a lot of large chorus numbers, and yet you have to populate
longing to return to the classroom. “I was a fish out of water,” the world of the play. The question is, how do we create a production
she says, and she left after two years to be what she with room for everyone?” Out of that question came the idea to
describes as “blissful and unemployed.” provide dance choruses for “Vanilla Ice Cream” and “She Loves Me,”
two of the songs that were originally written as solos.
In the summer of 2007 McFarren was acting in
the Colorado Shakespeare Festival, when CU Immediately after the “post mortem” (the meeting with all the cast
Theatre & Dance Department Chairman Bud and crew to review the process of creating the show and what could
Coleman asked her if she would teach a class be improved), McFarren went home and wrote spoof lyrics to some
and direct a play during the fall 2007 semester. of the She Loves Me songs. To the chorus of the title song she penned:
The play, the musical She Loves Me, was already
chosen. “That was a risky thing to do, to walk into We did it! Wasn’t that amazing?!
someone else’s play,” says McFarren. “I listened to
the music and read the script carefully before I signed We did it!
on.” Ultimately she determined that her directorial And we glimpsed the magic.
strengths (“schmaltz and positivity”) would be a good fit with We did it! And the audience loved it…
the musical’s demands.
The plot of She Loves Me is a familiar one. Two clerks in a small perfume shop And all our griping vanished
take an instant disliking to each other. Both have also fallen in love with pen pals Bad attitudes were banished
whom they have never met in person. Of course each turns out to be the other’s Our wildest dreams became something legit—
pen pal, and love triumphs in the end. Hungarian Miklos Laszlo’s 1937 play, Parfum-
erie, from which She Loves Me was adapted, also served as the basis for three Holly-
We did it! We! Did! It!
wood movies: The Shop Around the Corner (1940), starring Jimmy Stewart and Marga-
What is McFarren happiest about in the production? “The students were so much
ret Sullavan; In the Good Old Summertime (1949), starring Judy Garland and Van
fun to be with. And so professional. They let me play. And I’m particularly pleased
Johnson; and You’ve Got Mail (1998), starring Tom Hanks and Meg Ryan.
about the growth of some of the performers.”
She Loves Me, with book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon
by Don Fried
Harnick, was produced twice on Broadway and twice on London’s West End
14
Our Donors
The Theatre & Dance Department is deeply grateful
for support from these individuals who help make our
season of courses, workshops, and performances possible.
Visionaries
David Andrews, Sheri & Bob Best, The following people donated
James & Anne DeCastro, Carol & Todd Gleeson,
Roe Green, Noel Hefty, Joan Knaub, Karen & Ed Koeppe, in memory of
Robert and Dorothy W. Mullin, Jerilyn & Robert Nalley,
Debra Ordway, Gail Pokoik,
former CU dancer
Jamie & Alan Redmond, Dorothy & Anthony Riddle,
Rebecca & James Roser, Charlotte Irey Short
Noel Reiss:
Barbara Allen
Angels Nicole and Kevin Frank
Ronald and Jacque Frazee Frazzini, Anne Winton Margaret Noland,
Helen Redman
Sustainers Betty Reiss
John H. Ade, Jerry H. Bledsoe, Susan H. Blythe,
Marilyn & Phil Cohen, Kerry Ann DeVivo,
Kenneth J. Gamauf, Tymar R. Goudey,
Hugh M. & Edna Heckman,
Mary Kay Hilbert Holder, Thomas M. Kennedy, Ticket sales account for approximately
Patricia Eckert Lindell, 50% of our operating budget.
Margaret Nelson, Briana Shuwarger, We need your help to continue
Mary Kennedy Testa, Marc Vann, Marta Wachter, bringing high-quality
RL Widmann, Barbara Zarlengo performances to our stages
and educational experiences
Supporters to our students.
Lara Branen Ahumada, Glen Atkins, Donna Rae Bartz, If you would like to help the show go on,
Sylvia Bradford Emery, James H. Breen, Bob Gereke, please call us at (303) 492-7355
Jane Slusarski-Harris, Sally Heath, Eugene Jacobson, or send your donation to:
Ruth Ann Jenkins, Nancy Kantra, Jackie Leech Stoffel,
Catherine Melich, Laura Oster, Stanford Paris, CU Foundation, Theatre & Dance
Jackie Pualani-Johnson, Leanne Rizzo, Darrell Sanchez, P.O. Box 1140, Boulder, CO 80306
H. Toll, Marilyn Texel, Lauri Van Hise,
Trudy & Ronald Zimmerman THANK YOU!
15
pg 17
Scholarships
In the Department of Theatre & Dance at CU, we strive to turn our passion for the performing arts
into an environment of learning and growing for our students. Gifts from alumni and friends enhance the
standard of excellence we demand in our endeavors. Your contribution will support the scholarship
or program of your choice, whether your passion is for dance or theatre,
and will play a crucial rule in our progress and continuing success.
Every gift matters to us, no matter the size!
You can select from: Please fill out the form below or make your gift at:
http://www.cufund.org/giveonline or call toll-free 888-287-2829
Theatre Scholarships
name _________________________________________________
Dance Scholarships
address________________________________________________
Theatre Division Discretionary
this supports housing / meals for guest artists and ACTF respondents;
city ______________________ state____ zip code ____________
refreshments for receptions and graduation, advertising, donor cultivation,
and equipment purchases.
telephone (day)_________________ (evening)__________________
Dance Division Discretionary
this supports housing / meals for guest artists and ACDF respondents; email _________________________________________________
refreshments for receptions and graduation, advertising, donor cultivation,
and equipment purchases.
CU Alum (degree / year) _________________________________
For additional information about our existing donation options, or to
Enclosed is my check payable to CU FOUNDATION
explore the possibility of endowing a new scholarship ($25,000 minimum),
I would like to make a gift by credit card
please contact us at thtrdnce@colorado.edu or 303-492-7355.
Visa MasterCard American Express Discover
name on card ___________________________________________
signature ______________________________________________
card number ____________________________ exp. date ________
Thank you for your generosity and value your support!
Please write us and let us know what you are up to!
send an email to bud.coleman@colorado.edu
16
pg 19
&
University of Colorado Department of Theatre Dance
university theatre building, boulder campus
One Act Plays: 4:48 Psychosis & The Lottery Sept. 18-21
Master of Fine Arts Dance Concert Sept. 26-28
Go Lysistrata! Oct. 2-4, 8-12
s e a s o n Angelina Oct 23- 26
Bachelor of Fine Arts Dance Concert Oct 24-26
How I Learned To Drive Nov. 6-8, 12-16
Master of Fine Arts Dance Concert Nov. 14-16
Boom Boom Yum Yum Dec. 4-7
Twelfth Night Jan 5-7, 11-15
Master of Fine Arts Dance Concert ATLAS Feb 6-8
Student Dance Concert Feb. 13-15
Butterfly Kiss Feb 19-22
Spring Awakening March 5-7, 11-15
NeXus March 12-15
Shakespeare Unplugged April 2-5
Danceworks 2009 April 16-19
303-492-8181 www.colorado.edu/theatredance
