experimentation - Theatre and Dance by liuhongmeiyes

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									        Volume 02                 June 2008

 1-5

6-10

 11

12-14

 15

 16     Scholarships

 17




                                                               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

								
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