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DANcE ThEAtRE Powered By Docstoc
 Uni versit y of Color ado at Boulder
 photo by Cass Marshall
                                                           Depa rtm e nt of

                          Volume 03a June 2009     n   e     w   s

 2-7 )                       Looking Back
 8 )                         Fun Stuff
9-11 )                       Where Are They Now?
 12 )                        Our Donors
 13 )                        Scholarships
 14 )                        Looking Forward

                                         NEWS is a
                                          of THDN
                                        produced by
                                         Pam Stone

w w w. c olor a d o . e d u / t he at r e d a nc e
CU Production of Pulitzer Prize Winning Play
        Wins With Critics & Audiences
                               by Don Fried

                               In reviewing CU’s November, 2008 production,
                               Mark Collins, the theater critic for the Boulder
                               Daily Camera wrote, “Paula Vogel’s 1998 Pulitzer
                               Prize-winning drama, How I Learned To Drive,
                               may be the most perfectly crafted American
                               play of the past 25 years. The CU Department
                               of Theatre’s current production of the drama is a
                               mature and moving staging, one that lives up to
                               the play’s potential.”

                               Associate Theatre Professor Oliver Gerland,
                               who directed How I Learned to Drive says that
                               playwright Paula Vogel wrote the play in two
                               weeks. “It was as if she was channeling some
                               Muse,” he says. “It came flowing out of her, and
                               that became very important to me when we
                               started work on the production. I had a sense
                               that this play was a gift from the gods to Vogel
                               and in turn a gift from her to us. Her only other
                               play that she wrote like that is The Baltimore
                               Waltz. That won an Obie, and How I Learned to
                               Drive won a Pulitzer Prize.”

                                                             Photo by: Marcus Turner
                                                              Actors: Patrick Truhler,
                                                             Emily Schmidt-Beuchat

                                                                                    looking back
                                                                                                                                                                     looking back
    How I Learned to Drive is the story of Li’l Bit (played by Emily Schmidt-            charged material? “As we got deeper and deeper into the play,
    Beuchat), a young woman who through a series of flashbacks                           it got more and more frightening,” says Gerland. “Each of the
    recounts the story of her relationship with her Uncle Peck (played by                actors had scenes where they were fully imagining or participating
    Patrick Truhler). Uncle Peck had sexually abused Li’l Bit throughout                 in abuse. It came to a head during tech week, when the actors
    her childhood and teenage years. However, what complicates the                       came to their own decisions to put themselves forward – to do what
    story is that Uncle Peck is not portrayed only as a sexual predator.                 needed to be done for the sake of the play.”
    Rather, through much
    of the play he is the                                                                                                                Is there anything that
    only sympathetic adult                                                                                                               Gerland wishes he’d
    in Li’l Bit’s dysfunctional                                                                                                          done         differently?
    family, the only one                                                                                                                 “I wish we had a
    who gives her non-                                                                                                                   dramaturg,”           he
    critical          affection                                                                                                          says.     “There were
    and companionship.                                                                                                                   things that we didn’t
    Consequently, a major                                                                                                                discover until the last
    theme of the play is Li’l                                                                                                            few days, for example,
    Bit’s struggle to forgive                                                                                                            the significance of
    Uncle Peck while she                                                                                                                 Uncle Peck giving Li’l
    attempts to deal with                                                                                                                Bit a bottle of Perrier
    her memories of the                                                                                                                  Jouet Champagne.
    sexual abuse.                                                                                                                        Patrick Truhler intuited
                                                                                                                                         the significance, but
    In a 1998 interview,                                                                                                                 he didn’t have the
    Vogel confirmed that                                                                                                                 detail: that a bottle
    this had been her                                                                                                                    of Perrier Jouet costs
    intention.    “Without                                                                                                               $130. So much money
    denying or forgetting                                                                                                                shows how important
    the original pain, I                                                                                                                 the proposal scene
    wanted to write about                                                                                                                is to Uncle Peck. The
    the great gifts that                                                                                                                 actors were often way
    can also be inside                                                                                                                   ahead of me like that,
    that box of abuse. My                                                                                                                which is a real credit to
    play dramatizes the                                                                                                                  their intelligence and
    gifts we receive from                                                                                                                training. I could have
    people who hurt us.”                                                                                                                 used a dramaturg to
                                                                        Photo by: Marcus Turner                   catch me up.”
    “This complicated the issue of who is good and         Actors: (left to right)Cailin Doran, Chelsea Kari,
    who is bad, who is a victim and who a villain,”                      Emily Schmidt-Beuchat                    What does Gerland think worked best in the
    says Gerland. “That was always in the back                                                                    play? “The acting,” he says. “This is a play
    of our minds as we developed the play. All of the cast members                           about and for the actors, and all the design decisions were based
    were able to find the human truth in their characters – even the                         on that. There were almost no props, just nine chairs and one stool
    caricature family members. Portraying them as inhuman projections                        and a few bottles. That put the onus on the actors, and it worked.
    wouldn’t work on the stage. This is a play about forgiveness.”                           They were able to make a powerful, emotional impression on the
                                                                                             audience night after night. They did a great job, and I’m very
    How difficult was it to portray such controversial, emotionally                          pleased with how the production turned out.”
                                                                                                                                      looking back
                                 CU Premieres Adaptation of Controversial Play,

          “The Awakening of Spring”                                                                                    by Don Fried
    The Awakening of Spring, adapted by Boulder-based Israeli
    playwright and actor Ami Dayan from the controversial 1891 play
    by Frank Wedekind, received its world premiere by the CU Theatre &
    Dance Department. The play ran 5-15 March 2009 at the University

    Dayan, who taught at CU spring 2009 as the Roe Green Visiting
    Theater Artist, also directed and performed with the CU students
                                                                         Photos by: Marcus Turner
    in the production. “The Awakening of Spring is a beautiful piece,”
                                                                         Actors (left to right) Tammy Meneghini,
    says Dayan. “Considering that it was written nearly 120 years ago,   Jonathan Nooning, Jackie Colgate, Ami Dayan
    its themes are remarkably contemporary – teen suicide, unwanted
    teen pregnancy and sexual oppression in an atmosphere of zero
    sexual education. It’s clear why Wedekind called it ’a tragedy of

                                                                                                      looking back
                          Dayan came to Boulder in 1999 on a one year writing scholarship
Photo by: Marcus Turner   from the America-Israel Cultural Foundation. Nine years later, he’s
Actor: Jonathan Noning    still based in Boulder, although much of his time is now spent in
                          directing and acting in productions around the U.S. He has had
                          three productions in New York: A Tale of a Tiger (2004), adapted
                          from the play by Italian playwright Dario Fo; The Man Himself
                          (2006), adapted from the play by Alan Drury; and Masked, by Israeli
                          playwright Ilan Hatsor about the Palestinian Intifada, premiered at
                          the Boulder Museum of Contemporary Art in 2006 and moved to
                                New York in 2007 where it ran for seven months.

                                 The Awakening of Spring got its start when CU Theatre &
                                  Dance Department Chairman Bud Coleman came to see
                                   a local workshop of Dayan’s work. Coleman says that he
                                   had been looking for a “Do-it-yourself” representative --
                                   someone who could instruct CU Theatre students in how
                                  to create, direct, produce and promote their own work
                                  after graduation, rather than exclusively auditioning for
                                someone else’s productions and waiting for the phone to
                                ring. An engagement for Dayan to serve as the Roe Green
                                     Visiting Theatre Artist and to teach a course in creating
                                      and presenting one-person shows grew out of that initial

                                 The engagement was also to include Dayan directing the play. Dayan
                              says that he presented many ideas for a production, and that the
                                  CU Theatre Department faculty immediately picked up
                                      on the concept for The Awakening of Spring. “What
                                         has become very exciting,” says Dayan, “is the
                                             collaboration between all of the theatrical
                                                 wings – actors, set, costumes, music, lighting,
                                                     all playing off each other in creating a
                                                          hallucination. A blend of feverish
                                                               hallucination and heightened

                                                                     Dayan’s adaptation is
                                                                      not related to the 2006
                                                                       musical adaptation of
                                                                       Wedekind’s play.
         C U       F A C U l T y            A N D         S T U D E N T              D A N C E r S               P E r F o r M E D               i N
                                      New york Aspen Grand Junction

Theatre & Dance Department Professor                                                                                  Students performed in Aspen and Grand
and Associate Department Chair Toby                                                                                   Junction, January 2009
Hankin traveled to New York City in
late January 2009 to perform with                                                                                     Six CU dance students reprised “Passing
David Capps/Dances in a concert of                                                                                    Through,” a piece which they performed
Capps’ work at the historic St. Marks                                                                                 at the 2008 CU Dance Spring Showcase.
Dance Space. Capps taught at CU                                                                                       Passing Through was selected to be part
for twelve years and held the position                                                                                of a juried Colorado-wide showcase
as head of the CU Dance program                                                                                       being performed in Aspen and Grand
for six years before leaving in 2006 to                                                                               Junction under the auspices of the
return to New York.                                                                                                   Aspen Dance Connection.

For the concert at St. Marks, Capps                                                                                   The performances were held Friday,
reconstructed a solo piece that he                                                                                    January 16th, 2009, at the Robinson
choreographed for Hankin’s show,                                                                                      Theatre at Mesa State College’s
Mostly Solos, performed by Hankin at                                                                                  Moss Performing Arts Center in Grand
CU in 2002. Hankin also performed            Photo by: Vernon Windsor                                                 Junction, and Thursday, January 29th
in the quartet, A Light Through The          Dancers (left to right)                                                  at the Wheeler Opera House in Aspen.
Window. “St. Marks is a great, historic      Joy French, Cortney McGuire
venue,” says Hankin. “Lots of well-                                                                                   Performing the piece were CU
known choreographers had their start                                                                                  undergraduates      Kelsey    Chilton,
at St. Marks. It’s an honor for David to                                                                              Esmeralda      Kundanis-Grow,     and
have his work performed there.”                                                                                       Michael Richman; and graduate
                                                                                                                      students Joy French, Stephanie Kobes,
“It was a delight to have the                                                                                         and Courtney McGuire.
opportunity to collaborate with David
again,” she says. “David is a really fine                                                                             Hankin, who choreographed Passing
choreographer -- a talent whose work                                                                                  Through, says that she often has a
deserves to be seen. It’s also great to                                                                               feeling of sadness when a piece is
have the opportunity to dance again.                                                                                  completed. “Usually after one or two
Just when I thought I was getting too                                                                                 performances, it goes away. That’s
old,” she adds with a wry grin.                                                                                       it. It’s in the dancers’ bodies, and you
                                                                                                                      have to let it go. We are all happy to
Travel costs for the project were                                                                                     have this opportunity to bring Passing
supported by the CU Arts & Sciences                                                                                   Through back to life.”
Dean’s Fund for Excellence.

                            Dancers (left to right) Cortney McGuire, Michael richman, Kelsey Chilton, Stephanie Kobes, Joy French
                                                                                                                                                               our faculty
    The behind-the-scenes work for a production is never an                                          spoken word drama but the students receive dance
    easy feat. Imagine then, the behind-the-scenes work to                                           and vocal training. In order to create a production
    take place for an American musical set in New York to                                            relatable to the Russian audience, the dialogue was
    be produced in Russia and directed, choreographed                                                performed in Russian while the song lyrics were kept
    and costumed by artists from Colorado. Needless to                                               in the original language of English. The U.S. Consulate
    say, things take a step in the                                                                                             in Vladivostock did provide
    complicated direction. This                                                                                                translators for Coleman,
    tremendous undertaking is           CU Theatre & Dance in Vladivostock, russia                                             which made the process
    the recent work of University                                                                                              easier to work out.
    of Colorado Department of
    Theatre & Dance chair, Bud                                                                                                 The timetable of production
    Coleman. In a great artistic                                                                                               added another challenge.
    and diplomatic effort Coleman                                                                                              The Fine Arts Academy began
    and Colorado Shakespeare                                                                                                   their term on September 8th
    Festival    costumer,    Claire                                                                                            with the first performance
    Henkel     spent    September                                                                                              planned for September 23rd.
    2008 in Vladivostock, Russia,                                                                                              However, since Coleman had
    working with students of the                                                                                               cast the production in May
    Fine Arts Academy of the Far                                                                                               they were able to dive right
    Eastern State University. The                                                                                              in to rehearsal on September
    experience was rewarding not                                                                                               2nd. The professors of the
    only for the students but for                                                                                              Academy        released   the
    these two Boulderites as well.                                                                                             actors from class for the
                                                                                                                               first week of the semester
    Funded partially by a Cultural                                                                                             so rehearsals went for eight

    Envoy grant from the U.S.                                                                                                  hours a day for six days a
    State Department, work for                                                                                                 week. Coleman laughed as
    this project began an entire                                                                                               he said a common Russian
    year before the trip itself was                                                                                            phrase that was used during
    to take place. Former CU                                                                                                   those two weeks translated to
                                                                        by Marcus Turner                                       “squeezed lemon” in English.
    Chancellor Bud Peterson and
    Far Eastern State Rector Igor I. Zaslavsky signed a Memorandum                       The actors’ hard work was rewarded as the process culminated in
    of Understanding stating that both institutions “are mutually                        a four performance run to enthusiastic audiences September 23rd
    interested in furthering collaboration on academic activities.” This                 through the 28th.
    catalyst allowed Coleman to travel to Vladivostock in May 2008 to
    audition students for the chosen production, Stephen Sondheims’                      The collaboration involved in such a grand-scale effort as
    Company.                                                                             producing this show is immense. Funding for this venture came from
                                                                                         the University of Colorado, the U.S. State Department, the Maxim
    The Fine Arts Academy at Far Eastern State consists of several                       Gorky Theater (located across the street from the Academy),
    departments, one of which is a conservatory of theater. One of                       the Academy of Fine Arts, the U.S. Consulate in Vladivostock and
    the many challenging aspects of this undertaking not only lies in the                the Colorado Shakespeare Festival. The responses of the Russian
    language barrier between director and cast but also in the fact that                 audience proved once again the language of art in multi-cultural
    this conservatory does not typically produce musicals. Focus is on                   exchanges is universal.
fun stuff

                                        PErForMANCE & PrESENTATioN
                                                              MFA Students Present Their Work Nationally
            MFA students Jessica Damon, Joy French, Josselyn Levinson and               paper explore how the use of psycho-geographical explorations of
            Lauren Simpson are speaking and performing their original dance             urban spaces can benefit the artist by opening the mind to new
            research at national conventions. Their topics range from Afro-Bra-         possibilities of thematic and movement development. Combining
            zilian dance to World Fairs to the world wide web to the theories of        traditional modes of academic research with an artistic compo-
            Derive and Balanchine                                                       nent, this presentation will be a unique opportunity for audience
                                                                                        members to experience how theory and practice can come to-
            Jessica Damon                                                               gether to make dance. Accepted into the 2009 Topographies Con-
            “Vai Sambar! American Meaning Making in Afro-Brazilian Dance”               ference at Stanford.
            describes the interaction between an American community of
            dancers and the wave of Afro-Brazilian influence that entered that          lauren Simpson
            community. Through personal experience, academic research,                  "Art as Anthropology, Choreography as Ethnography: American
            community observation, and conversations, the author examines               Ballet by George Balanchine."
            the role of samba and the religious dances of the orixás within a           Cultural identity is encoded in the moving body, particularly in
            suburban white community, highlighting how meaning is changed               dance. In making meaning out of the code, it is useful to treat
            and constructed based on cultural context.                                  dance as a text, and therefore an academically valid source of
            This paper was presented in November 2008 at the 41st Annual Con-           information, in which cultural and social mores are written. Contem-
            ference of CORD: Dance Studies & Global Feminisms in Roanoke,               porary anthropologist Brenda Farnell writes, “Although in the past
            VA.                                                                         two decades considerable interdisciplinary attention has been giv-
                                                                                        en to ‘talk about the body’ as a cultural object, and to ‘talk of the
            Joy French                                                                  body’ as a phenomenological realm of subjective experience, ‘talk
            "World’s Fairs to World Wide Web: Globally Traversing the Lineage of        from the body’ as dynamically embodied action in semantically
            Dance 'Attractions'" connects the World's Fair performance format           rich spaces has received comparably little attention.” To fill the gap
            of the "Midway" entertainment district with modern-day YouTube              in cultural studies and dance scholarship, it is crucial to dilate our
            viewing. I'm particularly interested in posing the question of whether      definition of an informative “text” to include the ways humans “talk
            "high" dance-artists are successfully utilizing these huge cultural pre-    from the body,” by performing their social identities through dance.
            sentational formats to their benefit. Or are they being left behind?        Drawing on the theoretical works of Jane Desmond and others, I
            To be presented at Dance History Scholars conference, Stanford              explore the following question: If an anthropologist’s text, the eth-
            University, Stanford, CA                                                    nography, is a text in which cultural characteristics are described,
                                                                                        and dance is a text in which cultural characteristics are inscribed,
                                                                                        could the work of a choreographer be elevated to that of an an-
            Josselyn levinson                                                           thropologist? In looking at the work of choreographer George Bal-
            “Dancing off the Grid: Exploring the use of psycho-geographical             anchine, I examine his dances as objective textual embodiments of
            explorations and the practice of Dérive as a choreographic tool.”           culture. I conclude by discussing the positive implications of regard-
            This live presentation of a 20 minute long dance work that was cre-         ing art and social science as equal, specifically noting how bodily
            ated using the theory of Dérive was followed by a presentation of           discourse within academia successfully subverts its longstanding
            written work that explores the choreographic process and theoreti-          commitment to a Cartesian body/mind dualism.
            cal research that shaped the piece. Both the artistic work and the
                                                 our alums

                                                                                                                                                          Where are they now?
    Kelly Gibson
    BFA Performance, 2009                                                         was invited to the prestigious “Clambake” in NYC Spring 2006 where
    Wendla in The Awakening of Spring, will be going to UMKC fall 2009            she was identified as one of the top young designers in the nation.
    for MFA in Acting.                                                            The clambake is hosted by the dean of American design, Ming Cho
                                                                                  Lee. Davidson is pursuing a freelance career in professional stage
    Kyle Stockburger
    BFA Performance, 2008
                                                                                     design and art direction for film/television.

    Will be attending The California Instutite of the Arts the
    fall for a Master’s Degree in Acting.
                                                                                             2000 BFA Performace CU grad    Brian Dietzen    is a regu-
                                                                                               lar on “NCIS” Tuesday nights, playing the slightly nerdy
                                                                                                 assistant to the medical examiner played by David
    Matt Zambrano
    BFA Performance, 2004
                                                                                                  McCallum. Hailing from Colorado, Brian made his
                                                                                                    big-screen debut alongside Kelly Clarkson and Jus-
                                                                                                    tin Guarini in From Justin to Kelly. He performed
    slam-poet champion and 2008 Denver Post
                                                                                                     with the CSF for two years and spent five years
    Ovation Award winner for best actor in a chil-
                                                                                                     performing comtemporary theatrical works like
    dren’s production (Buntport’s Trunks). He’s
                                                                                                     Equus and Same Time Next Year, Brian recently
    been accepted into the Denver Center’s Na-
                                                                                                     moved to LA and was cast in the WB series My
    tional Theatre Conservatory Class of 2012.
                                                                                                     Guide to Becoming a Rock Star. He also starred

    CU Costume student    Nick Mramer       , who de-
    signed the costumes for Marat/Sade in 2008, has
                                                                                                    with Steve Rudnick in a two-man theatre produc-
                                                                                                   tion of The Oldest Man in Show Biz at the Hudson
                                                                                                  Stage and won critical acclaim.
    been accepted into the MFA Design program at
    Yale University, one of the most prestigious graduate
    theatre programs in the country.
                                                                                                 Erinn Hayes
                                                                                               BFA Performance, 1988

    Julie McCabe & Aaron Elgart
    CU BFA Theatre Design/Tech alum Julie McCabe and BA Theatre
                                                                         Erinn Hayes
                                                                                            Now plays a devoted girlfriend in CBS’s new fall comedy
                                                                                        “Worst Week.” See U.S. News & World Report interview at:
    alum Aaron Elgart are both completing successful Internships in Pro-             hayes.html
    duction at The Juilliard School, NYC.

    Sarah Davidson                                                                Aba Arthur
                                                                                  BFA Performance, 2005
    Sarah Davidson got her BFA in Design, Technology & Mgt. in 2005.              Is appearing on NBC’s “Southland” regularly and living in LA and
    She went on to study set design at U of Texas-Austin for her MFA. She         working as a producer.
                                                                                                                                                           Where are they now?
                                         Jamie Redmond
     In fall of 1960 Jamie Kellam ar-                                                                                 Jamie took a year off in 1962 but
     rived on the CU Boulder campus                                                                                   returned to CU to continue work
     to study dance. As in other uni-                                                                                 on her degree. Fate intervened
     versities of that time, dance was                                                                                and in 1963 she married the
     part of the Women’s Physical                                                                                     love of her life, Alan Redmond,
     Education (PE) program which                                                                                     who graduated in January 1964
     meant that dancers — women                                                                                       and entered the Navy. Char-
     only — could get a Bachelor                                                                                      lotte Irey, one of Jamie’s teach-
     of Science degree with an em-                                                                                    ers, told Jamie that Alan was a
     phasis in dance. Students in the                                                                                 wonderful man but she didn’t
     PE program trained together in                                                                                   have much hope that Jamie
     both sports and dance cours-                                                                                     would be able to come back

                                   First BA/Dance recipientLooks
     es. While all the women                                                                                                   to finish her degree. For
     were athletic and fit,                                                                                                    the next three years the
     Jamie saw a definite dif-                                                                                                 Redmonds moved from

                                                           Back 40 Years
     ference between the PE                                                                                                    state to state and Ja-
     and dance students. In                                                                                                    mie was able to take
     doing leaps across the                                                                                                    classes at the University
     floor in a modern dance                                                                                                   of Georgia, William and
     class the dancers were                                                                                                    Mary, and the Univer-
     graceful with straight                                                                                                    sity of Hawaii where she
     legs and pointed toes                                           By Nancy McElroy                                          studied with Jean Erd-
     where the PE majors rose                                                                                                  man. She also taught
     into the air and came                                                                                                     children as well as adult
     down with a thud.                                                              dance classes in recreation centers where they were stationed.
     Jamie remembers one PE student stopping midway across the floor
     and asking why the dance students looked so much better than                   After Alan completed his three-year tour of duty they returned to
     she did. The dance teacher just laughed and told her it took a lot             Denver and Jamie returned to CU to complete her degree. During
     of practice.                                                                   Jamie’s absence, Charlotte had convinced the administration that

Where are they now?

                      dance should be a program that stood alone as a discipline. To Ja-        with the word “orchesis” in their titles, the Greek term meaning “to
                      mie’s surprise, dancers entering the program now were able to earn        dance,” and CU was no exception. “Orchesis was where it all came
                      a Bachelor of Arts degree in Dance. With the dance classes Jamie          together. It was not only our chance to create but to put all our
                      had taken during her three years off campus plus her previous CU          knowledge to work. They wanted it done right – no slouching – no
                      work, she could finish her degree in one year. In 1968 Jamie was          minimal performance but presenting the best it could be,” Jamie
                      awarded the first Bachelor of Arts degree in Dance from CU.               reminisced. The students not only performed, they wrote and dupli-
                                                                                                cated the programs, made their costumes and props, and helped
                      The faculty was smaller in the early days of the dance program.           with the lighting and music.
                      Charlotte Irey, who began as a part-time PE instructor in 1945, taught
                      and directed the new dance program and continued as Director              After 40 years of attending CU dance concerts Jamie sees the
                      until her retirement in 1988. Marilyn Cohen served on the faculty         changes in the field of dance as a whole and how the CU program
                      from 1953 until 1993. Patricia Eckert taught for the first few years of   has adapted to those changes. The Department offers more per-
                      the program and Arlyne Arndt served as the accompanist/recep-             formance opportunities, classes in a wider variety of dance forms,
                      tionist and overall dance support person. The dance program is            and classes in related areas especially somatics and technology
                      now housed in the Department of Theatre & Dance, and currently            in the arts. Jamie acknowledges the foundation of the program
                      has 8 faculty members, including a technical director and musical         hasn’t changed since dancers today are trained just as she was.
                      director, and offers a BA, BFA and MFA in Dance.                          “The program instilled in you a love of exploring dance. The chal-
                                                                                                lenge to get your body to go to the max. To work hard. To discover
                      Dance students today take many of the same classes that were of-          new venues. All of our teachers cared about us personally as well
                      fered in the ‘60s: modern dance, choreography, music for dance,           as being students. They knew us, we were not just numbers. I think
                      methods of teaching, dance history, and dance production/stage-           we took away with us many of life’s lessons.”
                      craft. With new degrees additional dance classes were added while
                      the following PE classes were dropped: field hockey, volleyball,          Jamie remains an integral part of the dance program. A scholar-
                      badminton, swimming, tumbling, trampoline, tennis, and softball.          ship fund was established in her name by Alan and the Kellam’s,
                                                                                                Jamie’s parents, in the mid-’70s. Charlotte Irey was very excited
                      Jamie remembers the choreography of the ‘60s as being primarily           to receive the support for the dance students. The dance program
                      narrative, based on literature, but some choreographers, inspired         now had an endowed scholarship and joined the ranks of other CU
                      by the influential New York artist Merce Cunningham, explored pure        departments who were able to help support some of their talented
                      movement. Jamie loved the earthiness of Martha Graham’s work              students. Since 1975 Jamie has come to campus each spring to
                      and remembers her choreography textbook, Modern Dance Forms,              award the Jamie Kellam Redmond Scholarship to the outstanding
                      by Louis Horst, Graham’s mentor, which was very “modern” at the           undergraduate student who shows dedication to and excellence
                      time.                                                                     in dance. After seeing the new crop of students each year Jamie
                                                                                                notes that the dancers now come better prepared, with more dis-
                      Dance programs throughout the country had performance groups              cipline. “It seems to me that they live dance. What a great way to
                                                                                                look at this world.”


                                     The Theatre & Dance Department is deeply grateful
                          for support from these individuals who help make our season of courses,
                                           workshops, and performances possible.

                                             David Andrews, Sheri & Bob Best,
                      James & Anne DeCastro, Carol & Todd Gleeson,
                             Roe Green, Noel Hefty, Joan Knaub,                              The following people donated
                                          Karen & Ed Koeppe,
                             Robert and Dorothy W. Mullin,
                                                                                                  in memory of
                                                                                                     former CU dancer
                 Jerilyn & Robert Nalley, Debra Ordway,
                             Gail Pokoik, Jamie & Alan                                                  Noel Reiss:
               Redmond, Dorothy & Anthony Riddle,
         Rebecca & James Roser, Charlotte Irey Short                                                       Barbara Allen
                                                                                                            Nicole and Kevin Frank
                                                                                                             Margaret Noland,
                                        Angels                                                                Helen Redman
               Ronald and Jacque Frazee Frazzini,                                                             Betty Reiss
                                  Anne Winton

                 John H. Ade, Jerry H. Bledsoe,
                  Susan H. Blythe, Marilyn & Phil                                                                 Ticket sales account for
                     Cohen, Kerry Ann DeVivo,                                                                     approximately 50% of our
          Kenneth J. Gamauf, Tymar R. Goudey,                                                                    operating budget.
                     Hugh M. & Edna Heckman,                                                                     We need your help to continue
                         Mary Kay Hilbert Holder,                                                               bringing high-quality
                              Thomas M. Kennedy,                                                               performances to our stages
                              Patricia Eckert Lindell,                                                        and educational experiences
                 Margaret Nelson, Briana Shuwarger,                                                         to our students.
                      Mary Kennedy Testa, Marc Vann,                                                     If you would like to help the show go on,
          Marta Wachter, RL Widmann, Barbara Zarlengo                                                  please call us at (303) 492-7355
                                                                                                    or send your donation to:
                                             Supporters                                         CU Foundation, Theatre & Dance
         Lara Branen Ahumada, Glen Atkins, Donna Rae Bartz, Sylvia
                                                                                          P.O. Box 1140, Boulder, CO 80306
         Bradford Emery, James H. Breen, Bob Gereke, Jane Slusarski-Harris,
               Sally Heath, Eugene Jacobson, Ruth Ann Jenkins, Nancy Kantra,
             Jackie Leech Stoffel, Catherine Melich, Laura Oster, Stanford Paris,
                 Jackie Pualani-Johnson, Leanne Rizzo, Darrell Sanchez, H. Toll,
                                                                                    THANK YOU!
                       Marilyn Texel, Lauri Van Hise, Trudy & Ronald Zimmerman
                            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.
                                            You can play a crucial rule in our progress and continuing success.

                                                         Every gift matters to us, no matter the size!

                                                                                      Please fill out the form below or make your gift at: http://www.
                                                                             or call toll-free 888-287-2829
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University of Colorado Department of Theatre             Dance

                             The Blind
                             by Maurice Maeterlinck
                             17-20 Sep.

                             The Visit
                             by Friedrich Durrenmatt
                             1-3, 7-11 oct.
                             roe Green Guest Artist
                             Directed by Jane Page
                             starring Chip Persons and
                             Tammy Meneghini

                             THE real inspector Hound
                             by Tom Stoppard
 MFA DANCE CoNCErT           22-25 oct.
 Stephanie Kobes,
 rachael Harding             Philistines
 2-4 oct.                    by Maxim Gorky
                             5-7, 11-15 Nov.
 Esmerelda Kundani Grow,     2009 CSF Holiday Show
 Hayley Muth,                25 Nov. to 24 Dec.
 Heather Gray,
 Katherine Whalen,           Blood Wedding
 raquel ribich,              by Frederico Garcia lorca
 Kelsey Chilton              28-31 Jan.
 23-25 oct.
                             The Country Wife
 MFA DANCE CoNCErT           by William Wycherly
 Joy French,                 11-13, 17-21 Feb.
 Cortney McGuire,
 Josselyn levinson           The real Queen of
 13-15 Nov.                  Hearts Ain’t Even Pretty
                             by Brad Bailey
 Student Dance Concert       25-28 Feb.
 5-7 Feb.
                             Cabaret, the musical
 Danceworks 2010             by Joe Masteroff, John
 11-14 March                 Kander and Fred Ebb
 Mainstage Theatre           8-10, 14-18 April

 NeXus DANCE CoNCErT         CU Fringe Festival
 9-11 April                  23-25 April