Applause05.06 10/31/05 4:42 PM Page 1

FROM THE CHAIR 75:20 FEATURE

The Future is Here Celebrating 75:20 A Message from the Chair of the Department of Theatre Arts & Dance Reflecting on 75 years of University Theatre & 20 years of University Dance Theatre

by Professor Michal Kobialka, chair, Department of Theatre Arts & Dance by David Bernstein

As some of you may know, I was on sabbatical during the 2004-05 year. I The academic year 2005-06 marks the 75th anniver- have returned with new energy and fresh insight to focus on two signature sary of University Theatre, and the 20th anniversary of strengths that I think make us special among university performing arts pro- theatre and dance joined in a single department. Seventy- grams: our emphasis on collaborating across boundaries and disciplines, and five years is not much time in the span of human history, our integration of the creation and practice of theatre and dance with the criti- perhaps, but a ripe old age for a theatre. After all, the cal study of performance. My priority during my first 3-year term as chair was to Guthrie, at 42, is only middle-aged. Penumbra, founded preserve and build on these strengths, and I wish to thank Professor Lance by faculty member Lou Bellamy in 1976, is half our age – Brockman for providing the leadership to move the department forward on though it is one of a very few surviving theatres of the both fronts while I was away. Black Arts and Theater Movements of the early 1970s. The The big news is that 2005-06 marks the 75th anniversary of University oldest professional theatre in the area—the Old Log Theatre and the 20th anniversary of dance and theatre becoming one depart- Theatre near Lake Minnetonka—is currently celebrating ment. In commemorating our history at the University, we recognize as well our its 65th birthday. nus Raye Birk. Next up is Shakespeare’s A Midsummer close ties to the community—to the history and practice, and to the artists and In 1931, when “A. Dale Riley took over theatre activi- Night’s Dream, directed by emeritus faculty member and patrons, of theatre and dance in the Twin Cities and beyond. Our anniversary ties at the University … [he] introduced the name alumnus Stephen Kanee, followed by the annual celebration is a springboard for re-imagining ourselves as part of the multidisci- University Theatre, and with it came a feeling of experi- University Dance Theatre (UDT) concert, “Dance plinary world of the West Bank Arts Quarter, whose growing reputation for mentation” (Heroes and Clowns—A History of University Revolutions,” which will feature selections from the best innovative arts education and integrative artistic practice has secured our posi- Theatre, 1973). So from its birth, University Theatre has of the past 20 years of work by UM faculty members and tion as a vital center for education, scholarship, and creative work in the arts. been a site for both innovation and in-depth explo- Cowles Guest Artists. In the Spring Semester, alumna Throughout the year and into the future, we will continue to define where we ration—a site we are continuing to expand and develop Tisch Jones will direct Las Meninas by Lynn Nottage, and are now by exploring new ways to integrate our increasingly diverse perform- by participating in the collaborative, boundary-crossing we will cap off the season with the musical Cabaret, ance and design/tech programs with our academic curriculum in theatre and ideas, plans and projects of the West Bank Arts Quarter. directed by alumna (and Jeune Lune artistic director) Applause dance history and theory as well as with other disciplines. University Theatre has not always done experimen- Barbra Berlovitz. THE ANNUAL OF THE As is customary with pivotal occasions such as anniversaries, we celebrate tal work, of course. But it began with, and continues to The major 75:20 celebratory events will be geared DEPARTMENT OF where we have been in part to better understand where we are going. And have, an adventuresome bent. Even our more traditional toward welcoming returning alums, who we hope will THEATRE ARTS & DANCE where we are going hinges on the work and creativity of our faculty and our work often has an added wrinkle—as on the Minnesota share their experiences with each other and with current 2005-06 students, as well as on our continuing relationships with alumni and donors, Centennial Showboat, where, since 1958, we have been students and faculty to create a sense of our common his- supporters and community partners. Our students, of course, are our future. doing very traditional period theatre and crowd-pleasing tory as current or former members of the Department of Editorial Team They will be leading the industry in the coming decades. They will be perform- olios in a most unusual venue: an intimate Victorian Theatre Arts and Dance. The celebration will take place on DEPARTMENT CHAIR ing and creating in the vanguard of theatre and dance, on stage and behind the “jewel-box” floating theatre aboard a recreation of a 19th- April 28-30, 2006, the closing weekend of Cabaret, so, if you Michal Kobialka scenes, in performance venues and in the academy, at the intersections of theory Century showboat. are an alum of this department, please set aside these [email protected] and practice in communities worldwide. They will be shaping and redefining On the more experimental side, we have in our histo- dates now, as you are hereby cordially invited to join us in disciplines as they explore new forms of creative expression at the edges of ry produced August Strindberg’s A Dream Play three celebrating 75 years of University Theatre and 20 years of EDITING those disciplines. times—in 1948, in 1973, and a multi-media version in 2001 being the Department of Theatre Arts and Dance. David Bernstein And that’s where our relationships with you comes in. The support of our —each time employing the most cutting-edge technolo- While we haven’t finalized the April 28-30 schedule, [email protected] alumni and friends in the community helps sustain our momentum and keep gies of the time to create the dream world Strindberg we have a pretty good idea of what we want the weekend our students’ creative and scholarly furnaces fueled. Your gifts allow us to com- intended to explore when he wrote the play in 1901. In DESIGN to look like. Here is an overview of what’s being planned: pete for the talented students and faculty whose creative and intellectual gifts the 1960s, faculty member Arthur Ballet’s Office of Justin Christy • Tours of Rarig Center for those of you who haven’t ensure the continuing vitality of our programs. Your gifts for scholarships and Advanced Drama Research produced and published—in [email protected] been here for awhile—particularly those who haven’t fellowships open doorways to students’ dreams and aspirations, both on stage the multi-volume Playwrights for Tomorrow series— some been here since the Scott Hall era. and off. of America’s most adventuresome new plays: works by Photography This will be an event-filled year, with two momentous premiers. On such then-emerging playwrights as Maria Irene Fornes, • A Saturday afternoon reception for alums on the new Justin Christy, Keri Pickett October 14, we opened our Mainstage Season with a production of Jean Terrence McNally and Megan Terry. Minnesota Centennial Showboat—with Professor Rik Sferra, V. Paul Virtucio Giroudoux’s The Madwoman of Chaillot, directed by alumnus Raye Birk. On the All of which brings us to the current Diamond emeritus Charles Nolte reading from his memoirs— This publication is available in alternative formats upon same day—in true West Bank Arts Quarter interdisciplinary fashion—an exhi- Anniversary celebration, which we have named “75:20” to followed by a formal dinner at the Campus Club. request. Please contact Disability Services, McNamara Alumni Center, 200 Oak Street SE, Suite 180, Minneapolis, bition of drawings by choreographer Merce Cunningham opened at the Nash emphasize both University Theatre’s long and colorful These will give participating alums a chance to recon- MN 55455, or call 612/624.4037 (V⁄TTY). Gallery, accompanied by our dance students performing Cunningham’s “Inlets history as a producing theatre, and the shorter but very nect and reminisce. 3 “Applause” is a publication of The Department of Theatre 2” at the Barker. fruitful period during which dance and theatre have been • Attending a performance of Cabaret—the Saturday, Arts and Dance at the University of Minnesota. On the curricular side, we will strengthen our unique marriage of creative housed in the same department. To begin with, every April 29 performance if possible—and/or other stu- work with academics. The U of M/Guthrie Theater BFA Actor Training Program, show on the Mainstage Season will be directed by either dent performances scheduled for that weekend. an alum of the department or a current faculty member. ›› We opened on October 14 with the BFA production of Jean From the Chair continued on page 22 75:20 continued on page 22 Giraudoux’s The Madwoman of Chaillot directed by alum- Applause05.06 10/31/05 4:42 PM Page 3

PROGRAMS HIGHLIGHTS

2004:05 Undergrad Theatre Programs Highlights

The Department of Theatre Arts and Dance is that cross program boundaries so that an equal focus organized into five programs, according to the area of on theory and practice is maintained. While this means expertise of the faculty and the type of degree that what we teach and produce often has to satisfy offered. Each program develops the curriculum and many different agendas, the net result is often a product and a process of unsurpassed educational other educational opportunities within its specialty. In We would also like to welcome two visiting faculty keeping with the current departmental culture of col- depth and high artistic quality—be it a course or a members to the program: retired U of M directing profes- laboration and interdisciplinary studies, the programs creative work. This will become more apparent as we work with each other to develop classes and projects review the past and current year's program highlights. sor Stephen Kanee and Tisch Jones, a professional director and professor of theatre at the University of Iowa. They will fill in for Lou Bellamy while Lou is on sabbatical. BA in Theatre Performance for possible future mainstage productions and collabora- Professor Kanee will teach directing in the fall, while pro- In addition to the outstanding quality of our perform- tions with professional acting companies. This fall the fessor Jones will teach a directing class in the spring and ance faculty, to which we welcome Luverne Seifert as the course will develop a piece based on the novel, The Master direct the University Theatre mainstage production of new director of the program, one of our real advantages is and Margarita, for a possible 2007 collaboration with Las Meninas. being located in the Twin Cities, and thus having access to Theatre de la Jeune Lune. And next spring students in the And for the future, we have begun conversations to a wide range and number of very accomplished theatre course will develop a puppet show with Open Eye Figure develop formal internships with the Children’s Theatre companies and performing artists—many with national Theatre that will be performed on the Showboat as part of Company, Theatre de la Jeune Lune, Open Eye Figure reputations—who have served, and continue to serve, as a puppetry matinee series. Theatre and the Margolis Brown Company. The goal is to resources for our students. To enrich the formal curriculum during the past year, place theatre students, in their senior year, as actors/tech- photo: 2005 BFA Acting grad and 2005 Showboat Player First and foremost are the Twin Cities-based artists we offered workshops led by artists with international nicians/assistant directors/dramaturgs in a production who teach as affiliate faculty members. For 2005-06 this reputations. This series included the following: The Betsy Reisz breaks from her role as Lady Bracknell to perform being developed by one of these professional theatre com- a solo olio in “The Importance of Being Earnest.” list includes two of the Artistic Directors of the 2005 Tony- Wickedly Wild and Way Out Workshop Week, a workshop panies. The fact that such a program is even remotely pos- award-winning Theatre de la Jeune Lune—Robert Rosen, led by the Seattle-based dance/theatre performing arts sible is a tribute to the vitality of the Twin Cities perform- who will lead an advanced Physical Approaches class, and company 33 Fainting Spells (in collaboration with the ing arts community, and one of the things that we think Most of the performance work our students do involves Barbra Berlovitz, who will lead a workshop with former Dance Program), a workshop led by renowned New York- makes our program both distinctive and attractive to projects that grow directly from the curriculum. Each Guthrie vocal coach Mira Kehoe in Shakespeare: Voice and based puppeteer Theodora Skipitares, and a full one-week aspiring performing artists. ■ project is cast from the Company and is very prescriptive Performance. In addition, Meg Emery-Xelias and her com- workshop in mask performance using Larval Masks, led by —meaning that all the students over their 4 years with us pany will be leading a circus performance class and pup- Swiss mask performer, Nicolas Witte. will play a variety of roles to give them a wide range of pet artist Michael Sommers—this past year’s recipient of a In the coming year, we will continue these curricular experiences. The focus is on the actor, and the production McKnight fellowship—will again teach puppetry. The list enrichments with some very unusual workshops. With elements are minimal. of other affiliates includes many well-known names in the help of a continuing grant from Global Studies, we U of M/Guthrie Theater Highlights of the 2004-05 performance season includ- Twin Cities theatre: John Gamoke, Brian Goranson, Matt will bring in Phillip Zarrilli, a U of M alumnus who teach- BFA Actor Training Program ed a production of Our Country’s Good directed by BFA coor- Guidry, Gülgün Kayim (from Skewed Visions), Barbara es at the University of Exeter in Wales, to lead a one-week In 2005 our second graduating class moved into the dinator of acting and teacher Kenneth Mitchell, fully-pro- Kingsley, Kym Longhi, T. Mychael Rambo, Bonnie Schock workshop entitled: Making the Body All Eyes. In addition, “real” world of theatre, and members of this class have duced as part of University Theatre’s Mainstage season, (former Artistic Director of Three Legged Race) and Shirley Rick Shiomi, Artistic Director of the Twin Cities-based already been busy. Megan Bartle performed at the and featuring our Senior Company with some roles played Venard—all professional actors, directors or designers Asian American theatre company, Theatre Mu, will lead a Nebraska Shakespeare Festival, while Elliot Eustis and by BA students. The Junior Company’s projects included with local and national reputations. workshop in Taiko drumming and his approach to direct- Eric Holm founded a Shakespeare Theater company in Orestes, directed by BFA voice teacher and Guthrie vocal On the curricular front, we will continue to focus on ing theatre. Provincetown, MA on Cape Cod and hired several of their coach, Elisa Carlson and New Plays/Shakespeare, pro- courses that encourage students to create a performance, BFA colleagues. Reviewers of this new venture have raved duced by the Guthrie Theater and performed at the one of the centerpieces of which is the course, Creative about their work. Jonas Goslow performed in His Girl Guthrie Lab. Collaboration, which will continue to serve as a laboratory photo: Several BA Theatre students perform in “The Friday at the Guthrie Theater, and Betsy Reisz played As a culminating project for the graduating seniors, Laramie Project” on the Mainstage in spring 2005. Lady Bracknell in The Importance of Being Earnest on the playwrights Courtney Baron and Guillermo Reyes were Minnesota Centennial Showboat. commissioned by the Guthrie Literary Department to And members of the Class of 2004—our first gradu- write plays specifically for the Senior Company. These ates—continue to be successful in their careers. In their two plays, which were directed by Daisy Walker and first year, 8 of the 15 graduates worked in at least one Larissa Kokernot, were performed in repertory with a show on the Guthrie season. This trend seems to be con- Shakespeare project, Will you, Won’t You or What You Will?, tinuing and expanding. In fact Santino Fontana will be directed by Sari Ketter. The project was developed and directing the Guthrie tour this year. Beyond the Guthrie, adapted by Kenneth Mitchell and Sari Ketter, who worked Aya Cash returned to the Great River Shakespeare with Michael Lupu of the Guthrie Theater as the 4 Festival in Winona for its second season and Leah Curney Dramaturgy Consultant. It proved to he an ambitious, 5 has been cast as a company member at American Players’ amazing finale for the Class of 2005! Theater in Spring Green, Wisconsin. Not all of our gradu- The coming year will be a very busy one for the pro- ates ended up performing, however. Jeremey Catterton gram, as our partner, the Guthrie Theater, prepares to will attend graduate school for a directing degree in open its new facility on the Mississippi riverfront. The London, England this fall and Carena Crowell will go to Guthrie’s new home promises to be an exciting place for law school in Madison, Wisconsin. performers and audiences alike. ■ Applause05.06 10/31/05 4:42 PM Page 5

PROGRAMS HIGHLIGHTS ALUMNI PROFILE

2004:05 Dance Programs Highlights He’s Hamlet BFA Actor Training Program alum makes it big ...FAST!

BA/BFA in Dance Twenty-three-year-old Santino Fontana, a 2004 gradu- Fontana first appeared at the Guthrie in Six Degrees of The year 2005-06 will be one of major changes in the ate of the University of Minnesota/Guthrie Theater BFA Separation while still a student at the University of Dance Program. Three longtime members of the program Actor Training Program, will play the title role in the Minnesota. Following his graduation in 2004, Fontana —Maria Cheng, Zoe Sealy and Linda Shapiro—have Guthrie Theater’s upcoming production of Hamlet. appeared at the Guthrie in As You Like It, A Christmas Carol, retired, and Marge Maddux, the program’s director for the “It is without question one of the pinnacle roles for and Death of a Salesman, which toured to the Dublin past nine years, is entering phased retirement. an actor,” Guthrie Theater Artistic Director Joe Dowling Theater Festival. He recently served as assistant director Carl Flink will replace Professor Maddux as Director said. “I was determined to cast a young actor—someone for Dowling’s production of His Girl Friday by John Guare, of Dance. During her tenure, Professor Maddux provided who could bring all the insecurities of youth to the role. starring Angela Bassett and Courtney B. Vance. Fontana excellent leadership for planning and building the At 23 years old, Santino will bring us a Hamlet for his has also appeared in Love’s Labor Lost and On the Verge at the Barbara Barker Center for Dance, and for consistently generation.” Chautauqua Theater Company, La Traviata at Washington expanding the quality and number of the program’s dance Fontana, a 23-year-old native of Richland, Washington, East Opera, The Winter’s Tale, American Clock, Songs For A New majors. Professor Flink looks to build upon the dance was the winning candidate for the role from over 150 men World, and Six at the University of Minnesota. In 2000 he program’s past successes with an eye to positioning it as who auditioned during a national search led by Dowling. was named a Presidential Scholar in the Arts, which led to an innovative leader and creative engine for the West Hamlet was the Guthrie Theater’s first production when it a performance at the Kennedy Center. He has composed Bank Arts Quarter, and as a trailblazer for the broader opened in 1963, and will return 43 years later as the final original scores for five plays and was a recent guest soloist Minnesota dance community. production to be presented on the original thrust stage at at JOE’S PUB in New York. He was recognized at the Nora Jennemen will replace Linda Shapiro as the 725 Vineland Place, March 4 – May 7, 2006, before the com- National Lionel Hampton Jazz Festival as Outstanding dance program’s Cowles Artist Program coordinator. We pany moves permanently to its new location in Male Vocalist. offer our deepest thanks to Linda for her years of excel- Downtown Minneapolis. Catch Fontana as Hamlet March 4 – May 7 at the lent service, and we are excited to have Nora as Linda’s The Guthrie Theater’s casting of Fontana is one of a Guthrie Theater. It will be a historic event for Twin Cities successor, especially since Nora is intimately familiar number of student successes stemming from the theatre that is not to be missed. with the program after 5 years of incredible service as its University of Minnesota/Guthrie Theater BFA Actor photo: Zoe Sealy prepares dancers for the “Battle of the office administrator. Training Program. Operated in partnership between the Bands,” where her choreography was paired with the Other, more temporary comings and goings include University’s College of Liberal Arts and the Guthrie School of Music’s Jazz I and Jazz II ensembles on stage at Theater, program faculty guide small companies of actors, the following. Professor Ananya Chatterjea is on a one- Ted Mann Concert Hall in April 2005. selected by national auditions, through a four-year core of year sabbatical. She will be replaced by the prominent © 2005 V. Paul Virtucio visiting dance scholars, Roxane Fenton and Judith intensive theatre courses taught within a liberal arts cur- Howard. Toni Pierce Sands and Karla Grotting join the dents and for the community. This year, the Cowles pro- riculum. Several alumni of the program have gone on to dance program’s core faculty as affiliate faculty represen- gram welcomes dance scholar Bonnie Brooks, local chore- act in professional theaters across the United States and tatives on the dance program’s advisory committee. ographers Joe Chvala and Zoe Sealy, and internationally- some have even collaborated to start their own theater Finally, we welcome dance program alumni Mathew recognized dance artists Pat Graney, Charles Moulton, and companies. Eric Holm and Elliot Eustis (class of 2005) Janczewski and Cynthia Gutierrez-Garner as affiliate fac- Sten Rudstrom. launched a professional theater company last summer in ulty members. Mathew will teach intermediate modern In addition, we will offer several other special residen- Provincetown, Massachusetts, and hired many BFA stu- dance technique and men’s modern dance technique; cies. Doug Varone and his entire dance company will come dents as actors. Leah Curney (class of 2004) is cur- Cynthia will teach beginning jazz technique. for an week long dance intensive during which they will rently on a season contract with American Players The second big news for 2005-06, is that the Dance take over all of the modern dance technique classes. And Theatre in Spring Green, Wisconsin. Program will celebrate the 20th anniversary of being affiliate faculty member Paula Mann will set a new work "The College of Liberal Arts congratulates joined with theatre in the same department (it’s the “20” on our students, The Uncanny Valley Of Simulated Humanity, Santino on this remarkable achievement," in our “75:20” celebration of 75 years of University Theatre which will be shown at the Dance Program’s spring con- said Steven J. Rosenstone, dean of the College and 20 years of the Department of Theatre Arts and cert. Paula combines physical movement with anima- of Liberal Arts. "Santino and the other stu- Dance). To commemorate the event, this year’s Dance tion/new media designed by her husband and artistic dents who have benefited from the Revolutions Concert will present a retrospective of partner, Steve Paul. The new piece will explore the University-Guthrie Theater partnership exem- beloved works from University Dance Theatre’s past on dichotomy between human life and life witnessed plify the educational and artistic importance December 9-11, 2005. The concert will include Charlie through digital media’s reconstructed reality. of this extraordinary program. Our students develop as artists under the auspices of one of 6 Moulton’s “Precision Ball Passing,” Marge Maddux’s “New Finally, the University of Minnesota will bestow an 7 Destinies,” Shapiro & Smith Dance’s “To Have and To honorary degree upon Merce Cunningham at the Barbara the world's great theaters and gain a powerful Hold,” Joe Chvala’s “Berserks,” Carl Flink’s “This Bleeding Barker Center for Dance in November 2005. The degree career advantage in a profession legendary for its Heart,” and a new work by recently retired faculty mem- ceremony will be preceded by a month of events, includ- competitiveness. In turn, the Guthrie is offered a ber Zoe Sealy. ing performances by our students of Cunningham’s mas- rich source of new talent and a steady infusion of innovative thinking and artistic adventurous-

As always, the Sage Cowles Land Grant Guest Artist terwork “Inlets 2,” a lecture on Cunningham’s legacy, and Pickett © 2005 Keri Chair will invite internationally-known dance artists and an exhibition of his drawings at the Regis Center’s Nash ness. Our collaboration sparks creative energy on

scholars to give short, intensive residencies for our stu- Gallery. both sides." photo: Applause05.06 10/31/05 4:42 PM Page 7

PROGRAMS HIGHLIGHTS

MA/PhD in Theatre History and Theory BA/MFA in Theatre Design and Technology Of course, the big news for the coming year is that The graduate program had a highly successful year in 2004- Last year our faculty, staff and students helped to University Theatre is celebrating its 75th Anniversary 05. Our annual lecture series included visits from Misha produce a well-received, ambitious season of performanc- with an outstanding season of productions. Each show Iampolski, Kathy Biddick, John O’Neal, and a stunning research es, workshops, installations and presentations. Among will feature the talents of an alum to direct, design or per- seminar with Peggy Phelan. John O’Neal also performed his the season’s highlights was the introduction of puppetry form. Design MFA alumna Julie James worked with PhD one-man Junebug show, Don’t Start Me to Talking or I’ll Tell You arts to the Mainstage with ARTiculations: A Puppertry alumna Tessie Bundick and the University Theatre staff to Everything I Know, at Penumbra, and generously shared his Cabaret. To end the season on a high note, University launch a commemorative website celebrating the 75th insights with several classes—including Dramatic Literature Theatre produced The Laramie Project, a play that looks at Anniversary of University Theatre and the 20th and Performance and Social Change—and with a group of the the community’s response to the murder of Matthew Anniversary of theatre and dance joining into one depart- department’s self-identified students of color. The coming Shepard, an openly gay college student in Laramie, ment. Check out this website—which is linked to year’s lecture series will feature talks by Amitava Kumar, Fred Wyoming. In conjunction with that production, and in http://theatre.umn.edu/—and for the inside scoop, read Moten, Dorinne Kondo, and Phil Zarrilli, on the theme of partnership with the U of M Gay, Lesbian, Bi-Sexual and the article about the 75th anniversary celebration on page Performing Across the Disciplines, and will be co-sponsored by Transgender Office, we co-sponsored a forum entitled 3 of this publication. a number of other Departments and Institutes across CLA. “How Is It Here?” that featured a keynote address by In another first for the program (and for the depart- The achievements of our students were particularly wor- Matthew’s mother, Judy Shephard. We also worked with ment as a whole), we welcome a Fulbright Scholar, the The West Bank Arts Quarter Crawl thy of note this past year. They were highly successful in win- the GLBT office to install a visual exhibit, “I am U, Stand internationally-known, award-winning artist and scenic A symbol of continuing collaboration ning University and external funding for their research. MA/PhD with Me,” which contained photographs, newspaper arti- designer, Miodrag Tabacki. Professor Tabacki will team- graduate student Joanne Zerdy was awarded a Foreign Language cles and testimonials from U of M GLBT students and teach Scene Design with Lance Brockman, and also join What do you get when you mix together and Area Studies (FLAS) scholarship for language acquisition, and faculty, and their allies. with Branislav Jakovljevic to teach Design Collaboration. drawings by a choreographer, staged satire about Maija Brown received funding from the Korea Foundation and the Design/Tech and Management worked with our own We continue to develop our media production abili- the fight against greed, and dance performed to Coca Cola Foundation. Also, graduate students Roisin O’Gorman MA/PhD program and faculty and staff from all the other ties and offerings. Last year we produced a DVD of The Tell the sound of... foghorns? What else could it be Tale Heart, which was shot on 4 locations in the span of but a night out in the West Bank Arts Quarter? and Ogu Okany shared a Graduate Research Partnership Program arts disciplines to produce several events that formed the three weeks. Over 50 students and staff from 4 different The University of Minnesota's West Bank Grant (GRPP), and Ogu and Jeanne Willcoxon won competitive centerpiece of the highly successful, collaborative West Arts Quarter presented the first West Bank Arts University-wide Doctoral Dissertation Fellowships. Incoming PhD Bank Arts Quarter conference, “Art and Commitment.” media production courses participated in the project. Quarter Crawl on Friday, October 14, 2005. student Rachel Chaves is being supported through a Diversity Of The conference featured multi-disciplinary artists and And we will be prepping for the next project in the spring Beginning at 6 p.m., arts lovers helped open Views & Experiences (DOVE) Fellowship, and has already been arts managers from all over the world who engaged in a of 2006 to be shot the following summer. "Exercises: Drawings by Merce Cunningham" at participating in a research program this summer. In addition, sev- series of panel discussions, performances and workshops Finally, we have continued to improve our technical the Katherine E. Nash Gallery in the Regis Center eral of our recent graduates have been appointed to jobs at with audiences that included students, faculty and staff facilities. Last year we updated the Thrust rigging and for Art, saw a showing of Cunningham's dance impressive institutions: Alan Sykes at Hunter College, John from the entire West Bank Arts Quarter, and members of installed air filtration in the scene and prop shops. There piece Inlets 2 in the Barbara Barker Center for Fletcher at Louisiana State University, Jeffrey Bleam at St. the community at large. is a new sprung floor in the Arena and in Studio A. Dance, and attended the University Theatre's Currently, a renovation is underway in the costume shop 75th anniversary season opening performance of Cloud State, and Natalya Baldyga at Savannah College of Art Several faculty, staff and students of the program also to properly ventilate the dye room so we can take better The Madwoman of Chaillot at the Rarig Center. and Design. Other past graduates have been placed at Victoria participated in the annual United States Institute of The West Bank Arts Quarter Crawl is an University of Wellington, New Zealand (Matt Wagner), Brown Theatre Technology conference, hosted this year by the advantage of the dye facilities while providing a safe envi- annual addition to the growning number of col- University (Patty Ybarra), and Leipzig, Germany (Anja Klöck). Canadian counterpart (CITT) in Toronto. Along with ronment to experiment with fabric and color manipula- laborative events presented in the Arts Quarter. The faculty of the graduate program have continued their almost 4,000 other theatre practitioners, participants tion. To christen the renovations, we are offering a dye- The student organization Arts Quarter Collective involvement in interdisciplinary research and development from our program attended workshops, presentations ing/painting class in the fall taught by guest artist Doreen presents its annual fall festival Artsmosis each fall initiatives across CLA and within the Department, particularly and panel discussions centered around design, technolo- Johnson, who is the dyer/painter in residence at the ■ semester. SPARK, an annual festival of electronic with their work on the Vision Quest committee. They were gy, and performing arts management. Sherry Wagner- Guthrie Theater. music and art is drawing national attention from instrumental in coordinating the highly successful Arts Henry led a presentation on “Public/Private artists and scholars. WBAQ faculty are also look- photo: MFA students explored the non-traditional on the ing to plan future collaborations with the new Quarter symposium “Art and Commitment” in December, Partnerships” using the relationship between the 2004, and are currently involved in planning a second sympo- Minnesota Centennial Showboat and the Padelford University Theatre Mainstage with “ARTiculations: A Puppetry Institute for Advanced Study (http://ias.umn.edu) Cabaret,” designed by MFA candidates Joanne Jongsma sium. With other faculty in the Arts Quarter, they proposed, Riverboat company as a model for future opportunities. and other on- and off-campus arts and cultural (scenery & costumes) and Craig Gottschalk (lighting). organizations. and have been funded, for a year-long research group on the planned symposium theme, “Art as Knowing.” As a program we photo: Dance Program students perform Merce have also contributed to the work of the Humanities Institute, Cunningham’s “Inlets 2” during 2004’s Dance Revolutions the interdisciplinary curriculum for the new Arts Quarter, and © 2004 V. Paul Virtucio the new Institute for Advanced Study (IAS). In addition, we have maintained a high profile for the Department in our work for the organizing committees of the Asian/Asian American Bodies in Performance and the Space and Place research groups, the European Studies Consortium’s Migrations discussion, and the IAS’s upcoming theme, the Politics of Populations. 9 Last year, we contributed to the production season through interactive discussions and guest lectures in our vari- ous classes, and we will continue to strive for more connec- tions between intellectual and creative content in the Mainstage season. ■ http://artsquarter.umn.edu Applause05.06 10/31/05 4:42 PM Page 9

FACULTY PROFILE

Mathew LeFebvre MFA ‘96, faculty member, and professional designer

“John I like the play, but the shoes! The shoes are fan- some amazing artists. I have collaborated with noted the Milwaukee Repertory—last season’s Bach at Leipzig, a tastic!” was one audience member’s delighted comment to playwrights: Arthur Miller and Jeffrey Hatcher, among new play by Itimar Moses. Set in 1722 Germany, the play director John Miller-Stephany after this past summer’s them; with accomplished directors such as Guthrie revolves around what happens when seven of the finest opening-night performance of The Constant Wife at the Artistic Director, Joe Dowling, and Associate Artistic pipe organists in Germany audition for the country’s most Guthrie Theater. I was pleased of course, since I had Director, John Miller-Stephany; and with brilliant design- coveted musical post. It was great fun working with designed the costumes for that Somerset Maugham ers, including John Lee Beatty, John Arnone, Donald Itimar and director Pam MacKinnon on this “comedy of play—the 15th costume design I’ve done for the Guthrie Holder and Kenneth Posner. And of course, I have worked manners and predestination, set against the backdrop of Theater since 1999. with hundreds of talented actors: Barbara Byrne, Helen the counterreformation.” Because of the play’s success in I grew up on the Guthrie Theater so it has been an Carey and Milo O’Shea, to name just three. Milwaukee, it is now scheduled to be produced at the New absolute thrill to work there so often. It’s been especially As much as I am drawn to the Guthrie, I have also York Theatre Workshop, starring Boyd Gaines and Richard satisfying to have had the opportunity to design costumes worked for some extraordinary smaller regional theatres. Easton. And Pam and Itimar have asked me to design cos- for such a wide range of productions—from large cast I’ve designed costumes for several productions at tumes for the New York production. I will be working period costume plays including The School for Scandal and Penumbra Theatre, including Grandchildren of the Buffalo with set designer David Zinns and lighting designer Pride and Prejudice, to contemporary plays such as Soldiers, directed by my colleague here at the University, Theater. The play was directed by László Marton, one of David Lander. I’m excited to be working on this play again Blue/Orange and Mr. Peter’s Connections, to musicals such as Lou Bellamy, Penumbra’s founder and artistic director. Hungary’s most important contemporary theatre direc- and it’s thrilling to be doing a production off-Broadway. Sweeney Todd and She Loves Me. I’ve even had the opportuni- Co-produced by Penumbra and Trinity Repertory tors, who is also held in high regard internationally. My This coming Spring I will come full circle in a sense ty to design scenery and costumes for a couple of produc- Company, Buffalo Soldiers is a beautiful, semi-autobio- collaboration with him has been nothing short of delight- by designing set and costumes for the play Farmboys at the tions at the Guthrie Lab: Charles Mee’s wacky and dark graphical play by William S. Yellow Robe, Jr. that tells the ful. Having directed this play a number of times before, he Great American History Theatre. I grew up on a farm, so I dysfunctional romantic comedy Wintertime and the story of the search for cultural identity by the grandchild had a very clear sense of the style and feel of the piece, but have a first-hand perspective, and The History Theatre is Sondheim musical Merrily We Roll Along. of a Native American woman and an African American he was very open to the ideas that the designers brought one of the first professional theatre companies for which I Not only has it been fulfilling to design for such a buffalo soldier—two marginalized peoples often tragical- to the table. Through our collaboration, we pushed the designed when I moved to the Twin Cities in the late prestigious theatre, but I’ve been fortunate to work with ly at odds during our country’s westward expansion. style so that the frenetic movements of the actors seemed 1980s. To complete the circle even more, I will once again startling given the beautiful silhouettes we created. The be working with director and good friend John Miller- production turned out to be an odd, yet beautiful Art Stephany. I’m very much looking forward to designing left: costume sketch from “Bach at Leipzig” at New York Nouveau confection. this production; but this time I don’t anticipate anyone Theatre Workshop top: costume sketch from “She Loves Me” ■ at the Guthrie Theater right: scenic sketch from “Wintertime,” This comes on the heels of my first collaboration with raving about the shoes. at the Guthrie Lab

Following its run at Penumbra, the show will tour to sev- eral cities before opening in December at the Trinity Repertory Company in Providence, Rhode Island. My collaboration with Lou Bellamy has led to work with Kansas City Repertory Theatre, including designing costumes for last season’s Two Trains Running, a wonderful production with a superb design team that included set designer Vicki Smith and lighting designer Michele Haabeck. The three of us worked well together and in con- cert with Lou’s vision of this great August Wilson play, which was to create a sense of heightened realism. The audiences had to believe that these people lived in this 10 environment and that they owned these clothes, while, at 11 the same time the characters and the environment had to be theatrical. The entire team is collaborating again on a production of A Raisin in the Sun, which Lou is directing this season for Kansas City Repertory. I also just recently designed costumes for a produc- tion of A Flea in Her Ear at the Milwaukee Repertory Applause05.06 10/31/05 4:42 PM Page 11

ALUMNI SPOTLIGHTS

Shakespeare Behind Bars An Interview with 1996 MFA Graduate Marcus Young Reprinted from an interview with Nick Stillman, which appeared in the September 21 edition of the New York Foundation for the Arts publication “NYFA Current” MFA ‘96, By Keith Pandolfi

As producing artistic director of the Shakespeare Behind NS: For the performance Pacific Avenue, you’ve walked along Bars theater program. Curt Tofteland is used to dealing with the city streets in Beijing, Minneapolis, and New York (scheduled for darker side of life. The actors he employs for his prison-yard pro- October, 2005) carrying an umbrella, wearing a long robe, walk- ductions of Shakespeare are convicted felons—many of them ing extremely slowly, and smiling without speaking. In the murderers—whose agony and remorse are often brought to the bustling and de-personalized environments where you conduct surface through the tragic characters they depict on stage. The Pacific Avenue, you’re a glaring nonconformist. Has this piece emotional toll on the prisoners can be great. been met with mistrust? Bafflement? Envy, even? Usually, the plays are Shakespearean tragedies—past per- formances have included Hamlet, The Tempest and Othello—but MY: I believe the first response should be bafflement. (I’m a lit- after being urged by some of his actors, this year Tofteland has tle puzzled by how easy it is to be a nonconformist.) For some, agreed to do a comedy, more specifically, A Comedy of Errors. the next feeling is mistrust; for others, cautious delight. It’s hard That doesn’t mean anyone’s getting off easy. to say what people’s personal reactions and thoughts are. I “The great thing about Shakespeare is that in his comedies, haven’t felt envy directed toward me. I was delighted by the as in his tragedies, he’s examining the human condition. This man in Minneapolis who whispered “thank you” as he passed play has serious themes, even though it ends happily,” says by. I also remember the woman in Beijing who tried very hard to Tofteland. get me to walk faster and advised me to wear more casual Examining the human condition is precisely why Shake- clothing in public. I worry most about those who choose not speare Behind Bars was started in the first place. Established in From our view through the front door, Marcus Young (MFA even to look at me. 1995 by the Kentucky Shakespeare Festival, for which Tofteland ‘96) operates “The Big Idea Store” in Minneapolis. NS: In Pacific Avenue, your mode of communication is non-ver- also serves as producing artistic director, the program, based out © Rik Sferra of the Luther Luchett Correctional Complex in La Grange, bal. For the performance And, you verbally confronted viewers Kentucky, produces one or two plays each year. Most of the per- with requests like, “Please touch your nose” and “Don’t watch formances take place in the prison yard; some are designated for Although Marcus Young has recently been named artist-in-resi- me.” Are these gestures intended to produce an intimacy prisoners only, while others are put on for the general public. dence of St. Paul, MN, by the organization Public Art St. Paul, he between audience and performer? The notion of intimacy Occasionally, Tofteland tours his productions to other Kentucky others. Tofteland refuses to cast his actors in specific roles, leav- questions his own role as an artist—as well as the term ‘art’—in between audience and performer also comes across in Pacific prisons. ing them to figure out who will play Hamlet, Lear or Lady his practice. Young’s work takes the form of subtle social inter- Avenue and The Big Idea Store, for which you rented out a Having convicted criminals take to the stage (in both male Macbeth. “It goes back to life skills,” Tofteland says. “A lot of ventionism, which he often achieves simply by acting the part of storefront in Minneapolis to sell printed “ideas” that read simi- and female roles) and perform Shakespeare has given Tofteland these guys didn’t have familial situations that allowed them to public nonconformist. Whether he’s writing fortunes that will be larly to the Break fortunes for 5¢. and his inmate actors a lot of attention from media outlets such learn modalities of behavior.” By having the men do their own included in cookies at Chinese restaurants, selling “Big Ideas” for as CNN, The New York Times and NPR, among others. Still, that’s casting, he aims to teach them how to work well with others 5¢ apiece, or simply walking at a snail’s pace along busy pedes- MY: I very much like being personal and personable. If intimacy nothing compared to what’s happened recently. Earlier this year, and come up with altruistic decisions about who should play trian avenues, his work’s simple message—enjoy the little means being open, being close and quiet, and paying careful a film by Hank Rogerson and Jilann Spitzmiller that documents who. “I try to help them with conflict resolution,” he says, things—is uplifting. Young exchanged a series of emails with attention, then yes, I like being that way with audiences. I don’t Shakespeare Behind Bars’ production of the The Tempest was “since, int the past, their resolutions have always been to kill NYFA Current editor Nick Stillman to discuss people vs. objects, prefer the feelings attached to being a traditional stage per- one of the most celebrated entries at the 2005 Sundance Film someone, or to beat someone up.” “strange reality,” and fortune cookies. former. In And, I try to make the stage and audience spaces Festival. The documentary, titled simply Shakespeare Behind Bars, Tofteland is hoping that the documentary, which remains on equal, my relationship with the audience equal. In Pacific catapulted Tofteland and his inmates into minor celebrity. the film festival circuit, and will be aired on PBS later this year, Nick Stillman: Let’s begin with Break, your current project. For Avenue, I’m out on a stroll among my fellow city dwellers. And “When I was making this film, and watching these guys, I will help increase funding for Shakespeare Behind Bars, and this, you’ve written “fortunes” for cookies that will be served in in The Big Idea Store, I make ideas—not just mine—affordable was blown away by what they were doing with them,” Roger- cause prison officials in other states to consider similar programs seven different Chinese restaurants throughout the greater Twin and available to everyone. The Big Idea Store was an installation son says. “More than anything, I was happy and excited that the for their own prisons. Tofteland says the film could never have Cities area. Instead of typical platitudes, your fortunes are poetic at Intermedia Arts in Minneapolis, but one day I hope to film affected other people in the same way. It touches on some been made if it wasn’t for the open-mindedness of Luther enigmas. Could you share a few examples? remount it in an actual storefront. universal ideas of transformation, redemption and forgiveness.” Luckett’s warden, Larry Chandler. Aside from taking a chance by Marcus Young: “Buy a door. Sell a door. Open a door. Close NS: All of your work is a type of interventionism. Your actions “This is not just a prison film,” Tofteland adds. “It tran- introducing the program to Luckett, Chandler also allowed the a door. Adore a door. Ignore a door.” “Dream of a place that quietly disrupt normalcy and social conformism. In many of your scends the prison and speaks to a broader audience and broader media and the documentary’s filmmakers full access to the will never be. Dream of a happiness that will never be. Dream of actions, you are an agent of communication and confrontation. issues. My hope is that it will validate our program and other prison. “It was a huge risk, because public access to [prisons] is a peace that will never be.” “Wait.” Do you favor performance over more traditional visual art, and if similar programs around the country.” not necessarily something most institutions want,” Tofteland so, is it because of its active interaction with audiences? But Tofteland didn’t want the Shakespeare Behind Bars story says. “But he was amazing. The crew was allowed to film in NS: By confronting unsuspecting audiences with these after-din- to be told with any shades of Pollyana. “We wanted to tell the areas where no cameras had ever been before.” Chandler recent- ner riddles, are you intending to overturn their sense of what’s MY: I prefer being with people over being with objects. I know story as accurately and authentically as we could—both the posi- ly transferred to another nearby prison, but Tofteland says normal, to inject a bit of detournement into everyday life? it’s naïve, but I hope being with the most "normal" person in tive and negative elements. We wanted to talk about the bad Luckett’s new warden is equally supportive of the problem. the world is still more interesting than being with the most things these people did, and who they are now. They’re not the Eventually, Tofteland would like to start what he refers to as MY: Another fortune reads, “Everything is normal.” I guess I’m beautifully made object. I guess this idea is the basis for why, in same people. They take responsibility for what they did, but “Shakespeare Outside the Bars,” a post-prison program where asking audiences to notice how wonderful normal is, how won- general, I don’t like performances that behave like objects and they’ve changed.” former inmates can continue to perform plays together. The fact derful much of everyday life can be. It turns out a little confu- why I really like objects that don’t behave like objects. Though widely embraced by the Sundance crowd, that Shakespeare Behind Bars is often the first place where Luc- sion helps remind them of this. Shakespeare Behind Bars is not without its critics. “A lot of peo- kett’s inmates become part of a functional family unit makes it all NS: Could you talk about “strange reality,” a term that you’ve ple ask, ‘Why are inmates having fun and doing plays?;” the more difficult for them when they get out of prison and are NS: Your parents owned a Chinese restaurant in Iowa during nominated as potentially more appropriate than “art” for Tofteland says. “But it’s through theater and through forced to face the real world alone. “These guys need a program your childhood. How did this affect your thinking when concep- describing your work? 12 Shakespeare that we help them deal with the crimes they com- like this even more once they’re out,” Tofteland says. tualizing Break? 13 mitted and the world that they came from, the world that they “There’s a certain point where you become what they MY: “Strange reality” seems too straight a term for what it are eventually going to return to.” referred to in [the 1994 film] The Shawshank Redemption as an MY: I observed how these funny little cookies carry meaning for wants to describe, so I’m open to other ideas. Of course, I’m try- Any inmate can participate in the all-volunteer program, as ‘institutional man.’ I want to give them a place to go where they customers. Some burned their fortunes to make them come ing to avoid the limitations of art, and sometimes just thinking long as he has one year of good conduct. All actors start out as won’t feel so alone.” true. I remember customers asking for a new cookie if they did- something is art limits our appreciation. Sometimes I think being apprentices and aren’t considered full-fledged members of n’t like the first one. Many took those tiny slips of paper home without a term would be best. If someone asks, “What is that?” Shakespeare Behind Bars until they’ve completed one production. Story reprinted with permission from the June 2005 issue of with them. In conceptualizing the project I felt I didn’t want this or, “What’s he doing?” a good reply may be, “That is like every- One of the first skills they learn is how to negotiate with Stage Directions. ■ precious moment of careful reading to go wasted. thing else.” ■ Applause05.06 10/31/05 4:42 PM Page 13

ARTS QUARTER EVENTS

WEST BANK ARTS QUARTER 2005-06 EVENTS CALENDAR More events at http://artsquarter.umn.edu

OPENING OCTOBER McKnight Photography 2004/2005 Frankenstein in Love or The Life of Death Spring Dance Concert November 15 – December 17 A Grand Guignol Romance inspired by Mary Shelly's Frankenstein Presented by the Dance Program Exercises, an exhibition of drawings by Merce Reception: November 18, 6-8:30 pm Written by Clive Barker, directed by Nic Hager March 2006 Cunningham Nash Gallery Free Presented by the Xperimental Theatre Company Barbara Barker Center for Dance, Studio 100 February 23 – 26 Free 612.624.5060 for information curated by Tom Rose Free 612.625.1876 for reservations. October 11 – November 10 American-isms: A Workshop in Experimental Reception: October 14, 6-8:30 pm National Identity OPENING APRIL Nash Gallery Free Directed by Jonah Winn-Lenetsky Las Meninas Presented by the Xperimental Theatre Company by Lynn Nottage, directed by Dept. Puccini’s La Boheme Betrayal November 17 – 20, Rarig Center's Nolte Xperimental Theatre alumnae Tisch Jones Presented by University Opera Theatre Written by Harold Pinter, directed by Nick Ryan Free 612.625.1876 for reservations. February 24 – March 5, Rarig Ted Mann Concert Hall Presented by the Xperimental Theatre Company Center’s Kilburn Arena Theatre Thursday, April 6, 7:30 p.m.; Friday, April 7, 7:30 p.m. October 27 – 30, Rarig Center's Nolte Xperimental Theatre OPENING DECEMBER Opening night post-show recep- Saturday, April 8, 7:30 p.m.; Sunday, April 9, 1:30 p.m. Free 612.625.1876 for reservations. tion: Friday, February 24 Tickets $16 (adults) $8 (students): 612.624.2345 Talkback with the director and cast: Assassins A Lie of the Mind & Hot L Baltimore Thursday, March 2 Commedia — Feydeau Farce Festival Written by Stephen Sondheim and John Weidman ASL interpreted: Saturday, March 4 A Lie of the Mind by Sam Shephard, directed by Lucinda Holshue Directed by Virginia Ness Ray Directed by Matt McNabb Tickets: 612.625.2345 or http://the- Hot L Baltimore by Lanford Wilson, directed by Kenneth Mitchell Performed by the Junior Company of the BFA Actor Training Program Presented by the Xperimental Theatre Company atre.umn.edu Performed by the Sophomore Company of the BFA Actor Training Program December 1 – 4, Rarig Center's Nolte Xperimental Theatre April 20 – 23, Rarig Center's Stoll Thrust Theatre October 27 – 30, Rarig Center's Kilburn Arena Theatre Free 612.625.1876 for reservations. Free 612.625.6699 for more information or special seating requests Free 612.625.6699 for more information or special seating requests OPENING MARCH Cabaret Dance Revolutions Greek — Lysistrata Book by Joe Masteroff, based on the play by John Van Druten and sto- OPENING NOVEMBER with choreography by U of M alums Director TBA ries by Christopher Isherwood; music by John Kander; lyrics by Fred Ebb and Cowles guest artists Performed by the Junior Company of the BFA Actor Training Program Informal Showing: Cowles Artist Charles Moulton Directed by department alumnae Barbra Berlovitz December 9 – 11, Rarig Center’s March 2 – 5, Rarig Center's Stoll Thrust Theatre Presented by the Dance Program April 20 – 29, Rarig Center’s Whiting Proscenium Theatre Whiting Proscenium Theatre Free 612.625.6699 for more information or special seating requests November 1 at 4pm, Barbara Barker Center for Dance, Studio 100 Opening night post-show reception: Opening night post-show reception: Thursday, April 20 Free 612.624.5060 for information Talkback with the director and cast: Thursday, April 27 Friday, December 9 Ted Mann Concert Hall presents Chanticleer ASL interpreted: Friday, April 28 Tickets: 612.625.2345 March 7, 7:30pm, Ted Mann Concert Hall Lecture: Bonnie Brooks, chair of the Columbia College (Chicago) Tickets: 612.625.2345 or http://theatre.umn.edu or http://theatre.umn.edu Tickets: 612.624.2345 dance department, presenting "How To Watch A Cunningham Concert: Eight Entry Points and Three Exit Strategies." Student Dance Coalition Concert OPENING JANUARY 2006 Contemporary Composers Festival: Elliott Carter Presented by the Dance Program Presented by the Dance Program Co-presented by the School of Music & the Saint Paul Chamber Orchestra November 1 at 7pm, Rarig Center Urban (Scape) April 21 – 24, Barbara Barker Center for Dance, Studio 100 March 7 – 12, Ted Mann Concert Hall Free 612.624.5060 for information curated by Rochelle Waldorsky Free 612.624.5060 for information Most events are free and open to the public. January 17 – February 16 Visit www.contemporarycomposersfestival.org for a complete schedule of Benjamin Britten’s Reception: January 20, 6-8:30 pm festival events End of the Year Technique Showing The Turn of the Screw Nash Gallery Free Presented by the Dance Program Presented by University Opera Theatre MFA Exhibition #1 April 27, 3:30pm, Barbara Barker Center for Dance, Studio 100. Ted Mann Concert Hall 24-Hour Theatre Free 612.624.5060 for information March 28 – April 20 Thursday, November 10, 7:30 p.m. Presented by the Xperimental Theatre Company Reception: March 31, 6-8:30 pm Friday, November 11, 7:30 p.m. January 20 – 21, 2006 Nash Gallery Free The Wolves of Willoughby Chase Saturday, November 12, 7:30 p.m. Teams set out to create, tech and perform a play in 24 hours. Written by Joan Alken, adapted by Dan O'Neil and Nicole Leduc, direct- Sunday, November 13, 7:30 p.m. Rarig Center's Kilburn Arena Theatre Fanny-Pack Follies (A Neo-Vaudevillian Romp) ed by Nicole Leduc Tickets $16 (adults) $8 (students): Free 612.625.1876 for reservations. Presented by the Xperimental Theatre Company Directed by Jason Ballweber and Brant Miller 612.624.2345 April 27 – 30 Presented by the Xperimental Theatre Company A Midsummer Night's Dream Rarig Center's Nolte Xperimental Theatre March 30 – April 2, Rarig Center's Kilburn Arena Theatre A Midsummer Night's Dream by William Shakespeare Free 612.625.1876 for reservations. Modernizing what we know of Vaudeville and trying something new. by William Shakespeare directed by Dept. alumnus Stephen Kanee Experimenting in the world of comedy and seeing how far we can go and directed by Dept. alumnus Stephen Kanee January 27 – February 5, 2006 still entertain. Off the wall unmitigated fun. MFA Exhibition #2 November 11 – 20, 2005 & January 27 – February 5, 2006 Rarig Center’s Stoll Thrust Theatre Free 612.625.1876 for reservations. April 25 – May 18 Rarig Center’s Stoll Thrust Theatre Tickets: 612.625.2345 or http://theatre.umn.edu Reception: April 28, 6-8:30 pm Opening night post-show reception: Friday, November 11 Much Ado About Nothing & The Winter's Tale in rep Nash Gallery Free Talkbacks: Thursdays, November 17 and February 2 OPENING FEBRUARY ASL interpreted: Saturdays, November 19 and February 4 Both by William Shakespeare 14 Much Ado About Nothing directed by Steve Cardamone OPENING MAY 15 Tickets: 612.625.2345 or http://theatre.umn.edu Adjunct Faculty Exhibition The Winter's Tale directed by Kenneth Mitchell End of the Semester/Year Composition Showings February 21 – March 23 Performed by the Sophomore Company of the BFA Actor Training Program Informal Showing: Presented by the Dance Program Reception: February 24, 6-8:30 pm March 30 – April 2 Cowles Artist Zoe Sealy & Carl Flink Week of May 1. Times vary Nash Gallery Free Free 612.625.6699 for more information or special seating requests Presented by the Dance Program Barbara Barker Center for Dance, Studio 100. November 14 at 4pm, Barbara Barker Center for Dance, Studio 100 Spark Festival of Electronic Music and Art Free 612.624.5060 for information Free 612.624.5060 for information February 22 – 26, 2006 Most events free and open to the public. Visit http://spark.cla.umn.edu/ for a complete schedule of events Applause05.06 10/31/05 4:42 PM Page 15

ALUMNI NEWS Celebrate 75:20 Life in the Real World Alumni Blurbs and Updates in style Retired Professors of Theatre Harold Dixon and David at Asheville, and Director of the Arts and Ideas Program. Dear theatre and dance alumni and friends, Vining received the annual Arizona Theatre Service In September, the textbook that I co-authored with Cal Awards at the general membership meeting of the Pritner, "Introduction to Play Analysis," was published I hope that you will join me in congratulating the Department of Theatre Arts and Dance Phoenix/Tucson Equity Liaison Committee, on Monday, by McGraw-Hill. I received my BA from U of MN in on its landmark 75:20 anniversary. Both together and separately, the programs have become September 27, 2004 in Phoenix. The award was created 1987, although most of my time there was from 1980- national leaders in theatre and dance education, garnering national recognition for their last year by the Committee specifically to recognize a 1982. I am also a former teacher of Sherry Wagner! person (or persons) long-term impact on professional innovation, rigor and quality. This anniversary year promises an even brighter future. theatre in Arizona. Edgar Davis says: I was recently cast in the Highland Over the years, the stages of Scott Hall, the Minnesota Centennial Showboat, Rarig Center, Rep.'s production of Topdog/Underdog in Asheville, NC. and the Barbara Barker Center for Dance have showcased the talents of our remarkable stu- Joe Calarco says: I received my Ph.D. In Theatre from U. The show ran for three nights only. Feb.10,11,12 at the dents and their faculty mentors in productions that are thought-provoking, moving, hilari- of M. in 1966, and subsequently taught at the Diana Wortham Theater. The director was Andrew Gall. ous, edgy, and always memorable. And audiences, dazzled by the quality of the performances, University of California, Berkeley, and Wayne State There is another U. of M graduate, Joe Wilson,Jr. whose MARY HICKS University in Detroit, Michigan. Currently a Professor of in another production of Topdog... in Providence, RI. at Director of Development have responded with dazzle of their own – buying tickets, spreading the word to their Theatre at Wayne State, my most recent Hilberry the same time. I have a website now. Look me up at: College of Liberal Arts friends, and providing generous financial support. Repertory Theatre productions were The Merry Wives of www.edgarldavis.com Some of us remember the days of less-than-dazzling performance and study spaces for Windsor and A Streetcar Named Desire. In the 2002- our talented performing artists. But today, the department boasts more than 60,600 square 2003 academic year, I won two playwriting competi- Michael Warner (B.A. 1998): U.S. premiere of Richard feet of state-of-the-art teaching, learning, and performance space (including the Minnesota tions, one on each coast: Oberon Originals in New York Bean's The God Botherers at Synapse, New York City and the National New Play Award administered by Premiere of Arrangements at The Atlantic Theater Centennial Showboat in St. Paul). In a very real sense, this space was created brick by brick, Humboldt State University in California. Both awards Company, Pullman Car Hiawatha with Keen Company scene by scene, through the tireless advocacy and support of our community partners, were for Beethoven Is, which received a staged reading (Drama Desk Nominee for Best Revival-2005). Co-cre- donors, and friends, working hand in glove with our faculty and students. in New York and a main stage production at Humboldt ator and performer of Boy Steals Train, Winner of a But the support hasn’t been limited to physical spaces. Thanks to the loyalty and gen- State’s 850-seat Van Duzer Theatre. The production Fringe First and Best Ensemble at the 2003 Edinburgh involved a collaboration of Theatre, Dance and Music in Festival Fringe. T. V.—Law and Order-Criminal Intent. erosity of alumni and friends, the Department of Theatre Arts and Dance awards more schol- a play about Beethoven’s passions, public and private. MFA, Rutgers University-2001 arships and fellowships named in honor of faculty members than any department in the This past summer, I discussed Theatre and Broadband in College of Liberal Arts. There is no greater testimony to the power of teaching and learning a panel at Columbia University in New York. This year, I Roberta Cullen (PhD 1996) is on sabbatical from than the gratitude of alumni. Century College in White Bear Lake, MN, where she has completed my first screenplay and began my second. I That’s very good news. But it’s only a beginning. As educational costs increase, the need recently celebrated the fifth anniversary of my marriage been Theatre Program Director for the last six years. She to Susan, a special Education teacher who in December has directed numerous plays there including: Talking for student support is greater than ever. Undergraduate and graduate students alike con- received her M.Ed. From Wayne State. Of my children Bones, Angels in America, and All's Well That Ends Well. front real challenges to paying for their education. As many of you will no doubt remember, by a previous marriage, Deidre will be married this com- She teaches Intro to Theatre, Acting and Directing at it’s pretty tough to have a job after classes when that’s your designated rehearsal time. As one ing August in Toronto, and my son Joe is a busy actor in Century. While on sabbatical, she is catching up on scholarship recipient put it, “I was working two jobs to pay for college on my own in a time- reading new plays and developing Intro to Theatre as an Chicago. intensive major, theatre. I applied for scholarships as a shot in the dark. Actually receiving online course. Roberta also plans to travel to Paris with On the November 25, 2004, episode of "Without a her two children to persuade her best friend's partner, one was a blessing.” Trace" two of our MFA-Acting alumni appeared in fea- David Sedaris, to let her direct one of his unpublished We are especially concerned about ensuring a strong future for the B.F.A. acting program, tured roles (though not together): Linda Gehringer plays in the Twin Cities. She would love to hear from one of the country’s leading undergraduate actor training programs. Our goal is to continue and Joel Brooks. other alums at [email protected]. recruiting the nation’s most talented acting students to the U of M. Our peer programs often have huge endowments and can offer students full rides. To compete, we must be in a posi- Gorden Hedahl writes: After 13 years as an academic dean--6 years at the University of Alaska Fairbanks as tion to offer students $5,000 each year they are in school. We need your help in this effort. Dean of the College of Liberal Arts and 7 years at the TELL US A BIT ABOUT If you want to give a leg up to a student in theatre or dance, the time is right: We’ve got University of Wisconsin-River Falls as Dean of the YOUR REAL WORLD two wonderful opportunities for donors to double the impact of their support through the College of Arts and Sciences—I have announced that I Presidential Scholarship Match for undergraduate students and the 21st Century Match for will be stepping down as Dean and up into the class- Please include your name, year you graduated, graduate fellowships. Here’s how the programs work: with a new qualifying endowment of room and theatre at the end of the 2005 summer ses- current address, e-mail, and anything you’d like to $25,000, the “payout” is about $1,250. With the match doubling that amount, the endowment sion. I intend to continue to teach and direct at UW- mention (or show with photos) about your life in River Falls, and will be working with Meg Swanson, the real world. can fund a $2,500 scholarship/fellowship every year in perpetuity. 16 who was a fellow grad student at Minnesota in the I hope that you will consider helping to make this year’s 75:20 celebration even more 17 1970's. The university participates in a consortium that EMAIL INFO TO: OR MAIL TO: exciting by supporting our wonderful students. To see for yourself what your support can operates a program in Scotland, and I will be spending [email protected] Dept. of Theatre Arts and Dance accomplish, I invite you to come to campus and see those students perform both on stage and the spring of 2006 teaching at Dalkeith, Scotland. University of Minnesota behind the scenes. I think you’ll be amazed. 580 Rarig Center; 330 21st Ave S To find out more, please contact me at 612-625-5031 or [email protected]. To make a From Dr. Scott E. Walters: I am currently an Associate Minneapolis, MN 55455 Professor of Drama at the University of North Carolina gift online, go to www.giving.umn.edu. ■ Applause05.06 10/31/05 4:42 PM Page 17

FACULTY/STAFF UPDATES

and Designers of Belgrade, Serbia, 1997. English scenographer Mann’s Time Track Productions, with emerging alumni choreog- and director Pam Howard had this to say about his work: raphers Maggie Bergeron and Chris Schlicting, and, most recent- Introductions Please ... “Tabacki sees the stage as an enormous sculptural canvas on ly, with fellow U of M alums in Put Her There’s presentation of I We Welcome New Faculty and Staff of the Department of Theatre Arts & Dance which to portray evocative images that give the spectator a Can't Understand a Word You're Saying at the 2005 Fringe Festival. greater insight into the mysterious and hidden world of the play. He uses scale and proportion to stretch the audience’s And heartfelt goodbyes to … imagination, and leads their eyes to the furthest corners of the Steve Cardamone is a new Jones as the daughter of University scholar and professor emeri- magical stage space he creates, enhanced by his unique sense of Tami Brown, administrative support person for the BA and faculty member who will be ta, the late Dr. Geneva Southall. Ms. Jones cut her teeth as an color and style.” BFA program, who has transferred to a new area of the teaching acting in the BFA Actor actor, director and musician at the Old Shoestring Theater, the University. She is currently working in the HHH Institute of Training Program. He has exten- Theatre of Involvement, the St. Paul Community Theater and Liz Wawrzonek After spend- Public Affairs office as principal accounts specialist. We want to sive training and experience in the Minnesota Centennial Showboat. ing her undergraduate years at thank Tami for her expertise with us and wish her well with the classical acting and text analysis, the U of M, Liz is thrilled to be Humphrey Institute. having received his M.F.A. from Deborah J. Pearson will be returning to the West Bank as the University of Delaware’s working with the BFA Actor the new Office Specialist for the Kathleen Hansen It is with great sorrow and yet an even Professional Theater Training Training Program as a seasoned Dance Program. During her time greater sense of pride that we say farewell and thanks to Program in 1999. Recently, he has been the Education Artist of arts administrator to collaborate at the University she was a dance Kathleen, as she leaves the department with a masters degree in the American Shakespeare Center in Virginia, Artistic Director on BFA intensives, study abroad major, an honors student, and a one hand, and five years of arts management experience in the of the Nashville Shakespeare Festival, and a faculty member at and special projects. A native founding member of the Arts other. As many of you know, Kathleen started with us as a gradu- Belmont University in Nashville. Prior to that, he worked as a Minnesotan and graduate of Quarter Collective. She participated in many U of M produc- ate teaching assistant in the fall of 2000. She is the second gradu- professional actor and director in the Chicago area, as well as Augsburg College, Deb comes to tions, including University Dance Theater’s presentation of ate student to go through the Master of Liberal Studies program serving as Outreach Coordinator for Shaw Chicago Theater the BFA program after 19 years Shawn McConneloug’s “Corporeal Mortification” and, as chore- at the University pursuing her emphasis in theatre manage- Company. Steve has directed and performed in a wide range of with The Children’s Theatre ographer, with the Xperimental Theatre’s ExitNoExit. She worked ment/arts administration. Kathleen received her degree in the works from the classical repertory, with an emphasis on Company. There she served in many capacities—company man- for 5 years as a student office worker and lab technician in the spring of 2004 and then agreed to stay on for another year as our Shakespeare, but also including Ibsen, Shaw and Chekhov, ager, production and education associate, stage manager, tour Art Department. Since graduation she has completed an intern- assistant managing director, while we recruited a new graduate among others. He has worked at such Chicago theaters as Shaw coordinator, wardrobe mistress and performer. She has been on ship with Minnesota Citizens for the Arts and spent last sum- student class. Because of her dual appointment (class work in Chicago, Next Theatre, Court Theatre and Lookingglass Theatre, five CTC national tours as well as international tours to Tokyo mer programming the Stevens Square Community MLS, working in theatre), and because Kathleen is always work- and at regional Shakespeare Festivals throughout the country, and Berlin. Her teaching background includes classes in creative Organization’s series “Reel Politics: Cinema and Civics in ing tirelessly to facilitate and promote University Theatre pro- including those in Nashville (TN), Oregon, Colorado, Texas and dramatics, beginning acting, audition prep, theatre history and Stevens Square.” She currently has been performing with Paula grams, many faculty and students naturally assumed that she Pennsylvania. He has taught acting at the Aspen School for play analysis. Deb’s wide range of experience has taken her from was a full-time staff member. And indeed, as far as many of us Theater Arts, and led workshops for the Colorado Shakespeare production assistant and later development associate at the were concerned, she was! In fact, we were so reliant on Kathleen Festival, the Oregon Shakespeare Festival and the Texas Guthrie Theater to co-founder/costumer/performer of Citystock and trusting in her abilities, that the department appointed her Shakespeare Festival. Steve was selected twice to participate in Theatre Company. Welcome, Deb to the growing group of talent- Homage to Scenography as an Art: interim managing director in the fall of 2002, while I was on a Royal Shakespeare Company member John Barton’s prestigious ed BFA faculty and staff! professional development leave. While Kathleen may be leaving “Playing Shakespeare USA” workshop and has received critical “A set design could ensure a good performance but the management/box office area with a new degree and further acclaim for his acting work in Chicago. We welcome Steve to the Miodrag Tabacki comes to us as a visiting professor and at the same time it functions as an autonomous art experience in hand, it is I who will always be grateful for the BFA Program’s talented group of faculty members. scholar through the Fulbright Scholar Program, a first for the with its own values and it can exist and last outside immense contributions she has made to the people and pro- department. He is an internationally-acclaimed scenic and cos- the original performance – every exhibition of set grams of the department. Her tireless energy, her quick wit, her Tisch Jones is an alumna of our department who is currently tume designer who, since 1973, has done over 200 set designs designs is a proof of that. Thus, to represent both good humor, and her indefatigable sense of responsibility are a professional director and a professor of theatre at the and over 100 costume designs for major repertory theatres, inde- good performance and the set design as an exhibit is just a few of the indelible marks she has made on our students, University of Iowa. We are fortunate to have her come to us as a pendent companies and festivals throughout the former what I consider to be in itself homage to scenography on my colleagues and on me. visiting faculty member who will be teaching directing in the Yugoslavia, Italy, Macedonia, Belgium, Slovenia and the Slovak as an art. In addition to my work in classical theatres, So again we say thanks—but we won’t say good-bye entire- spring, as well as directing our mainstage production of Lyn Republic. He is also a Professor of Costume and Set Design on I have had the pleasure and challenge of promoting ly. We have managed to convince Kathleen to continue part-time Nottage’s Las Meninas. Her professional productions include the Faculty of Dramatic Arts, University of Belgrade. He has scenography in new and unusual places such as in the teaching in the department as an instructor of arts management Woza Albert; The Escape: or, a Leap to Freedom; Joe Turner’s Come and designed for a wide range of theatre genres from classical (the remnants of the burnt theatre in Split, Croatia, in classes. Here’s wishing you all our best, Kathleen. And continued Gone; Klub Ka: The Blues Legend; Blues for an Alabama Sky; Gray Greeks, Shakespeare and Moliere, among others) to modern 1977; the town square in Cividale del Friuli, Italy, in success! — Sherry Wagner-Henry Panthers; and, most recently, Rolling on the T.O.B.A. at Penumbra (Chekhov, Ibsen, Gorky, Büchner, etc.) to musical theatre (My 1991; the old steam factory in Antwerp, Belgium, in Theatre. She has directed for Unadillo Theatre in Vermont, Stony Fair Lady, Man of La Mancha), as well as for opera, ballet and pup- 1993; the terrace of the Mediterranean hotel and Luke Olson, the light lab manager for the past two years, who Creek Puppet House in Connecticut, Onstage Atlanta, Iowa pet theatre productions. Professor Tabacki has also had 15 one medieval fortress in Budva, Montenegro, in 1997. By leaves us for the master electrician position at the University of Summer Repertory Theatre, New Federal Theater, Lincoln man exhibitions of his work: in cities in the former Yugoslavia, finding adequate set design solutions I have made New Mexico in Albuquerque. His passion for organization, mod- Center, The Apollo and La Mama in New York. Ms. Jones is also at the Prague Quadrennial, in Paris and Budapest, and also in possible for some of these performances to be staged ernization, and deletion of redundancy will be sorely missed by known for her adaptation and direction of rarely staged work several cities in the U.S. He has won many very prestigious 18 in conventional box theatres. Vice versa, thanks to his successor. He brought us—sometimes kicking and scream- 19 such as Lorraine Hansberry’s Drinking Gourd. She was one of the awards, including the Golden Wreath for Set Design, at the 23rd their suitable set design solutions, the performances I ing—into the 21st century in terms of lighting. His grant-writ- founders of the Twin Cities Black Theatre Alliance, was Director Festival for Small and Experimental Theatre, Sarajevo, 1982; the made for the traditional stage could also be played on ing skills enabled us to obtain moving lights, WYSIWYG control of Special Arts Programs for the Connecticut State Board of “Sterijino pozorje” prize for Set Design at the Yugoslav Theatre the outdoor stages of festival towns.” programs, and some upgrades to lighting equipment in all the- Education, and served as assistant to Lloyd Richards, the Festival in 1982, 1996, 1998 and 1999; the Silver Medal for Set atre spaces. How lucky for New Mexico to have him—how sad Dean/Artistic Director at Yale Repertory Theatre, where she was Design at the 9th International Set and Costume Exhibition, – Professor Miodrag Tabacki for us to lose him. Gino will return to the Light Lab after 14 years involved in the transfer of Fences and Joe Turner’s Come and Gone to Novi Sad, 1995; and an Award for Life Achievement (The Designer and Visiting Fulbright Professor of serving as Director of Graduate Studies—she will now try to Broadway. Most old Twin Cities residents will remember Ms. Outstanding Artist) from the Association of Applied Artists discover where Luke, preceded by Pearl, hid everything! Applause05.06 10/31/05 4:42 PM Page 19

FACULTY/STAFF UPDATES

We Have a Spotlight on the Faculty New Department Website Lou Bellamy (Directing) directed Reflections of Black Nativity Brent “Mickey” Henry (Technical Director) served as TD for The Department launched its new and Stage Directions for Penumbra, Dinah Was at the Ordway, and the entire University Theatre Mainstage Season. In addition, he website last spring, with a new look Two Trains Running in Kansas City. He is currently on a one-year managed the Proscenium Theatre re-rigging project, was House that incorporates the West Bank Arts sabbatical, during which he will direct Grandchildren of the Buffalo TD for Hal Holbrook’s Mark Twain Tonight aboard the Showboat, Quarter identity. Be sure to visit Soldiers for Penumbra and for Trinity Repertory Theatre, and also and managed several crucial facilities improvements, including http://theatre.umn.edu frequently for direct at the Missouri Repertory Theatre. new sprung floors in the Arena Theatre and Studio A. the latest information on Department events and announcements. We are Judy Bartl (BFA, Program Director), in addition to running Lucinda Holshue (BFA, Voice). In addition to her teaching also working on new ways to use the BFA Program, taught national workshops on choosing a col- and vocal coaching work for the BFA Program, she coached at the technology to reconnect with alumni. lege for high school students, spoke at the Dean’s lunches, and Jungle and for several productions at the Guthrie, including was appointed to the board of the NETWORK (the National Pygmalion, for which she was given a “Talent Shout” by the Association for Arts Educators). Minneapolis Star Tribune.

David Bernstein (Development and Community Relations) Branislav Jakovljevic (MA/PhD, Honors Advisor) has a book wrote successful grants for the Showboat season, The Laramie manuscript, Daniil Kharms: Writing and the Event, under review by Project/Judy Shepard forum, and the John O’Neal residency, for Northwestern University Press. He also published articles in which he also served as lead organizer. Art Journal and TDR: A Journal of Performance Studies, and delivered papers or lectures at several international conferences, includ- Lance Brockman (Design/Tech) designed scenery and prop- ing at Performance Studies International, at the ATHE, at Brown Margolis Method DVD. Her company, the Margolis Brown Joanie Smith (Dance). Her commissioned work, Anytown, a erties for Rollin’ on the T.O.B.A. at Penumbra and received the University, and at the National Library in Belgrade, Serbia. Performance Company, developed and performed The Human project that pairs the choreography of her dance company, Minneapolis Star/Tribune critic’s selection for “outstanding set Show at Intermedia Arts. She is currently working on opening an Shapiro & Smith, with the music of Bruce Springsteen and his E- design” for the May, 2004 Penumbra production of On the Open Michal Kobialka (MA/PhD, Department Chair) had articles international training center in the Margolis Method, a rehearsal Street Band members Patti Scialfa and Soozie Tyrell, is set to pre- Road. He also served as Interim Chair for the department in published in several journals, including Modern Drama, the studio, and a café in New York State’s Sullivan County, 90 miles miere in the fall in New Jersey, and then to tour nationally, with 2004-05, and was elected as a board member of USITT. Journal of Dramatic Theory and Criticism and Performance Research, from NYC. stops at New York City’s Joyce Theater and Philadelphia’s and he began a term as associate editor of Theatre Journal. In addi- Annenberg Center. Her company is the recipient of numerous Elisa Carlson (BFA, Voice) directed the Junior BFA perform- tion, he was named the 20th Eminent Hoffman Scholar Chair at Kenneth Mitchell (BFA, Acting). In addition to being the national and regional grants, and she is a national board member ance project Orestes in addition to her teaching and vocal coach- Florida State University and delivered a series of guest lectures only full-time acting instructor for the BFA Program in 2004-05, of the American College Dance Festival Association. ing work for the BFA program. She also acted in a reading of at Stanford. He has just returned from a year-long sabbatical. he directed The Mousetrap for the Minnesota Centennial Kelly Stuart’s new play at the Guthrie and coached voice and Showboat and Our Country’s Good for University Theatre’s Sherry Wagner-Henry (Managing Director, University dialects at the Guthrie, the Showboat, the Children’s Theatre Sonja Arsham Kuftinec (MA/PhD, Director of Mainstage season. Theatre) led a presentation on “Public/Private Partnerships” at Company and the Georgia Shakespeare Festival. Undergraduate Studies) has had articles accepted for publica- the 2005 USITT conference, using as a model the relationship tion in the collections Re-staging the Sixties: Radical Theatres and Jean Montgomery (Design/Tech) ended a 14-year term as the between the Showboat and the Padelford Riverboat Company. Ananya Chatterjea (Dance) published a book, Butting Out: Their Legacies and Opening Acts: Performance in/as Communication, department’s Director of Graduate Studies this past summer. She also served as co-lead organizer for the “How is it Here?” Reading Resistive Choreographies Through Works by Jawole Willa Jo both forthcoming in 2005. She has also been named performance She designed lighting for the past two Showboat productions, forum featuring Judy Shepard held in conjunction with the Zollar and Chandralekha, and articles in “Dance History Reader” review editor of Theatre Journal, and was elected to the executive The Mousetrap and The Importance of Being Earnest, received two University Theatre production of The Laramie Project. and “Discourses in Dance.” Her full-length dance work, Bandh, committee of ASTR. grants for new lighting equipment and control systems, and had a very successful premier at the Southern Theater. Professor was elected to a second term on the board of USITT. Margaret Werry (MA/PhD) had articles and reviews pub- Chatterjea is currently on a one-year sabbatical. Mathew Lefebvre (Design/Tech, Program Director) lished in several journals, including Modern Drama, Cultural designedThe Mousetrap for the Showboat, and was costume Elizabeth Nash (BA, Speech and Singing) has a new book Studies and Theatre Journal. Her entries for “Performance and Carl Flink (Dance, Program Director) was commissioned by designer for several professional productions, including the scheduled for publication entitled I’m Gonna Sing! I’m Gonna Performance Studies” and “Cultural Revivals” appeared in New Ballet Arts Minnesota Springboard Company to create Lost Guthrie’s The Constant Wife and She Loves Me; Retreat from Moscow Shout!, a collection of personal reminiscences and observations Dictionary of the History of Ideas. She also presented papers at sever- Lullabies and Compartment/Cell, and he also choreographed This at Park Square; Two Trains Running and Raisin in the Sun at Kansas by 51 African-American classical singers. She has also been invit- al international conferences that looked at performance in the Bleeding Heart … for the U of M. He was a guest artist in Shapiro City Repertory Theatre; Bach at Leipzig at Milwaukee Repertory ed to submit a biography for inclusion in Who’s Who in America context of cultural, ethnic and national identity. & Smith Dance Company’s Anytown, with music by Bruce Theatre (which he is re-designing for a production at the New 2004 and The Writer’s Directory 2004-2006. Springsteen, which is scheduled to tour nationally. Professor York Theatre Workshop); and MY WAY, a musical tribute to Aleksandra Wolska (MA/PhD and BA, Directing) directed Flink also launched a new performance group called Black Label Frank Sinatra at the Ordway. His designs for the 2003 Guthrie Susan Pettigrew (Costume Shop Manager) served as draper the critically-acclaimed All Wear Bowlers, which played in Movement to present his own brand of highly physical and dar- production of Pride and Prejudice were published in Theatre for The Rocky Horror Show, Our Country’s Good, Black Comedy and Philadelphia, in New York City, at the Edinburgh Fringe Festival ing choreography as well as the work of his wife, Emilie Plauche Design and Technology Magazine. Dance Revolutions at the U of M, and published an article in and at the Kirk Douglas Theatre in Los Angeles (the lab theatre Flink. The company includes several dance program alumni and USITT Sightlines Magazine about the 2004 USITT Costume of the Mark Taper Forum). She also published an article in Marge Maddux 20 current students. (Dance) served as Rehearsal Director of the Symposium. Theatre Journal, and is working on a book entitled The Poisoned 21 Ethnic Dance Theatre for 11 years, from 1994 until 2005. She is Pearl and Other Enchanted Objects: Alchemical Transformations on Martin Gwinup (Design/Tech) served as multimedia/sound currently reconstructing “New Destinies” for the 20th Luverne Seifert (BA, Program Director) is the new Director Shakespeare’s Stage. designer and/or videographer for the Penumbra productions Anniversary UDT concert, to be performed by students, faculty of the BA Performance Program. He performed in the CTC pro- Black Nativity, Slippery When Wet, Stage Directions and Rollin’ on the and alums in December 2005. duction of Go Dog Go; in Ten Thousand Things’ Bunraku puppet T.O.B.A. He was also Sound Designer for four University Theatre production of Iphigenia, directed by Theodora Skipitares; in Open productions, including The Mousetrap on the Showboat in 2004. Kari Margolis (BA, Acting) received a Minnesota State Arts Eye Figure Theatre’s production, The Holiday Pageant; and in Board Theater Artist Initiative Grant to complete work on her North Star Opera’s Die Fledermaus. Applause05.06 10/31/05 4:42 PM Page 21

FEATURES CONTINUED SUMMER 2006 THE UNIVERSITY OF MINNESOTA SHOWBOAT PLAYERS From the Chair continued from page 2 75:20 continued from page 3 Present now with two graduating classes working in the world of • A post-show reception following the Saturday theatre, welcomes Steve Cardamone, a new acting instruc- evening performance of Cabaret at which former tor with extensive experience in classical acting tech- members of the department can meet current faculty niques and text analysis. We also welcome Luverne Seifert and students to share with them personal stories as the new director of the B.A. Performance Program, that put a human face on the department’s history. under whose leadership we expect to continue expanding • A late-morning alumnae/i brunch on Sunday, April the curriculum of that program to make it one of most 30, followed by a sneak preview of the new Guthrie adventuresome and varied, yet rigorous, in the nation. Theater facility on the Mississippi riverfront in 0 Special opportunities in store for our students in the com- 10 downtown Minneapolis. We hope to honor partici- 50

ing year include a residency by our first Fulbright Scholar, 20 pants in past U of M/Guthrie partnerships, including 40

the noted Serbian designer, Miodrag Tabacki, who is teach- alums of the McKnight, Bush and President’s 30 ing Scene Design jointly with professor Lance Brockman Initiative Fellowship Programs, and have them meet and Design Composition and Collaboration in tandem current students in the University of Minnesota/ with professor Branislav Jakovljevic. Guthrie Theater BFA Actor Training Program. As in the past, the Dance Program will offer students short residencies with internationally-recognized dancers As a run-up to the April celebration weekend, we and choreographers through the Cowles Guest Artist have set up a 75:20 website that will give all of us—alums and current department members—a way of creating an Program. This year, to celebrate 20 years of theatre and THRU dance housed in the same department, we will restage interactive history of the department using electronic JUNE 16 AUGUST 26, 2006 some of the all-time favorite works of years past for text and images. Please visit this website, which can be December’s “Dance Revolutions” concert. linked from the department’s main site at ust a forty-five mintue train ride from http://theatre.umn.edu/. On it, you can find out more As always, our students will be able to choose from a Broadway, the city of New Rochelle sets about 75:20 events, view text and images from the 1970s, very wide range of production, performance and design the backdrop for a silly series of events opportunities, and our audiences will have a chance to the 1980s and the 1990s through the present, and add your J memories and comments interactively in the “blog” sec- to come. Mr. Tom Bennett, his wisecracking experience and reflect upon an unusually varied mixture secretary Kid Burns, and others arrive in of theatre and dance performances—from classical to tion. We would love to hear stories from all eras and incar- town to divvy up what is left of his million- contemporary, from traditional text-based performance to nations of University Theatre, even though the website is aire uncle’s estate. Where there’s a will, physically-based and interdisciplinary ensemble work. organized to focus more on our years in Rarig Center, We will also continue to sponsor intellectual programs 1973–present, as a way to supplement and update the there’s a way of dividing the dollars—but that supplement our curriculum and our production sea- departmental history, Heroes and Clowns, which documents unfortunately one was never written . . . or son to help link ideas about culture and performance to —in a more traditional printed format—the pre-Rarig was there? the performances themselves. The centerpiece of this is Scott Hall days. the 2005-06 Guest Lecture Series, which will feature four Finally, we want to commemorate the first 75 years You’ll find out when you join the University of lectures by eminent interdisciplinary scholars and practi- by creating more opportunities for students as we look to Minnesota Showboat Players for George M. the next 75 years and beyond. And to do this, we need your tioners, organized around the theme: Performing Across Cohan’s classic, Forty-Five Minutes From help. Please consider deepening the impact of the 75:20 the Disciplines. Broadway. Full of music, mystery, and Our 75th year promises both reflection and bold celebration on our current and future students by making a donation to student scholarships. For details, contact romance, this show’s sure to tickle your fancy, vision, bounded, as always, only by the imagination of our rattle your funny bone, and touch your heart students and faculty. If you are intrigued, I urge you to CLA Director of External Relations Mary Hicks at with its love-over-money message. Bring your visit our website at http://theatre.umn.edu, where you 612.625.5031 or [email protected]. Since we celebrate our entire family, a group of friends, or spice up can find out more about “75:20” events or add your memo- past not only to recognize our place in theatre and dance About ries to our blog. Better yet, call me directly at 612.625.0048, history, but also to recognize how we can contribute to the evening by adding our pre-show dinners or e-mail me at [email protected]. Best of all, come visit the performing arts of the future, it is clear that a crucial for an ol’ fashioned outing all will enjoy! George M. Cohan us—to see a show, or meet our faculty and students, or goal of 75:20 must be to support the next generation of George M. Cohan wrote more performing artists. celebrate our 75th anniversary. After you do, I think you’ll For tickets call 651.227.1100 As we observed earlier, University Theatre has always than forty Broadway plays and agree with Artaud, as I do, that “theatre is the place where or online at ShowboatTheater.com emphasized exploration and stretching boundaries. Now, musicals. Songs he wrote that we the impossible begins.” Best wishes for a great year! Group discounts, dinner, and riverboat 22 with the West Bank Arts Quarter offering possibilities for still sing today include "You're a 23 cruise packages available some very interdisciplinary—even discipline-bending— Grand Old Flag" and "Give My Michal Kobialka creative work and scholarship, it is a most auspicious Summer Season Prices Regards to Broadway." He also Professor and Chair time to celebrate 75 years of history, both for its own sake Tuesday, Thursday, Saturday matinees at 2:30 pm $16 wrote "Over There," one of the Department of Theatre Arts & Dance and for what it can tell us about where we are going. Tuesday, Wednesday, Thursday evenings at 8:00 pm $18 most popular songs in the United ■ Please join us! Friday, Saturday evenings at 8:00 pm $20 States during World War I. Applause05.06 10/31/05 4:42 PM Page 23

THE ANNUAL OF THE DEPARTMENT OF THEATRE ARTS & DANCE: 2005–2006 US POSTAGE PAID mation PERMIT NO 155 NONPROFIT ORG The MINNEAPOLIS MN Reunion Applause Developed by U of M Theatre and Dance alumni April 28–30, 2006 INSIDE: From the Chair p2 | 75:20 Feature p3 | Programs Highlights p4 | Alumni Profile p7 | Faculty Profile p10 Alumni Spotlights p12 | West Bank Arts Quarter Events p14 | Introductions Please p18 | Spotlight on the Faculty p20

Return to Minneapolis and:

Recapture your time in Rarig Center or perhaps visit it, the Barker Center, and the recently opened West Bank Arts Quarter for the first time.

Attend University Theatre’s production of Cabaret, directed by alumnae and Theatre de la Jeune Lune artistic director Barbra Berlovitz.

Enjoy a reception on the new Minnesota Centennial Showboat featuring professor emeritus Charles Nolte reading from his memoirs.

Dine at the new Campus Club in the recently re-opened Coffman Memoral Union. ››

Take part in a post-show reception following the Saturday evening performance of Cabaret at which former members of the department can meet current faculty and students to share with them personal stories that put a human face on the department’s history. Applause © 2005 U of M is an equal opportunity educator and employer. The 580 RARIG CENTER S AVENUE 330 21ST MINNEAPOLIS, MN 55455 [email protected] HTTP://THEATRE.UMN.EDU The 75:20 Celebration is made possible by 75:20 Celebration The Arts the University of Minnesota McKnight and Humanities Endowment and the College Arts Scholarly Events Fund. of Liberal On Sunday, get a sneak preview of the new Guthrie Theater on the Mississippi riverfront in Minneapolis led by the University of Minnesota/ Guthrie Theater BFA Actor Training Program, Your #1 Source for preceded by a late-morning alumnae/i brunch. Rarig & Barker Look for your Nostalgia ... personal invitation in late November.

Sincerely,

75:20 committee members and http://7520.umn.edu confirmed attendees Charles Nolte, Wendel Josal, Barbara Reid, Lance An online exploration of University Brockman, Jean Montgomery, Julie Theatre and Dance during the Ann James, Tesse Bundick, and

Join us for the 75:20 Reunion April 28–30, 2006 in Minneapolis. And visit http://7520.umn.edu 2006 in Minneapolis. And 75:20 Reunion April 28–30, Join us for the for more infor Courtney Peterson 70s, 80s, 90s & beyond WEST BANK ARTS QUARTER ››