The Season Ticket, October 1993
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Columbia College Chicago Digital Commons @ Columbia College Chicago Season Ticket Publications 10-1-1993 The eS ason Ticket, October 1993 Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/seasonticket Part of the Theatre and Performance Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "The eS ason Ticket, October 1993" (1993). Season Ticket. 12. https://digitalcommons.colum.edu/seasonticket/12 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Season Ticket by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. The Season Ticket Columbia Theater/Music Center Member Newsletter VOLUME X, NUMBER 1 OC'l'OBDl 1993 • MEMBER CALENDAR AT A GLANCE Please call (312)663- 9465 for reservations to Main Season productions and to confirm performance times for workshop productions. All workshop productions and directing projects are free. RICHARD II Previews October 20 at 7:30 (New Studio) October 21 at 2:00 Opening October 22 at 7:00 Performance October 23,28,29,30 at 7:30 October 24, 31 at 3 : 00 October 26 at 4:00 October 27 at 2:00 RHINOCEROS Previews November 10 at 7:30 (Getz) November 11 at 2:00 November 12 at 7:30 November 13 at 7:30 Opening November 14 at 7:00 Performance November 17 at 2:00 November 18 at 4:00 November 19 at 8:00 November 20 at 8:00 November 21 at 3:00 WORKSHOPS Mann Ist Mann Previews November 13 at 4:00 November 14 at 4:00 Opening November 15 at 4:00 Performance November 16 at 4:00 November 17 at 6:00 November 18 at 7:00 curtains Rising on the Kain generally very self-aware, stage "they don't think very much about who they are or question Eugene Ionesco's Rhinoceros themselves very much. " will be the second production of the season, but the first in The producti on wi ll emphasi ze the Getz Theater. The show is the theatricality of the directed by Brian Shaw, the script. "That's one of the Assistant Chair of the reasons I like the script, its Theater/Music Department. devices are clearly visible." The techniques will not be Ionesco has called Rhinoceros hidden, the characters will "a comedy that becomes a wear rhinoceros masks, but will tragedy." The story is set in stay in the costumes of the a small town in France in the characters. Costumes and masks early sixties and revolves are designed by Patricia around Berenger, a clerk who Roeder, who also designed last drinks too much, doesn't work year's production of very hard and is "romantically Translations. The actors will inept." When the town is also use false prosthetics, besieged by a rampaging which will give the slight look rhinoceros one quiet Sunday of puppets to f urther morning, Berenger and the accentuate the theatricality. townspeople find themselves The make-up is designed by Dale faced with an event that they Calandra. The sets will be struggle to comprehend and "classical" with subdued tones. attempt pathetically to cope Somewhat neutral stairs, with. As the entire town, doorways and levels will allow including his best friend and for greater adaptability. Sets co-workers, turns into a noisy are designed by John Murbach herd of rhinocerii, Berenger who designed Leocadia last attempts to understand what is spring. Lights will be holding him back from becoming designed by Charlie Jolls, one himself. making his Columbia debut, who desi gned Kind Ness, which Brian Brian Shaw believes that Shaw directed at the Gallery Ionesco's choice to use a Theatre. Eric Leonardson, rhinoceros as the sound designer, also makes a transformation animal is Columbia debut with Rh i noceros . because they' re "big, pre He recently performed a sound historic and forceful." Other performance piece called "Urban than that it seems like an Archeology" at the NAME arbitrary choice, there is no Gallery. real justification for any of the transformations. There is Performance times are: previews never any concrete reason given November 10, 12 and 13 at 7:30 as to why the characters and November 11 at 2: 00. change. "Ionesco's decided Opening November 14 at 7:00 and that it's obvious enough that running November 17 at 2:00. 18 it doesn't need an explanation. at 4:00, 19 & 20 at 8:00 and 21 It's better when reasons aren't at 3:00. For information and explained, not knowing is reservations, please call scarier." Brian also feels (312)663-9465. that these people aren't Lights lZP on the studio today puts the director between the play and the audience. I William Shakespeare's Richard don't think that's my job. If ll opened the 1993-94 season. I 'm helping the play by The show was directed by c hanging anything, I ' 11 do it." Department Chair Sheldon Patinkin in the New Studio Theater from October 20 through Th e language doesn't seem to be October 31. a problem for anyone, either. " It won't sound absolutely Richard II is a tale of power contemporary to anyone." But and the divine right of kings, it's the story that is most a 5tory that is still relevant important in any p l a y , be it to today's political scene: Shakespeare or something mor e "When is it right to have a comtemporary. It does take revolution, and is i t ever listening more intently on the right to have one?" With the audiences part, as "the current situations i n all thoughts being expressed took political spheres, i ncluding many more words than we' re used Haiti and Somalia, these to needi ng." What happens questions are still very much within the play is very clear, an issue. the story and the meaning are easily understood, even by The play is set in the years people who have never heard or 1398-1400, and is kept in its read Shakespeare before. period. "I spent a long time "Shakespeare didn't write thinking about parallels that literature, he wrote plays for were exact in time and space a very demanding, very vocal and couldn't find any which audience that expected to be were specifically parallel to entertained." the central issue i n the play. It's a religious issue, 11 says The sets are designed by Sheldon. It's also a school alumnus Randall Keller, production, and Sheldon costumes by Faculty Member believes that the best approach Frances Maggio, lights by David is to go back t o square one on Gipson and sound by John how Shakespeare is done. Cashman. The combat was Shakespeare also takes a large choreographed by Artist-in range of large emotions. "I Residence Davi d Wooll ey, who wanted to be able to go full teaches combat classes at out emotionally, and to do that Columbia, and the production is i n ten or twelve line stage managed by former student sentences. In order to Viola Pastuszyn. Previews are accomplish that, and to capture October 20 at 7 :30 and October the power of it, it really 21 at 2:00 . Opening is October needs to remain i n its original 22 at 2:00 and runs October 23, context. " 28, 29 and 30 at 7:30, October 24 and 31 at 3:00, October 26 Sheldon generally doesn't agree at 4:00 a nd October 27 at 2:00. with changing the time and All tickets are $2.00, for place, or changing anything reservations or information, really, unless i t fully please call (312)663-9465. supports the play. "I think a lot of changing that ' s done Facul t y Spotlight huge, universal t hemes and emotions in a real way . " The The first show Henry Godinez language is " infinitely was in when he moved to Chicago perfectible, " there are things ten years ago was Kabuki Medea constantly being d iscovered, at the Wisdom Bridge Theatre. meanings and ways of saying He is now appearing as Jason in each line. "You never stop a re-staging of the same learning. " production which is currently running at Wisdom Bridge, which That is also one of the things also features fellow faculty he enjoys most about t eaching. member Barbara Robertson as "As a teacher you l earn so Medea. much. I ' ve been acting so long, yet I ' ve never had to Henry was born in Cuba, but his explain why I do things the way family moved to Miami when he I d o t hem. I t gives you great was three year s old. They ideas of new things to try . " live d there for a year before He believes i n allowing the moving to Dallas, Te xas, where s t udent to ease i nto it when he grew up. He became teaching Shakespeare. "I want interested in theater in high them to feel like it's a school, and cont inued in rehearsal more than a class. college, receiving his B.A. This gives more of a practical from the University of Dallas. application." There are also From there, he went to some students who haven't had Louisville to apprentice at the any experience with Shakespeare Actor's Theatre of Louisville yet; he really wants these for one year before going on to students to feel comfortable get his Masters from the with it.