Center Stagewinter 2012 Newsletter of UW Theatre & Dance

Center StageWINTER 2012 Newsletter of UW Theatre & Dance

Content

A Cinderella Story...... 1 Guest Artist John Ezell...... 3 A CINDERELLA STORY Behind the Scenes...... 4 inter has snuck up on us here in Laramie after one Welcome Our New Faculty ...... 8 of the mildest falls on record. The students, faculty, and staff of the Department of Theatre and Dance at John Brown’s Body...... 9 the University of Wyoming wish you and yours the w warmest and brightest of holiday seasons. Building Update...... 9 Each year, when setting our production season, we weigh first the Alumni News Update...... 10 needs of students in producing a wide range of contemporary, clas- Faculty Spotlight...... 10 sical, and new or experimental works and in offering as many performance opportunities as possible, and also the needs of our faculty Thanks!...... 11 in producing meaningful artistic work. We balance these priorities against the realities of the calendar and the production resources we have available before making our final season choices. This fall production season has been ambitious in scope and has strained Profile both human and material resources in its realization, but it has resulted in some truly fine work from all involved. The season opened with BLITHE SPIRIT, Noel Coward’s classic draw- ing room comedy about an urbane couple who get more than they bar- gained for when an uninvited guest from the great beyond crashes their light-hearted after-dinner séance. Directed by Lee Hodgon, the play was well-received by audiences, and featured the costume designs of senior Sarah Varca and the scenic designs of senior Derek Epstein. Designing for a main stage production is no small feat and a capstone experience for those students who merit the opportunity, and Sarah and Derek and their faculty mentors Lee Hogson and Casey Kearns handled the challenge with considerable aplomb. Nearly concurrent with BLITHE SPIRIT, a children’s dance production exploring the mythology and evolution of whales entitled A scene from FROM THE ASHES: A CINDERELLA BALLET EVOCETE:THE BIG BLUE JOURNEY, was produced for area schools and the public over several performance. Initially created by CiCi Aragon’s Theatre for Young Audiences students, the dance pro- cont. on page 2 A CINDERELLA STORY (cont.) duction of EVO-CETE was a collaboration of faculty and guest artists in the UW Departments of Theatre & Dance and Geol- ogy and Geophysics and the Program in Ecology (PiE), as well as Wendy De La Harpe and Dare to Dance, Landee Lockhart, and the Laramie High School Dance Team. Next up in the regular season was MARAT/SADE, Peter Weiss’ unyielding and extraordinary exploration of madness and revolution. Directed by Dr. Rebecca Hilliker and playing to sold-out audiences, MARAT/SADE is a historically important work that presents unique demands on our students performers, who must grapple with not only the asylum inmates that they play, but also the characters these inmates portray in the on-site theatrical production. Our student playwrights and directors produced a series of short plays and student-directed one acts with assistance from William Charlotte Corday (Kat Cordes) and Duperret (James Wagner) in a scene Missouri Downs, Rebecca Hilliker, and John O’Hagan in from MARAT/SADE mid-November., while the Peter Koi Simpson family joined us November 16 for a special presentation of JOHN BROWN’S As soon as the set is struck our students and faculty will leave BODY (please see ). The Musical Theatre Workshop class also for Region VII Kennedy Center American College Theatre produced MY JO under the direction of visiting musicla theatre Festival (KCACTF) at American River College in Sacramento, faculty member Joey West at the end of the month. CA, where they will compete in several performance and tech- We have just wrapped our production of Jennifer Deckert’s nica categories. original evening-length ballet, FROM THE ASHES: A CIN- The spring dance show, aV riegations, will run in early DERELLA BALLET. A modern take on the classic fairy tale, March and feature contemporary ballet, modern, and jazz FROM THE ASHES was a visually stunning and sophisticat- pieces by dance faculty Lawrence Jackson, Marsha Knight, ed presentation that showcased the many talents of not only and visiting faculty member Rachael Shaw, as well as guest choreographer/director Deckert, but also design faculty Lee artist Andre Mergedichian. Hodgson, Casey Kearns, Sharon Huizinga, and technical faculty and staff Shaun Sorensen, Don Turner, and Steve In mid March, our technical and design students and faculty Hodder (please see Behind the Scenes on p. 4). The show will will head to the United States Institute for Theatre Technol- soon be touring at selected locations throughout the state. ogy (USITT) annual conference in Milwaukee, WI, while our dance students and faculty will attend the American College We will hit the ground running this spring, beginning with the Dance Festival Association (ACDFA) festival at Southern Utah farce BOEING, BOEING in Feburary, directed by Leigh Selt- University in Cedar City, Utah. ing. This high style, knee-slapping romp through the age of glamorous, jet-setting air travel follows vintage 1960’s playboy Closing out the 2012-2013 season will be one of Shakespeare’s Bernard as he juggles and fumbles romances with three gor- funniest comedies, TWELFTH NIGHT, OR WHAT YOU geous “air hostesses.” WILL. Directed by John O’Hagan, this tale of mistaken identities, unrequited desire, and miraculous discoveries will have a fun setting and concept that you won’t want to miss! Before the summer theatre and dance season can get underway in June, we should be breaking ground on the long-anticipated renovation and expansion of the Fine Arts Center (see Fine Arts Center Building Update, page 9). We have experienced a few bumps in the road over the course of the multi-year plan- ning process, but it appears that the project is moving forward and we will have construction news to report to you soon! Please watch for news of our spring guest artists and upcoming summer season, as well as construction progress and departmental goings-on. We encourage you to send us your news, and please feel welcome to stop by and visit us at any time. Thank you for your interest in and our support of our programs, our production season, and our students! We wish all good things for you and yours this holiday season.

Cinderella and the Stepsisters in Jennifer Deckert’s FROM THE ASHES: A CINDERELLA BALLET. 2 FALL 2012 GUEST ARTIST FOCUS: JOHN EZELL This fall, UW Theatre & Dance’s Guest Artists Series — Ezell is known for his experimental use of polystyrenes and which is sponsored by the Wyoming State Legislature vacuum-formed thermoplastics, and designs that respect through the Excellence in Higher Education Endowment the playwright’s textual components while infusing Ezell’s — hosted several artists, most notably, Scenic Designer own sense of eclecticism, scholarship, and art history. John Ezell, whose work Bold Strokes and Finesse: The Stage Ezell is the recipient of nine Critics’ Circle Awards, the Designs fo John Ezell, was exhibited at the University of Award for Experimental Television Art at the International Wyoming Art Museum. Non-Commercial Television Festival in Milan, the Corpo- Events associated with the exhibition included workshops ration for Public Broadcasting Award for Excellence. Ezell with students, an Art Talk featuring Ezell on October 15, is the Hall Family Foundation Professor of Design at the and a Gallery Walk trhough on October 16. University of Missouri, Kansas City. John Ezell has created stage designs for notable American Bold Strokes and Finesse was originally curated by Gene Emer- dramatists, including Eugene O’Neill, Thornton Wilder, son Friedman, assistant professor of scenic design at the Univer- and George Abbott. His productions have been seen in sity of Missouri and debuted at the 2007 State Expo in Phoenix. such prestigious venues as the New York Shakespeare Fes- The exhibit and associated events were sponsored in part by FMC tival, the Hong Kong Repertory Theatre, the Royal Danish Corporation, UW Theatre & Dance’s Guest Artist Series, and the Ballet in Copenhagen, and the Lyric Opera of Chicago. UW Art Museum Gala Funds.

John Ezell (American) The Mystery of Edwin Drood By Rupert Holmes based on the novel by Charles Dickens, 2004-2005, directed by Victoria Bussert, choreographed by Janet Watson, The Repertory Theatre of St. Louis, courtesy of the artist

Bill T. Jones. Photo by Stephanie Berger.

3 tHE INSPIRATION: Notes BEHIND THE SCENES: from the Director and THE MAKING OF FROM THE ASHES Choreographer, Jennifer Performing live is exciting for actors and dancers not only Deckert because of the immediacy of the experience, but also because As a young girl, I grew up in a bal- of the relationship of the performers and the audience. Each let world steeped in the traditions night, the performance changes as those on stage take in the of fairytales, most of them ending reactions of those off, and this interaction makes the art piece with a handsome prince sweeping what it is. But what goes on before the curtain rises is usually the princess off her feet and, of an unknown to most of our patrons. course, living happily ever after. I On the following pages is an overview of the inspiration be- still believe in fairy tale endings, but hind Jennifer Deckert’s original work, FROM THE ASHES, see that the journey getting there and the creative visions of our designers that helped to bring might be a bit more complex than putting on a glass slipper. this Cinderella ballet to life. This material has been adapted from As I began research for this project, I spent much of my time the student study guide prepared by Cici Aragón’s Theatre for Young dissecting the stereotypes and questioning the expectations cre- Audiences class (Anna Burr, Brooke Benson, Jessica Elder, Ashley ated by the western version of Cinderella. I discovered that the Postma, Jodi States, adn Kaila Mills). story I truly wanted to tell was not that of being saved by a This edgy, sophisticated reframing of the Cinderella story of- prince, but rather a story of mutual exploration, self-discovery, fered both creative opportunities and challenges to the design and, above all, risk. team, especially as Deckert had several distinct conceptual From the Ashes is the story of everywoman as she strug- spaces she wanted to portray in the ballet, including: gles to find her true voice, daring her prince to meet her in a • The Internal World, or Cinderella’s reality and existence place beyond expectations. This is a story about loving with from her own perspective, full disclosure and I present this work as my vision of a truth • The World of Court and Ball, a decadent but conformist wrapped in a fairy tale. world that disintegrates under the pressure of Cinderella’s and the Prince’s rejection of it, and “What if we stopped to question, what if we allowed ourselves • TheWorld of Divinity meets Divinity, Cinderella’s encoun- to take a risk, what if we had the courage to remove our layers ter with her spiritual/intellectual soul mate, the Prince. and expose our true selves? Who would stand by us?” 4 COStUME DESIGN: Lee Hodgson The World of the Court and the Cinderella, but also potentially dangerous. The characters are Ball in Deckert’s reimagined Cin- masked and wear many layers as a sign of their social pretension; derella story is superficially con- all refuse to reveal their true selves. formist, decadent, and off-kilter. This “world” has a very different look and feel from Cinderella’s To evoke this world, costume de- very restricted, oppressive internal world, which was inspired by signer Lee Hodgson first began the image of a glass house. The asymmetrical shapes of the gar- with the idea of a richly hued ments throughout evoke shards of glass, and the color pallette masquerade ball, in which dif- of the internal world is subdued and congruent with the glass ferent couples in the court corre- house itself. Layers of dress peel away to a simple undergar- spond roughly to the seven deadly ments for the “divine” world of the story’s end, where Cinderella sins, which are very attractive to and the Prince face each other openly. Hodgson’s favorite design was that of Wrath for the ball, because the colors were outra- geous and flamboyant, which gave the costume an edgy feel- ing. The most challenging aspect of the design for Hodgson was completing the work in time because of the difficulty in constructing asymmetrical gar- ments, while the easiest part was creating the original renderings.

Original costume renderings by designer Lee Hodgson for FROM THE ASHES: A CINDERELLA BALLET. 5 SCENIC DESIGN: Casey Kearns The goal of the scenic designer is had the vision of soft and graceful, so determining how to create a dynamic visual design to incorporate those two different dynamics on stage was that invokes the emotional and challenging. physical environment of the play or dance piece. Kearns began with the idea of a glass box in which Cinderella lives and watches the world outside with longing to join it. In Kearns’ conversations with The box was fashioned from styrofoam and plexiglass, among Deckert, she referred to the idea many other materials, which presented unique construction of a glass house. From here, challenges. Kearns’ creative process began to evolve. Their shared vision was Part of this world had to disappear in subsequent scenes as to communicate elements that created images of translucence Cinderella moved outside her limited sphere, so creating and transparency. Deckert wanted jagged edges, while Kearns mobility and flexibility in the set was extremely important. For example, the stairs had to move during the action and A1 1'-4" 8'-0" 8'-0" 1'-0" were operated by wireless and stage hands pulling them with ropes. 1'-0"

1/4" PLEXI GLASS SLOTS TO W/ PAINTED DETAIL 16'-0" ALLOW PASSAGE OF Kearns also incorporated the LIGHT 20'-0" idea of a “shattered clock” B1 B2 into the design, which was

2" translated into the disoriented

POSSIBLE STAGE 1'-8" 3'-0" 3'-2" Roman numerals seen on FIXTURE

11" 6" 1 1/2" 4'-0" 3 1/2" the columns in the set. This 4'-8" 1'-4" 5 1/2" A2 SECTION A1-A2 GLASS DETAIL USR PORTAL GLASS DETAIL USL PORTAL GLASS DETAIL DSL PORTAL DSR PORTAL element reflected the off-kilter BUILD TWO (2) REVERSE AND REPEAT TWICE (2)

REFELCTIVE BACKING FOR 1/4" PLEXI GLASS W/ PAINTED DETAIL world of the court and the ball, STAGE FIXTURE 2 1/4" and also Cinderella’s initial

4" 1 1/2" PORTAL PLAN VIEW awkwardness and confusion in 3/4" 2" 1'-0" 6" 10'-6" 2" engaging with it. 3'-10" 3" 1"

1'-0" BASEBOARD CROWN MOULDING 1'-8"

MOULDING DETAIL SCALE 3"=1'-0"

FROM THE ASHES: CINDERELLA SECTION B1-B2

A1 1'-4" 8'-0" 8'-0"

1'-0"

1/4" PLEXI GLASS SLOTS TO W/ PAINTED DETAIL 16'-0" ALLOW PASSAGE OF LIGHT 20'-0"

B1 B2

POSSIBLE STAGE 1'-8" 3'-0" 3'-2" FIXTURE

11" 6" 1 1/2" 4'-0" 3 1/2" 4'-8" 1'-4" 5 1/2" A2 SECTION A1-A2 GLASS DETAIL USR PORTAL GLASS DETAIL USL PORTAL GLASS DETAIL DSL PORTAL DSR PORTAL BUILD TWO (2) REVERSE AND REPEAT TWICE (2)

REFELCTIVE BACKING FOR 1/4" PLEXI GLASS W/ PAINTED DETAIL STAGE FIXTURE 2 1/4"

1 1/2" PORTAL PLAN VIEW 4"

3/4" 2" 1'-0" 6" 10'-6" 2" 3'-10" 3" 1"

1'-0" BASEBOARD CROWN MOULDING 1'-8"

MOULDING DETAIL SCALE 3"=1'-0"

FROM THE ASHES: CINDERELLA SECTION B1-B2 Original scenic design by Casey Ke-

OF arns for FROM THE ASHES: A CIN- DERELLA BALLET. 6 LIGHTING DESIGN: Sharon Huizinga Huizinga also began her design By working with videos of dancers and through continued process through sharing ideas discussions with Deckert, Huizinga wanted to use the the with the director/choreographer. subtle and powerful medium of light to visualize a variety Huizinga’s foremost purpose of locations within the three worlds of the ballet; to evoke was to create a unified look and the appropriate mood in a given scene, and to support and feel for the production, which reinforce the style of the dance. Huizinga strongly believes incorporated a new interpretation that “lighting is the most malleable of all the visual design of the “Cinderella” myth/story. elements.”

Symbol Name Count

NOTE: FLOOR FIXTURES NOT SHOWN IN EXACT LOCATION Source 4 10 degree 0 269 267 265 269 267 265 269 267 265 277 275 273 277 275 273 277 275 273

R ool 68

C s

r ls s s

r r a 165 175 185 a 165 175 185 165 175 185 166 176 186 166 176 186 166 176 186

r l

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l l

um i i R P N 12 ool P P C 76 8 5 2 ls a US er US US R 9 7 6 4 3 1 um ool 90

C R63 Source 4 19degree 7 N 11 s 187 al R er 289 6 um 3 100 90 3 3 N 10 R56 R21 L118 R56 R21 L118 R56 R21 L118 R56 R21 L118 R56 R21 L118 R56 R21 L118 197 188 187 188 188 R321

3 2 99 290 2 Cyc 31 1 187 196 89 2 271 271 271 R50 Side Tabs 30 Source 4 26degree 37

R 1 98 291

5 198 88 1 0 7'-6" 29 194 193 195 194 193 195 190 191 192 294 187 293 190 191 192 194 193 195 194 193 195 28 6 3 9 R R 2 2 3 s s s 181 171 161 181 171 161 182 172 162 183 173 163 182 172 162 181 171 161 181 171 161 R R R ud 5 ud 3 ud Clo 7 Clo 4 Clo N N N um um um e 3 e 2 e 1 13 12 11 ra ra ra Source 4 36degree 52 ls ls ls 27 W W W 10 9 8 7 6 5 4 a a a Cyc Elec r r r 120 120 120 m m m 189 189 189 R80 R26 R90 R80 R26 R90 R80 R26 R90 R80 R26 R90 R80 R26 R90 R80 R26 R90 R80 R26 R90 130 130 130 Blk Scrim & Portal 26 188 188 188 179 180 178 178 179 180 178 179 180 Black Traveller 178 25 Source 4 50degree 4 32 52 16 16 32 52 16 16 32 52 WarmTops WarmTops WarmTops Blue Tops Blue 48"Tops Blue Tops Blue S 1 CIRC FREE o f t 10 9 o 6 5 o G 2 1 o b b 24

o o o b b o G G 4 296 5th ELEC 8 7 4 3 o 7'-0" 97 R82 R23 G t R82 R23 t R82 R23 t f f

f o o HH o

S S S Source 4 90 degree 1 3 R5 SR BOOM 4 SL BOOM 4

6 23

R 3 77 297 203 87 4 7'-0" 5'-0" 22

8 Source 4 25/50 Zoom 12

0 3'-6" R 2 73 295 R Legs 21

6 200 67 3 0 5'-0" 162 181 181 181 162 181 159 182 184 183 164 154 155 161 Border 20

0 55 7 53 15 15 8 15 53 15 9 8 49 29 30 50 31 51 56

4 63 2 Tops Blue Tops Blue WarmTops WarmTops WarmTops

L L 5 Blue Tops Blue Source 4 15/30 Zoom 12 202 3'-6" HS S HS S Soft GoboHS R 1 93 298

R FrozenCouple FrozenCouple R 1'-0"

6 So W 6

o 23 22 21 i 19 17 12 11 o f 7 6 5 3 2 1 18 o 13 n t b b do b

o G 4th ELEC o o w 19 w G o 20 G 4 16 15 G 14 10 9 8 o b R23 t R23 R82 R23 R82 R82 t d t f f o n 129 f i 139 153 o 125 160 126 o 136 163 135 156

So 158 157 S S R6 W R 60 R 0 5 R R56 51 R51 R56 R51 199 83 1 4 1'-0" 18 Source 4 PAR MFL 32

279 7'-0" 4 96 301 HH SR BOOM 3 Fireplace 305 SL BOOM 3 R60 SET MOUNT Source 4 PAR VNSP 4

204 6 5'-0" R 3 76 302 Legs 17 300 208 86 4 7'-0" 153 FIREPLACE Pillar Inside Pillar Portal 16 173 165 8 174 174 175 176 168 167 166 167 166 154 0

R 2 72 303 SET MOUNT 0 3'-6" de

35 36 ns Border 15 R40 Strip Light 1 I

R 46 26 46 26 27 47 28 48 28 48 SET MOUNT

r Blue Tops Blue Tops Blue Tops Blue Tops Blue Tops Blue 0 WarmTops WarmTops WarmTops WarmTops WarmTops

6 GLASS WALL a l

0 6" l 210 66 3 5'-0" 140 141 149 147 140 137 i P

12 11 10 9 7 6 House 4 3 2 1

P P e

i i

l l 53 40 4 u 33 5 118 53 6 37 4

l l

R l l a 8 o 5 a R23 R82 R23 R82 R82 R23 R82 R23 R82 R23 5 a a r r 3A ELEC

t t

H R 1 304 F HS SL F 92 8 14

or or 62 2 r r 1'-0" 209 Soft GoboHS o ont 3'-6" 17 P 16 P 4 3

R FrozenCouple FrozenCouple

n HouseSquare

t Room Cind

0 0 3rd ELEC 3 Cell Cyc 13 19 18 14 House 12 10 7 House 5 2 1 13 15 13 11 9 8 6 128 142 123 144 143 124 134 145 138 148 133 146 202 222 222 202 R56 R56

5 207 82 1 4 1'-0" 139 138 138 139 12 7'-0" 4 95 309 Mac 600NT 9 213 85 4 7'-0" HH 11 306 SL BOOM 2 SR BOOM 2 206

0 Legs 10 152 6

R 3 311 P 75 R 151

i Pillar Inside Pillar

6 5'-0" l

215 65 3 5'-0" r Mac 550 2

I 9 0 ns Border

SET MOUNT i 0 d SET MOUNT

8 e

R 2 71 310 R

0 3'-6" 212 61 2 8 3'-6" 131 130 125 114 112 134 129 128 121 120 Portal 8

e e

P P

l l

i i

p p

l 1 2 3 l

l u u l

a a 7 41 21 o 42 22 23 43 24 44 o 25 45

r r Blue Tops Blue Tops Blue Tops Blue Tops Blue WarmTops WarmTops WarmTops WarmTops WarmTops

C C

F F

r r

n n

ont ont

17 e 14 e 4 1 122 z 124 z 2nd ELEC

o o

r r

F F 16 15 13 12 11 10 9 8 7 6 5 3 2 5 6

R 312 Blue Tops 1 91 59 60 1'-0" m 4 R23 R23 11 R23 12 R23 R23 214 l R82 R82 R82 R82 R82 l 81 o 5

a a

1 o 1'-0" t t R HS SL HS SL

R oft GoboHS or Co C or 5 S obbl d P 16 8 P 3 R 201 53 53 201 R Wybron CXI Scroller b 13 12 n

b i 6 l 6

0 SR Chair SR SLChair

C e e 0 18 17 15 s s 11 10 110 C 7 6 4 2 1

l o 1st Elec t 4 113 123 h 123 113

14 9 e 5 127 18" 39 s 18" 136 121 133 126 122 116 117 38 127 132 118 137 111 131 109 SL BOOM 1 SR BOOM 1 221 57 58 119 221 Border 3

115 119 117 135 115 Torms 2 Main Drape 1 KEY

Color Purpose SR TORM PIPE Gobo Wybron "The Scroller" Unit

Channel 991 Dimmer 101

1 1 1

8 9 5 4 0 3 1 2 2 1

108 109 110 111 112 FOH 1

56 52 48 44 40

60 R

R6 0

l ta 60 P 2 or R o P rt R6 al 6 0 301 l HR BB 1 rta HL BB 1 302 o 2 P P 13 o 2 R rt 63 5 R2 + al 67 R54 50 1 FOH 2 R rm 303 304 a 7 l w C a R 1 u rt 5 1 r o 0 ta 64 P + 2 2 in 2 68 4 R 3 W 1 1 r 3 R a e 2 + rm m 56

r 6 R er Wa 501 2 300 in 1 ta R r 5 2 6 C 70 Cu 3 + 107 u R 101 rt 65 S a

1 5 3 S in 3 PO r 2 P 1 W e 3 2 O

m T 1 a r 4 R r 300 4 a 2 T 2 14 m W 2 e 32 1 2 1 1 r in ta 106 300 69 ur C 2 R2 102 P 1 1 o 2 65 2 rta 18 R l w rm a 300 a 28 105 rm l w 103 116 rta 115 104 104 501 Po 1 P 69 o 2 66 19 rta 25 21 l w a 24 23 22 rm 501 501 70 HR BB 2 66 HL BB 2 FOH 3

F TeArOM h shes - Light Plot

F ArOM tHE shes- Magic Sheet 7 welcome TO OUR NEW & VISITING FACULTY/STAFF! There are some new faces around the department! Please join Diana Krall’s “From This Moment On” Tour to serving as Asst. us in welcoming new faculty/staff members Ginger K Robert- Head of Lighting for Cirque Du Soleil’s “Dralion, ” to serving son and Steve Hodder and visiting faculty Sharon Huizinga, as lighting director for Norah Jones’ Summer 2003 Tour, to Rachael Shaw, and Joey West. a production manager and technical director stint for Dance Arts Vancouver’s “Fire, Where There’s Smoke” Canadian Tour. Ginger K. Robertson (M.F.A., Sharon is a certified Jivamukti yoga teacher and a recreational Costume Technology, North Caro- mountain climber. She believes that the entertainment world lina School of the Arts) is our new is really fun most of the time. Costume Director and Assistant Academic Professional Lecturer. Rachael L. Shaw is an inde- Ginger served as the Costume Di- pendent dancer, choreog- rector in the Theatre Department at rapher, and educator who Louisiana State University and Swine joins UW Theatre and Dance Palace Productions for six years. She this year as temporary fac- has spent the last several years as a ulty teaching technique and freelance Costume Draper in New Bartenieff Fundamentals York City and around the country, while Margaret Wilson is on working with companies such as The Guthrie Theatre, Paper sabbatical. Mill Playhouse, The Ringling Brothers and Barnum and Bailey Rachael received her M.F.A. Circus, John Kristiansen New York, and a variety of Shake- at the University of Utah, speare festivals. where she also received the Steven Hodder has a B.A. in Physics Screendance Certificate. She also studied with Peggy Hack- from Whitman College and contin- ney and Janice Meaden in the Integrated Movement Studies ued to graduate school at University program, receiving her certification (CLMA) in Laban Move- of Wyoming. He has worked at UW ment Analysis in 2010. She is currently dancing professionally for 35+ years designing, building, for inFluxdance, as well as working on a documentary for the and repairing research equipment. company. He is married to Donna, and has a Before returning to graduate school, Shaw danced profession- daughter, Aundrea, at the high school. ally with many companies, including Ground Zero Dance Donna and Steve own Earth, Wind & Company, Miki Liszt Dance Company, and Starr Foster Dance Fire Gallery in downtown Laramie. Group. In 2006, Rachael co-founded and choreographed for R They participate in Square and Round Squared Dance Company. Her live work has been shown at the Dancing, where Steve previously had been a cuer and instruc- University of Utah, Virginia Commonwealth University, Sugar tor for Round Dancing. They live in the mountains east of Space in Salt Lake City, UT, LiveArts in Charlottesville, VA, Laramie. and at Performatica in Puebla, Mexico. Her dance for camera Sharon Huizinga (M.F.A. University work has been shown at the University of Utah and selected of British Columbia) joins UW Theatre for dance dance (a screendance festival screened in conjunction and Dance this fall as a Temporary As- with Sundance) in Salt Lake City. sistant Lecturer in Lighting Design. A Joey West (M.F.A. Acting, Min- departmental alumna, Sharon has been nesota State-Mankato; M.A, Act- a Lighting Designer and Programmer ing, The Liverpool Institute for the for over 15 years, working around the Performing Arts) joins us this year world and in many genres, from theatre as a Temporary Lecturer in musical and live music to corporate events and theatre. while Patrick Newell is on television. Her U.S. credits range from sabbatical. lighting design for Oberon Theatre En- semble in NYC to lighting programmer Joey hails from Green River, WY, for Shrek: The Musical, to Lighting Director for the Home and has served as an adjunct instruc- States Ball at the 2009 Presidential Inauguration (Washington, tor at Western Wyoming Commu- D.C.). Canadian credits range from lighting design for numer- nity College, a private vocal coach, ous professional theatres to serving as Lighting Director for the and an intern at Treehouse Shakers in NYC, whre he worked Cultural Olympiad of the 2010 Winter Olympic Games and as a company member in the development of Hatch, the first Lighting Programmer for the 2010 Paralympic Games Open- Baby Drama to be produced in the United States. This fall, ing Ceremonies, to the closing production of the 2005 Canada Joey directed MY JO for the Musical Theatre Workshop class Games in Regina. Touring Credits include lighting design for at UW. 8 JOHN BROWN’S BODY FEATURES pETE & lYNNE siMPSON FAMILY UW Theatre & Dance was pleased to help present theNo- Spontaneous Theater Productions was co-founded by Pete and vember 16 performance of Spontaneous Theatre Productions’ Lynne Simpson, and has a reputation for choosing plays that JOHN BROWN’S BODY, the Pulitzer Prize-winning epic are celebratory in nature. The directors were raised with a love Civil War poem by Stephen of history, literature, and Vincent Benet. the art of great story-telling. John Brown’s Body This one-time event recog- th fulfilled those criteria. Like nized the 150 anniversary STP’s’ former productions of of the Civil War and fea- Oliver, 1776, Cyrano tured all members of the Pete De Bergerac, Belle Simpson family, including of Amherst, and Our Pete, Sr. Lynne Milward , , , Town, this play had a mag- Maggie Pete, Jr. and ic of its own, augmented by This readers' theatre presen- Larry Hazlett’s lighting and tation toured throughout sound design and the chorus Wyoming in mid-Novem- from each locale to create an ber, including Cody, Casper, uplifting and moving evening Cheyenne, and, finally, of theater. Laramie. Added all together, the Pete In each locale, a local choir Simpson Family has over 200 performed the music originally written for the Broadway pro- years of stage experience -- yet this production was the first time duction of John Brown's Body. they ever all acted together, on the same stage, in the same theatrical presentation.

Fine Arts BUILDING UPDATE During this past year, the long process of envisioning, plan- Once we have a better understanding of how construction will ning, revising, and contracting for an expanded and renovated proceed and how our summer and academic production sea- Fine Arts Center has finally run its course. sons will be affected, we will share this information with you. We are excited to have received final approval for this project Please watch for updates on our website and also in our E-news- and to be breaking ground likely in May 2013, after the end of letter (please E-mail [email protected] with “SUBSCRIBE” in the spring semester. the subject line to be added to this list.)

a rtist’s rendering of the main entrance to the expanded and renovated Fine Arts Building. 9 Congratulations to our December 2012 graduates!

Brianna Boyle Elisa Campbell Shannon Coyle Derek Epstein Aaron Hampton Francesca Mintowt-Czyz Jason Niedbalski

alumni Chloene Brightmanws & Brittany Arnold. F aCULTY Spotlight

Anne Mason, BFA, ‘11, received two nominations for William Missouri Downs is the 2012-2013 winner the 2012 Broadway World Awards for “Best Featured Actress of a rolling opening from the National New Play Network; in a Musical” for her work as Tzeitel in FIDDLER ON THE he is one of only 30 playwrights in the last 20 years to win ROOF and for “Person to Watch.” Anne notes that “...the this honor. Bill’s new play The Exit Interview has the awards lie in the hands of voters and I would love your support. additional distinction of having the largest rolling opening in Voting is incredibly easy, all you need is an email address. The the history of the New Play Network. His plays have been link for voting is here: http://sanfrancisco.broadwayworld. produced by the Orlando Shakespeare Theatre, the Wisdom com/vote2012region.cfm#sthash.cSb6EyZ1.ZXTBoIsB.dpbs” Bridge Theatre in Chicago, the New York City Fringe Festival, The InterAct Theatre in Philadelphia, The San Diego Rep, the Anne also recently opened her first Equity show at Capital Kennedy Center for the Performing Arts (as part of the AT&T Stage Company: MISTAKES WERE MADE. She is currently Performing Arts Festival), The Berkeley Repertory Theatre, an Acting and Artistic Director Apprentice at Capital Stage, the Salt Lake City Acting Company, the Actors Theatre of and very proud to be associated with a professional company Charlotte, the International Theatre Festival in Israel, the Stadt that is truly passionate about the work that is done. For more Theater Walfischgasse in Austria, the Detroit Rep, the Durban information, visit the Capital Stage website: http://capstage. Performing Arts Center in South Africa, and over 100 other org/thePlaysMistakesWereMade.html. theatres worldwide. Katrina Despain, BFA, ‘10, has a fun, small role in the Dr. Rebecca Hilliker is serving her last year as National beginning of the movie trailer for Pitch Perfect (2012), shot Chair for the Kennedy Center American College Theater in Baton Rouge ,where she has been working on an MFA in Acting Festival. This fall, she directed BUFFALO GAL at Bas Bleu at LSU. You can check the movie trailer out here: http://www. Theatre in Fort Collins, and also MARAT/SADE at UW, for youtube.com/watch?v=siEHekc-1oE. which she received a KCACTF Meritorious Achievement Award in Directing, her 12th such award. Jimmie You can check out the new commercial from Congratulations to Lawrence Jackson, who received a Galaites, BFA, ‘99, here: http://www.youtube.com/ College of A&S Extraordinary Merit in Teaching Award. watch?v=0S1wUw6TcSw&sns=em. Marsha Knight received an Individual Artist Grant from Martha Slater, BTD, ‘92, was named Best Actor out of the Wyoming Arts Council to help support a week-long trip in 60+ films submitted for the Cincinnati 48-hour film festival in October to conduct further research at Ellis Island Immigration 2012, which she said was “a huge and complete surprise, but it Museum for a potential revision and main stage performance made me feel really good!” Martha spent last July in Spain walking and tour of Six Songs from Ellis. the Camino Compastela de Santiago pilgrimage (of several Leigh Selting was elected to serve a three-year term as hundredK. Harrison miles!) Sweeny across and the Sasha northern Alexander coast. national member-at-large for the Kennedy Center American on the set of Rizzoli & Isles College Theatre festival. 10 Thank You to our 2012-2013 Friends of Theatre & Dance! We’d like to say a sincere “Thank you!” to all our faithful supporters in the 2012-2013 Friends of Theatre & Dance. Your gifts have been instrumental in supporting and growing our award-winning programs! (We apologize for any errors.) SPONSOR ($25,000 & UP) John & Esther Clay, Douglas B. Reeves.

ANGEL ($10,000 & UP) Melvin Cox, Dixie Ward Revocable Trust, Wyoming State Bank.

DESIGNER ($1000 & ABOVE) $5000 & ABOVE Assemble Dancewear, Inc., Bryan & Evelyn Brodersen, Skip Harper.

$1000 & ABOVE Altitude Chophouse & Brewery, Andrews Photography, Prof. Steve and Kathleen Bieber, Robert C. & Carol H. Bress, Capezio-Ballet Makers Dance Foundation, Inc., Elmer Lovejoy’s, Brian Helander, Dr. Kent M. & Nicko L. Kleppinger, June S. Lee, Jack & Victoria H. Oakie Charitable Foundation, Michael J. & Connie K. Schingle, Dr. Roy J. Schlemon, Alan K. & Ann S. Simpson, Peter K. & Lynne Simpson, John D. & Jenni W. Stark, The Library Restaurant, Dean Oliver & Sidney Walter, West Family Dentistry - Dr. Donald West, Douglas & Patricia Will, Rev. Howard & Ruth Wilson.

BENEFACTOR ($500 & ABOVE) Black Hills Dance Theatre, Capital Lumber Co. - Jerry & Ivan Heimsoth, LLC, Laramie Dance Center-Kathy Vreeland, Walter Hammontree Real Estate-Walt Ham- montree & Laurie Bonini, Jeffrey A. Lee, Dr. Kari Morgan & Christopher Spooner, Dr. Norman R. & Pamela Morrow, Susan C. Weidel, Dr. Helen & Al Wolfe.

PROMOTER ($250-499) Dr. Bruce R. & Carol D. Adams, Prof. Harold L. and Dr. Annie N. Bergman, Elena Berlinsky & Peter Polyakov, Kathleen Bertoncelj, David & Donna S. Cozzens, Prof. Gladys M. Crane, En Avant Dance Studio, Peter F. Hansen, Bob & Carmen Leonard, Dr. John R. and Treasure L. McPherson, Susan B. Moldenhauer & Robert A. Moore, Anne Smith Myers, Dr. Terry & Beverly B. Roark, Bill & Joan Ryan, Richard S. & Colleen E. Rideout, Rebecca L. & Jeffrey L. Tish, Margaret A. Wilson & Neil Humphrey, Bonnie Zare & Steve Holbrook.

ADVOCATE ($100-249) Lew & Donna Bagby, Josephine Bellamy & Louise Richardson, Michael C. Cordes, Edward & Laureda Dolan, Prof. Kent G. Drummond & Susan Aronstein, Timothy N. Dunn, Cynthia Ker Elrod, Harvey & Lois Gelb, Billie K. Gross, Klaus & Janet Hanson, Paul Heimer and Nicole Ballenger, Wanda Hodgson, Timothy & Jamie Kearley, Douglas & Richelle Keinath, Prof. Charles & Sandra Ksir, William J. Kuestner & Gillian M. Walford, Martha E. Lawlor, Carol L. & William E. Loyer, Jon & Ginnie Madsen, Prof. Eric Nye & Prof. Carol Frost, Charles M. Parker, Plateau Properties - Tom & Dr. June Parnell, Greg & Mary Petroski, Dr. Paul & Martha Pheneger, Dr. Margaret Prine, David & Ilona Reif, Alan C. Schroeder, Gary & Susan Sherman, Anne W. Sylvester & Stephen K. Herbert, Dan & Carolina Turnquist, Bill & Sue Walden, Sue Wedel.

PATRON ($50-99) Barbara A. & Grant E. Arnold, Katherine Birdsall, Greogry K. & Linda J. Brown, Sarah A. Gorin & Bern S. Hinckley, Shirley Kingston, John P. & Elizabeth W. Kissell, Lorraine Saulino-Klein, Henrietta L. McCormack, Jeremy Page, Stan & Mary Petrick, Paul A. Polson, Catherine Ryan, Dr. Teresa Ukrainetz & Jerry L. Starr, Sarah Strauss & Carrick Eggleston. gift form

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Happy Holidays from UW Theatre & Dance!

Happy Holidays from UW Theatre & Dance! Best wishes for a joyous holiday season and our sincere thanks for your support throughout the year. We’ll see you in 2013!