Feb. 2013 Spotlight

The Theatre Arts Management Shop at Catawba College Shuford School of Performing Arts Presents:

MC EPPTHE HOUSE: SPOTLIGHT CATAWBA COLLEGE 2300 West Innes St. February 2013 Vol 19, No. 4 www.catawba.edu/theatrearts Salisbury, NC 28144 TELEPHONE (704) 637-4481 EMAIL THEATREARTS @CATAWBA.EDU

Co-Editor: Sydney Berk Ringing in the New Year with some [email protected] Co-Editor: incredible shows! Verity Pryor-Harden [email protected] START OFF 2013 WITH QUALITY THEATRE

UPCOMING PRODUCTION: REFERENCES TO SALVADOR DALI MAKE ME HOT Student directed by senior Sydney Berk, this contemporary, poetic drama tells of the conflict between dreams and reality. Continued on Page 2

UPCOMING PRODUCTION: ROSENCRANTZ AND GUILDENSTERN ARE DEAD Greg Stoughton & Verity Pryor-Harden in References to Salvador Dali Make Me Hot (Photography by Tracy Ratliff) Directed by Dr. Beth Homan, the comedy by Tom Stoppard comes to life in our staged reading. Continued on Page 4

THE LIFE OF GALILEO GOES TO KCACTF One of six shows out of over 200 applicants invited to compete in the Kennedy Center American College Theatre Festival, the cast and crew of The The Life of Galileo goes to KCACTF (Photography by Rosencrantz & Guildenstern Life of Galileo get prepped to compete. Sean Meyers) Continued on Page 6

ALUMNI OF THE MONTH: TAYLOR HOHMAN Meet our Catawba Theatre Alumni of the Month! Continued on Page 7

Like us on Facebook: /catawbatheatre | Follow us on Twitter: @CatawbaTheatre | Follow us on Instagram: @catawbatheatre THE SPOTLIGHT PAGE2 References to Salvador Dali Make Me Hot

Beginning February 6th, References to Salvador get a look into Gabriela’s struggle with her Cast & Crew Dali Make Me Hot, a steamy piece of magical husband, who has been broken by a realism by José Rivera, will seduce audiences in true carnivorous war. The play becomes a Dali Fashion. The Blue Masque will transport the domestic drama, as lovers try to understand Gabriela: Kylie Beinke* audience to a new world with this spellbinding each other and wonder if you can ever Benito: Eric English Cat: Verity Pryor-Harden comedic drama. The production runs February 6-9, really solve the mystery of another’s heart. Coyote: Greg Stoughton in Catawba's Florence Busby Corriher black box With 2 distinct styles in one piece, a taste of Moon: Adam Weiner Theater at 7:30 pm. Be warned: it contains strong earthy realism tangled with fantastical Martin: Brandon language, sexual content, and adult situations so this poetry, this play has something for everyone. Engelskirchen one is not recommended for children. Oscar nominated and Obie Award Director: Sydney Berk* winning playwright, Jose Rivera, says that Directing Advisor: Dayna Anderson Let us set the stage: Barstow, California, taking plays beyond realism is what makes Stage Manager: Maggie Saunders Night. The moon plays the piano, them most special. He says, "We're Assistant Stage something lush and sentimental. As a coyote bombarded by realism [in film and Manager: Cody Mangum seduces a house cat, the moon whispers television] 24/7. We know it, we see it, we Set Design: Brooke Beall* Costume/Hair/ night poetry and sings entrancing boleros to have it all around us. If the theatre is going Makeup Design: Dee Clark* Gabriela who is sick with a broken heart. to offer us anything that's different, it needs Lighting Design: Chris Speer She spends her nights pacing her backyard, to exploit the possibilities of the theatrical. Sound Design: Gyo Gamble deeply missing her husband, a soldier away Another way to heighten reality is through Technician: Tynia Brandon at war. The 14-year-old boy next door, language. It can be poetic, dense, full of Publicity: Kara Procell* Technical Advisors: Christopher D. Zink, Martin, fumbles over trying to entrance her imagery. That is why I would rather go to a David Pulliam, Erin but she is busy staring up at the stars. The play than watch TV." Come buy tickets and B. Dougherty, Joe play both begins and ends with this see what he means. In a world where so Hernandez surrealist dreamscape centered around the much is digital, give yourself a night of woman everyone is lusting for, Gabriela. something real. * Denotes membership in the Alpha Psi But when her husband Benito returns, Omega Dramatic Honors Society the mood shifts and we are transported. We

Kylie Beinke & Eric English as Gabriela & Benito in References to Salvador Dali Make Me Hot (Photography by Tracy Ratliff) Verity Pryor-Harden & Greg Stoughton

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JOSÉ RIVERA Growing up in a home with very few books, In the marrying of these influences, José Rivera’s illiterate grandparents told many Rivera developed a style that is magical and José Rivera has stories, inspiring the young Rivera who thought provoking. It is true poetry. gained international decided at the age of 12 that he wanted to be acclaim for his a writer. MAGICAL REALISM talents as a Throughout his education in the New p l a y w r i g h t a n d York school system, he read all the European Magical realism aims to seize the screenwriter. Rivera greats such as Ibsen, Chekhov, Tolstoy. But paradox of the union of opposites, the has won countless he grew up in this household that was so supernatural and the natural. It differs from awards and grants different from what he read that he felt a pure fantasy primarily because it is set in a for his plays as well disconnect. But when he began reading 100 normal, modern world with authentic as being the first Years of Solitude by Gabriel Garcia Marquez, descriptions of humans and society. The Puerto Rican screenwriter to be nominated he was inspired. Rivera says, “Reading supernatural is not seen as questionable, but for an Academy Award. Among his Marquez was the first time that anything it is integrated within the norms of the world numerous plays are The House of Ramon from the world of school and education as we know it. As Jose Rivera says, "the Iglesias, Cloud Tectonics, Marisol, Sonnets for an came to me that reminded me of my home.” human condition is so absurd, and people Old Century, Sueño, Giants Have Us in Their He felt that someone was finally celebrating are so outrageous, that insane things happen Books, Each Day Dies With Sleep, and of course, his culture. He thought, “Someone gets it, on a daily basis. All you really have to do is References to Salvador Dalí Make Me Hot. Also and someone writes about it in a beautiful, record them." Why wouldn’t a woman in having written for Film and Television, some amazing way. It was really a personal thing love levitate and who says mothers can’t read of his best known works are The Motorcycle for me to read this work.” Inspired, Rivera the minds of their disobedient children? Diaries and On The Road. wanted to apply the same aesthetic that one Magical Realist writers are not limited by the The magic and charm ever present in finds in Marquez’s work to the theatre, an confines of realism and often draw upon the Rivera’s work comes from his Puerto Rican experiment no one had yet tried. energies of fable, folk tale and myth while roots. He was born in Puerto Rico in 1955, Rivera’s primary love is poetic language, maintaining a strong contemporary social into a struggling family. When he was 4 years drawing inspiration from the plays of Lorca relevance. old, they moved to America, settling in Long and Sam Shepard and poets like Pablo Island. Rivera’s parents were uneducated Neruda and Charles Bukowski. He said, “I and didn’t know English so job opportunities tend to view the language of theatre to be of References to Salvador Dali were sparse. His father was a laborer, taking a different magnitude than the language in a on various jobs such as a gardener, a cook, a song or the language in real life. There ought Make Me Hot taxi driver and a janitor. These menial jobs to be a place for language that does more By: José Rivera barely supported the family and they were work than normal speech, where people can Student Directed by: Sydney Berk quite poor. It was a hard life and very go and hear incredible language and be isolated at first, until Long island started to entertained by language the way they used grow and other Puerto Ricans came into the to. The way they used to with Shakespeare, February 6-9, 7:30 p.m. area. Life was not easy but they made do, for instance. That place is the theatre. You go Florence Busby Corriher Theater Rivera’s parents were able to send him and to have your mind provoked and startled by his sister to college and the youngest siblings beautiful language.” all went into the military. This lifestyle has In 1989, Rivera had the opportunity to $5, General Admission been the primary inspiration for much of his become Gabriel Garcia Marquez’s student at $4, Catawba Students & Senior the Sundance Institute. Marquez opened up work. Citizens But Rivera’s parents often had doubts Rivera’s eyes to the possibility of portraying a about whether or not the move to America different vision of the word through the use was worth it. They had come to America to of Magical Realism. He showed Rivera that Please call (704) 637-4481 leave the material poverty of Puerto Rico, fantastical events are not made up, that they but they felt that America had a spiritual and come from secondhand narrations of to purchase tickets or buy online emotional poverty. Life wasn’t as rich as it eyewitness reports. Rather than viewing the at had been in Puerto Rico. Rivera says, “I magical events as allegorical, we must learn www.catawba.edu/theatretix think that the U.S. is a religious country in a to read them as real experiences that are lot of ways, but the sense of true spiritualism uniquely perceived. This was a concept is missing. I think religion and spirituality are Rivera was very familiar with having grown WARNING: Contains strong two different things.” This is a theme that up listening to his grandparents’ magical language, sexual content, and permeates many of Rivera’s works as he stories. Magical Realism is about the bending incorporates elements of magic and of one’s perception of reality, giving the style adult situations. Not spirituality, marrying his influence as an a unique power. recommended for children. American youth with his Puerto Rican roots.

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Rosencrantz & Guildenstrn Are Dead

Given the current economic state of the Another Catawba Alumnus, Carolie In late February, Catawba College theatre world, staged readings are becoming Brekke, added that the staged reading of Theater Department takes you into the more and more common. Producers and Seneca's Oedipus, directed by James Parker directors opt to present new plays as well as (nicknamed “Parkie”) was by far the highlight wings of one of the greatest and most classics in order to provide entertainment of her stage experience at Catawba. She confrontational pieces ever written by the and a forum for conversation without the played Coryphaeus and when I asked about “Bard of Avon”. Academy Award and money and labor demanded of a full her experience, she said, “Not only was it a production. Alumnus Amanda Lederer role I probably would not have been right for Tony Award winner, Tom Stoppard, (NYC) has participated in several professional physically in a fully staged version of the play takes two small characters from staged readings and says it’s a great way to (at the time I was short, plump and blonde Shakespeare’s Hamlet and turns them get your foot in the door with companies: “If with a baby face), but I felt much less self- into larger than life comics in his you're doing a reading of a new piece, they conscious doing a staged reading. I could provide opportunities to network and meet concentrate on the vocal gymnastics Parkie hysterical and absurdist piece, with producers who might want to fund an asked from me, rather than thinking about Rosencrantz and Guildenstern are actual production of the play, directors who blocking, staging, physical appearance, a Dead. The production runs February might want to direct it, the playwright who costume, possibly a mask (for those of you 19-20 at 6:55 p.m. and February wrote it, etc. For many companies with a who know Parkie!). I got to dig into the resident playwright, readings are used to meaning of the words, the beauty/horror of 21-23 at 7:30 p.m. in Catawba’s hear the play out loud and continue work on the prose, and the music/dissonance of the Hedrick Little Theater. it as an ensemble -- figuring out what works sounds. I believe doing a staged reading and what doesn't. Readings are different helped me understand the story of Oedipus, depending on who you do them with or for, the artistry of Seneca's version and the voice, WHY A STAGED READING? of course. Some are literally just sitting and ears as actor's tools much better than I by Sydney Berk around a table and reading so the playwright ever thought possible. Perhaps other actors Our goal when putting on a play is to can hear it out loud for the first time. Others find that sort of understanding easily while tell a story truthfully. Actors strive to learn are staged with minimal blocking and doing a fully staged play...but for me, as a every nuance of their characters, directors performed for a paying audience. It just student, performing in the staged reading find the dramatic action in the piece, and depends on what the actual goal of the was an incredible learning experience, and I designers create the reality. We seek to create reading is.” will be forever grateful to Parkie for casting another world where the language, blocking, Being at a college, readings also act as an me.” and every small detail fit. The problem, excellent learning tool. Reading aloud is a For all of these reasons and more, though, is that when done well, this is a very skill that requires practice. Alumnus Chris Rosencrantz and Guildenstern Are Dead is the time consuming process. Fulfilling this as well Clowers (Los Angeles), has participated in perfect material for a reading. The language as all technical needs makes putting on a play and seen many professional readings and is very challenging and cast members have no easy task. Often analysis, ensemble says, “I'll admit I'm more nervous doing time to use this as a true growth experience. building, and character work must be done readings than I am in a memorized Senior Katie Johnson, who plays outside of rehearsals, or corners must be cut performance. A reading takes a lot of Guildenstern, has said that she is spending a if everything else is going to get done. This stamina and focus to stay in the moment-- majority of her time on table work. She has very dilemma is why staged readings are so listening, reading, and reacting. I wish I had had meetings with Junior Cody Gasque, who wonderful. Tech is shortened, sets are more experience with staged readings, plays Rosencrantz, and Catawba Guest Artist simplified, and stress is managed, leaving actually. When I listen and watch the pros, I Craig Kolkebeck, who plays The Player, actors and directors time to develop the meat realize how much more work I need to do. where they pick apart every line, working of a play. Student actors have the time to Good staged reading skills will also help through Stoppard’s complicated and circular play, take risks, and focus on language and actors with cold readings, which are difficult text. The company spends rehearsals the vocal instrument. And so for practical as for folks like me who have a hard time sight questioning the text, exploring rhetoric, and well as pedagogical reasons, the Theatre Arts reading. Like any craft, the more experience making strong, active choices. I think faculty chose the staged reading format for and practice I have doing a staged reading, audiences will be amazed that rather than Catawba’s production of Rosencrantz and the more prepared I feel I will be for the long lacking something, staged readings are often Guildenstern Are Dead by Tom Stoppard. run.” more full of knowledge and nuance that a full-blown production.

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Rosencrantz and Guildenstrn Cast & Crew Are Dead Rosencrantz: Cody Gasque By: Tom Stoppard Guildenstern: Katie Johnson* Directed by: Beth Homan Leading Player: Craig Kolkebeck (Guest Artist) Directed by: Beth Homan February 19-20, 6:55 p.m. Hamlet: John Millbank* Set Design: David Pulliam February 21-23, 7:30 p.m. Ophelia: Jean White Costume Design: Shannon O’Donnell Hedrick Little Theater Claudius: Jerry Archer* Lighting Design: Christopher Zink Gertrude: Gabriella Bressi* Sound/Multimedia Design: Jeffrey Salerno $10, Adults Polonius: Bristol Glass* Alfred: Melissa Tarduno Technical Director: Christopher Zink $8, Students & Senior Citizens Players: Sean Henderson, Stage Manager: Ashley O’Donnell Daniel Brown, Ryn Assistant Stage Please call (704) 637-4481 Crawford, Chelsea Manager: Forest Fugate to purchase tickets or buy online at Retalic, Jamie www.catawba.edu/theatretix Caputo*

TOM STOPPARD Over the next ten years, Stoppard wrote a number of successful plays, the most popular of which include Jumpers (1972) and Travesties Tom Stoppard was born "Tom (1974). He also translated a number of plays including those of Straussler" in Zlin, Czechoslovakia on July Mrozek, Nestroy, Schnitzler, and Havel and was heavily influenced by 3, 1937. His family moved to Singapore in the work of the Polish and Czech absurdists. 1939 to escape the Nazis. Then, shortly Then, in 1977, after visiting Russia with a member of Amnesty before the Japanese invasion of Singapore International, Stoppard became concerned with a number of human in 1941, young Tom fled to Darjeeling, rights issues which have manifested themselves in works such as: Every India with his mother and brother. His Good Boy Deserves Favour (1977), Professional Foul (1977), Dogg's Hamlet, father, however, Eugene Straussler, Cahoot's Macbeth (1979), and Squaring the Circle (1984). Not all of remained behind and was killed during the Stoppard's plays, however, are political. One of his more recent invasion. In 1946, the family emigrated to works, The Invention of Love (1997), examines the relationship between England after Tom's mother married famous scholar and poet A.E. Housman and the man he loved his Kenneth Stoppard, a major in the British entire life, Moses Jackson--a handsome athlete who could not return army. his feelings. The play opened to rave reviews at the Royal National At the age of 17, after just his second year of high school, Theatre in 1997. Stoppard left school and began working as a journalist for the In addition to his work for the stage, Stoppard has written a WESTERN DAILY PRESS (1954-58) and the BRISTOL number of screenplays including The Human Factor (1979), Empire of EVENING WORLD (1958-60). He began to show a talent for the Sun (1987), and Billy Bathgate (1991). His screenplay for Brazil dramatic criticism and served for a time as freelance drama critic for (1985), which he coauthored with Terry Gilliam and Charles SCENE (1962-3), a British literary magazine, writing both under his McKeown, was nominated for an Academy Award in 1985, and in own name and the pseudonym William Boot. He also started writing 1999, he won an Oscar for "Best Screenplay" for Shakespeare in Love plays for radio and television and soon managed to secure himself a (1998) which he coauthored with Marc Norman. Other awards literary agent. include the John Whiting Award (1967), the EVENING Stoppard's first television play, A Walk on the Water (1963) would STANDARD Award (1967, 1973, 1975, 1979, 1983), the Italia Prize later be adapted for the stage as Enter a Free Man (1968). Over the next for radio plays (1968), three Tony Awards (1968, 1976, 1984), the few years, he wrote various works for radio, television and the theatre Shakespeare Prize (1979), an Outer Circle Award (1984), and a including "M" is for Moon Among Other Things (1964), A Separate Peace Drama Desk Award (1984). (1966), and If You're Glad I'll Be Frank (1966). He also wrote 70 Tom Stoppard was knighted in 1997. His latest plays are Heroes episodes of A Student's Diary: An Arab in London for the BBC World (2005), and Rock n Roll (2006), and his most recent screenplay, Ana Service. Karenina, is an adaptation of Tolstoy’s novel, starring Keira Knightley His first major success came with Rosencrantz and Guildenstern are and Jude law (2012). Dead (1966) which catapulted him into the front ranks of modern playwrights overnight when it opened in London in 1967. Critics http://www.imagi-nation.com/moonstruck/clsc46.html immediately hailed the play as a modern dramatic masterpiece.

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Earlier this year, we submitted spent not only on table work and our production of The Life of Galileo research, but on developing into the Kennedy Center American physicalization as well. Each actor College Theatre Festival. Directed was cast without regard to race or by Dayna Anderson, this Brechtian gender which was quite effective. piece was truly a cutting edge They conveyed the essence of each production. All of the hard work of role they played by using clearly this ensemble, the many designers, articulated physical gesture and and technicians paid off. movement and giving total This year, more plays were commitment to their characters. submitted in Region 4 than ever What these young actors lacked in before: 227. From there, 50 top voice and articulation skills they productions were recommended for made up for in emotional honesty competition. Only 6 were invited to and energy. The actors understood perform and The Life of Galileo was who they were within the larger one of them! This is a very high context of the piece and were able honor for our Theatre to change from character to Department. Other invited character quickly and with clarity productions from graduate and of purpose. The script demands undergraduate schools include Barnum from plays, especially those written by students; were great and they were able to rise to the Anderson University, Platero from the the classics, revitalized or newly conceived; challenge.” University of Puerto Rico, Crowns from and experimental works. These complimentary words were paired Alabama State University, Ensemble from “Through state, regional, and national with many awards nominations. Our Irene Clemson University, and Ophelia from Hollis festivals, KCACTF participants celebrate the Ryan nominees are Colette Riddle, Jura University. creative process, see one another's work, and Davis, and Alicia Almodovar. To compete for This year, the Region 4 festival will take share experiences and insights within the a scholarship, nominees prepare an audition. place in Albany, Georgia, at Darton College. community of theater artists. The KCACTF With a partner, they must perform a 3- It takes place February 5-9 and an enormous honors excellence of overall production and minute duet scene. In the next round, they group of students and collaborators will be offers student artists individual recognition add another 2-minute scene to their attending to perform, showcase their designs, through awards and scholarships in performance, and in the final round they add and participate in professional master classes. playwriting, acting, criticism, directing, and a monologue as well. Galileo lighting designer design.” Jerry Archer is a Barbizon Lighting Design Attending KCACTF is an extremely Productions are chosen based on an Award Nominee and Aaron Alderman is a worthwhile experience as is taking a show on analysis given by two respondents who travel Sound Award Nominee. Courtney Cowman the road in general. The festival states these to see the submitted production. These is a National Stage Management Award as their goals: respondents also nominate student actors Nominee. Technical award nominees • “to encourage, recognize, and and designers for awards. This year, the prepare a presentation of their design to be celebrate the finest and most diverse work response we received was very flattering, but displayed at the festival. Along with produced in university and college theater also asked some challenging questions. We presenting to the masses, they are given a programs; had a conversation about Brechtian theatre, time to present to judges and answer • to provide opportunities for the challenges of the piece, and the ensemble questions followed by a feedback session from participants to develop their theater skills nature of the show. In response to the the judges. Being involved in a festival of this and insight; and achieve professionalism; production, respondent Catherine Rodgers size and diversity is not only a huge honor • to improve the quality of college and said, “The dozen students who comprised but it is a lot of fun. It is an amazing university theater in America; the cast are all to be commended for their opportunity for students to display their • to encourage colleges and universities outstanding work on this difficult production. talents and make contacts. to give distinguished productions of new It was evident that a great deal of time was

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Alumni of the Month: Taylor Hohman

After graduating from Catawba in 2005, I threw some clothes in an army bag, grabbed a guitar and went to Italy. After 6 weeks of learning Italian in Siena, I moved to Arezzo to study commedia dell’arte at the Accademia dell’Arte. Upon completing my studies, I interned there for a year and then tumbled into teaching English in a private language school, earning my teacher’s certificate from Cambridge University. Two years of teaching later, I was a member of the inaugural class of the MFA in Physical Theatre at the Accademia dell’Arte. After two and half years of more commedia, masque, mime, acrobatics, juggling, circus and music, I graduated in 2011. I have performed in original theatrical pieces at the FLIC Scuola di Circo in Torino, the Berliner Schule für Schauspiel in Berlin, and the Scuola di Arte Dramatica Paolo Grassi in Milan; collaborating with directors including Marcello Bartoli, Kevin Crawford, Giuseppe Emiliani, Burkhart Seideman, Andy Crook, and Raymond Peyramaure. I was also the featured actor at Les Heures Musicales de le Vallee de la Bresle’s annual Ateliers de Musique Ancienne in 2010 and 2012, performing all over Normandy, France. This past summer, I designed and ran a children’s camp teaching English through physical theatre and was a creative ensemble member of an original American musical cabaret in Arezzo. Late Summer through early Fall, I was in London assistant teaching the British Academy of Stage and Screen Combat’s National Stage Combat Workshop and working as a stunt fighter for iDare Productions’ new web series Chronicles of Syntax, premiering in February on the Multiverse YouTube channel. In addition, I collaborated in writing, fight choreographing, and acting in the short independent action film Extraction with Little Extra Productions. My graduate thesis, On the Masque and the Sword, was selected for the archives of the Peter Finer Antique Arms Gallery in London, and I have recently completed an article on the role of the sword in the commedia dell’arte for The Fight Master, the journal of the Society of American Fight Directors. Finally, I formed an Italian rock n’ roll band which recorded an album and blew the roof off the local communist party’s annual cookout.

Currently, I am acting as a consultant for an American biotechnology company, integrating natural plant health and pest management solutions into wineries in Tuscany, Piemonte, and the Veneto.

What I learned at Catawba is to learn lots about everything. Not just theatre: everything. History, science, math, music, political science etc., it’s all going to come in handy. Take a business class for crying out loud! Because you’re going to need it. Many of you will be fortunate enough to get theatre work straight out of the gate, but almost all of us need another job to buy food and pay rent. In my time in Italy, I have done everything from leading bicycle tours to mucking stalls in a barn to smuggling black truffles. Theatre people in all areas have loads of applicable skills, including taking direction, working as a team, creative thinking, and improvisation. The more you know, or can act like you know and then learn about quickly, the more options you give yourself.

Heartily concurring with the advice Tiffany and Anthony have offered in previous publications, I have two pieces of advice that I firmly believe apply to everyone:

Study abroad. Not in some coddled and cosseted program where you’re isolated with a bunch of other Americans, a real program that drops you in the middle of somewhere where you are entirely out of your element. In addition to learning about another culture, you will begin to understand more about yourself and the place you come from than you would ever imagine possible. Careful though, a year abroad can wind up lasting a lot longer than you thought it would.

Learn AT LEAST one foreign language. I mean, really learn it. Fluently. The 21st century is the first truly global century in the history of humanity, and if you don’t have one or two languages under your belt, you’re going to get left behind very quickly. Conveniently, this ties in with piece of advice number 1, so go somewhere you don’t know the language. In forcing yourself to learn to speak again in an unfamiliar environment, you will significantly increase your own resourcefulness and survivor skills. And speaking another language while hanging out with non-Americans is tons of fun…if you don’t believe me, come to an Italian family meal in Tuscany, you’ll see.

In bocca al lupo a tutti voi!

Like us on Facebook: /catawbatheatre | Follow us on Twitter: @CatawbaTheatre | Follow us on Instagram: @catawbatheatre Just a few reminders: Where Are the Diamonds?! Improv Troupe Catawba’s famous Improv Troupe, Where Are the Diamonds?!, was started in 2007 and now in 2013 is still going strong. The evil Have you read our student blogs? masterminds behind the original project were Jordan Hunt, Paul Saylor and Aaron Ganis. They roped some other brave souls to join As a way to reach out and let parents and prospective them--such as Catori Swan, Justin Lewis, Justin Johnson, Michael Lasris, Meg Schneider, Matt Patrick and Andy Mac--and thus, students know what it’s like to be a theatre major at Where Are the Diamonds?! was born! Catawba, we have begun a blog with posts written by a Today, beneath the violent dictatorship of Sean Henderson and Sydney Berk, the troupe still practices and performs. The team few of our very own, very talented, very busy theatre includes Allison Andrews, John Millbank, Lara Williams, Katlyn majors. Check it out! Shaw, Katie Carpenter, Michelle Newburger, Jeffrey Salerno and Adam Weiner. Their motto is, “Only a Diamond can Cut a www.catawba.edu/gallery/2012/blog/theatre/ Diamond,” because they cut the sharpest humor. Last semester, Where Are the Diamonds?!’s show, Free Pizza, was a smashing success. More audience members came than ever before and once www.facebook.com/catawbatheatre the troupe calmed down the hungry mob, improvised comedic genius insued. This semester, Where Are the Diamonds?! will be performing @CatawbaTheatre several shows. The first will be an epic improv duel against Now are the Foxes!, Salisbury’s own comedy improv troupe. Be sure to keep an eye out for other show announcements. Come laugh with us! @CatawbaTheatre Now are the Foxes! and Where Are the Diamonds?! February 15-16, 7:30 p.m. Buy tickets! The Looking Glass Artist Center Black Box Theatre www.catawba.edu/theatretix 405 N Lee St. Salisbury, NC 28144 Tickets $10 at the door

Do you have a friend or loved one in a Catawba College or Blue Masque theatre production? Be sure to mark your calendars and check Do you want to show your appreciation for all of their out our upcoming productions! hard work? Once on this Island Then purchase a Blue Masque Break-a-Leg Book & Lyrics by Lynn Ahrens Gift for just $6.00! Music by Stephen Flaherty Danceworks 2013 Student Directed by Jodye Directed by Missy Barnes Break-a-Legs include a beautiful mylar balloon with Carroll April 21, 2:00 p.m. March 20-23, 7:30 p.m. an equally exquisite red carnation and a April 22, 7:30 p.m. Florence Busby Corriher Keppel Auditorium personalized note. Theater

To have a Break-a-Leg delivered to your loved one, One Acts Festival Directed by Directing II please send $6 in cash or check to: !By Arthure Crucible Miller Students Directed by Kurt Corriher April 25-26, 7:30 p.m. The Blue Masque April 9-10, 6:55 p.m. Florence Busby Corriher c/o Theatre Arts Department Catawba College April 11-13, 7:30 p.m. Theater 2300 West Innes St. Hedrick Little Theater Salisbury, NC 28144 Call the box office at OR On campus mail box 262 (704) 637-4481 or visit Thank you! www.catawba.edu/theatretix Allison Andrews [email protected] to purchase tickets for any of our The Blue Masque Treasurer shows!