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THE 2018-2019 SEASON New at NU Season 2017-2018 • Issue #23 A newsletter for alumni and friends of the Department of Theatre and Fine Arts THE 2018-2019 New at NU SEASON By Steven Braddock, Director of NU Theatre I’ve been thinking about change recently Not from a Oct. 11–15 personal perspective––although, admittedly, I’ve moved three The Wolves times in the past year and a half––but from my vantage point by Sarah DeLappe of watching the evolution of the department and the type of work we do. Change is interesting. Change is inevitable too. Nov. 1–11 Little Shop of Horrors It can sneak up on you before you know it’s there. Or you can by Alan Menken & Howard Ashman plan for it and implement it. Sometimes you see it coming from a mile away. Or it can stick its head out from behind a door and yell, “Boo!” Nov. 29–Dec. 9 What we do in theatre requires change. Change fosters growth. Certainly, Is He Dead? we change our production offerings from season to season. Without doing so, by Mark Twain & David Ives we’d lose our audiences to boredom rather quickly. We change our methods of producing to reflect what’s new outside our walls in the profession: materials, Jan. 25–27 technology, techniques. And, of course, we change the composition of our Short Play Festival department by about one-quarter each year, as a senior class leaves us and new Three cycles of student-directed plays freshmen join the fold. And as things change, they often stabilize in such a way (possible adult subject matter) that that the change doesn’t become noticeable unless you’re looking for it. I don’t remember who said, “The more things change, the more they stay the same.” I Feb. 21–24 think it was a French writer, but it may have as easily been Shakespeare … or Bob Copenhagen Dylan. In any case, we’ve had a bunch of change here, and we’re heading for more. by Michael Frayn And to quote Etta James (yeah, I know this one), “A change is gonna do me good.” Studio Production –– Clet 101 Departmental change. Big one. We welcomed Dr. Bridget Moriarty to the Acting Studio faculty and the scope and tenor (pun absolutely intended) of vocal instruction March 1–3 began a much anticipated transformation. Now on to the productions: Some Girl(s) First change. Gender perceptions. Trevor Copp helmed the first production of by Neil LaBute the year, Men On Boats, incorporating physical theatre techniques and puppetry NU Players––all student produced into a rollicking comedic adventure that resonated for the #MeToo movement. Supported by evocative sets by Andrew Hayes, ’18, costumes by Maureen Stevens, March 28–April 1 lights by David Dwyer, and projections by Tristan Hils, ’18, the cast of 10 women Pygmalion by George Bernard Shaw IN THIS ISSUE April 25–May 5 A Musical Update ..............................3 Study Abroad Scholarships .................9 Legally Blonde: The Musical 17-18 Season in Review ......................4 Dr. Sharon Watkinson .....................10 by Heather hach, Laurence O'Keefe Actor Combat Certification ...............7 N.U.R.T. & T.Y.A. ...........................10 & Nell Benjamin Scholarship Recipients Announced ....7 NU in the Professional World ..........11 33rd Annual Friends Gala ..................8 18-19 Season at a Glance ..................14 helped us alter our perception of Festival. Every change, approximately not constrained by time nor geography. history by looking at it through a very 10 minutes apart during each Eighth change. By leaps and different lens. performance, was exactly what we’d bounds. And splits. And cartwheels. Second change. Political outlooks. come to expect, and enjoy. And … well, you get the picture. How many times since 1599, when Fifth change. I have no words. Velma and Roxie’s quest for fame it was written, have variations on the Really. Robin Patterson’s direction of and fortune, by way of fake news, power struggles intrinsic to Julius Theatre Beyond Words’ Potato People 20s style, resulted in a stunning final Caesar played themselves out across in School Daze, brilliantly executed production of the season, Kander and the globe? On a shifting, modular for young audiences (of all ages) at the Ebb’s Chicago. With Terri Vaughan playground designed and built Castellani Art Museum, was a dazzling on sabbatical, we turned to alumna by David Dwyer, 14 adventurous display of mime, mask work and joy. Natalie Slipko to channel her inner actors explored the rich terrain of Ably abetted by assistant director Fosse and make some magic. Which Shakespeare’s political saga with me, Connor Caso, ’18, Ms. Patterson she sure did, and along with Bridget, boldly examining ideas and actions of led her seven agile actors through a and myself, created an extravaganza political partisanship that echoed in a cartoon world full of mirth and magic. to make our old friend John Kander post-election year. Maureen Stevens’ A special student matinee, offered to proud. Hundreds of rehearsal hours contemporary costuming evoked students for St. Mary’s School for the and sleepless nights yielded one of volatile global issues while Tristan Deaf, was a profoundly inspiring event. the most animated productions on Hils’, ’18, projections and Jeremy Sixth change. Annual changing of which I have ever been privileged to Warsitz’s, ’19, lighting design played the guard. The NU Players’ student collaborate. David’s set was modeled across tumbling towers like lightning produced and directed show, Recent on vintage vaudeville houses and in a storm. Shakespeare never felt Tragic Events, shed a comic yet an Irish prison. Maureen’s gorgeous so accessible, while at the same time poignant light on 9/11. Spearheaded by costumes suggested the 1920s but disquieting. artistic director Rachael Buchanan, the similarly hinted at a timelessness, Third change. December: musical team––director Marquise Tomasik, supporting our collective notion benchmark reached. Under Bridget set designer Matthew Myers, costume that bad behavior of the 20s hasn’t Moriarty’s musical direction, the designer Nicole DeLucia, light designer changed so much after all. Patty Rihn’s orchestra for She Loves Me filled the Kimberly Pukay, and sound designer haunting lighting design spirited us Leary theatre with a rich, soaring Kalee George, along with their from prison to cabaret and back again sound that we haven’t heard in quite audacious cast of five––displayed skills in the blink of an eye. A hard-working some time; and the vocalists belted that prove they’re ready to take on the gifted cast, a full 14-piece orchestra led and harmonized, leaving audiences changes that will come with venturing by Bridget, and a tireless crew resulted delightfully dumbstruck. The into the profession after their time here in a sold-out run of which we couldn’t production’s charmingly familiar is done. be prouder. Of course, change makes tale of lonely hearts and mistaken Seventh change. Inside, looking out. us set the bar even higher as we move identity was superbly directed by Doug Federico Garcia Lorca’s drama of five forward. Zschiegner, arranging an exceptional sequestered, willful women, virtually And, as usual, the final show of our cast on Dwyer and Stevens’ vibrant imprisoned at home by their mother, season provided the backdrop for the palette of scenery and costumes with provided an unpredictable cage match annual Friends of Niagara University his distinctive genius and aplomb. where societal and cultural behaviors Theatre Gala, once again exquisitely Dance choreography by Terri Vaughan were played out in the confines of a improved by the cameo appearance of completed the exquisite picture. domestic setting. Director Amanda Elizabeth Ann Clune, in a stunning Change 3.1. Dr. Moriarty accepted her Lytle Sharpe guided her 12 talented reprise of “All That Jazz.” (For more on boyfriend Alec’s marriage proposal, on actresses with skill and dexterity, all the Gala, please see Suzanne Hibbard’s stage during a post-show discussion in the while ensuring that their Scottish article on page 8.) Under the new front of cast, crew, audience … and me brogues were accurate and evocative. leadership of alumni and new Friends with my cellphone. Yes, you can see it David Dwyer’s claustrophobic interior, board members Micahel Wachowiak on the NU Theatre Facebook page. illuminated by alumnus Jayson Clark’s and Celine Keefe, the fundraiser The uniformity of Christmas lighting design and Maureen Stevens’ proved successful and delivered a and the break it offered gave us fashionably modern costumes, brought delightful evening of cuisine and an opportunity to appreciate the Lorca’s 1940s Spanish drama roaring camaraderie at the Niagara Falls adjustments we’d experienced and to into present day Scotland, but for Country Club. We are so honored to anticipate … we in the audience, those alterations have such a committed company of Fourth change. Short Play reminded us that familial tragedy is supporters that provides so much love, 2 Niagara University Theatre Newsletter inspiration, and support. We do hope that part will never change. A Musical Update Departmental change two. Really By Dr. Bridget Moriarty big one. At the end of the semester, Asistant professor, music director, voice Dr. Sharon Watkinson, co-founder In my NU Theatre has been able to utilize and chairperson of the Department first year larger pit orchestras than have been of Theatre and Fine Arts, shocked us at NU, seen on the Leary stage in many years. all with the announcement that she I have We are also updating and adding was retiring from her position here at been equipment to better facilitate the NU. Big pause while you all retrieve wel- musical needs of the productions, your jaws from whence they just comed including new sound equipment, dropped.
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