1 THEATRE UNI ALUMNI NEWSLETTER Fall 2017 - Spring 2018

IN THIS ISSUE

LETTER FROM THE CAREER PROFILES CAREER PROFILE DEPARTMENT HEAD J a y E d e l n a n t Cynthia Goatley 2 Eric Lange 8 Leonard Curtis 14 ALUMNI PROFILE THE BEST WEEK OF THEATRE UNI NATIONAL ADVANCEMENT BOARD 15 Tori Rezak MY LIFE 9 3 Jon Danker SPOTLIGHT ON ACTING ALUMNI PROFILE Leighann Westermeyer MAGICAL 10 Mike Giese 17 MOMENTS IN Lindsey Catrambone 4 LIGHTING THOUGHTS ON SPOTLIGHT ON ACTING Chris Andersen 18 RETURNING 11 Anthony Soike Katy Slaven A CORNERSTONE Mike Schminke PROJECT OF POSTER RETROSPECTIVE 6 THEATRE UNI AN ACTOR’S PATH Gary Kelley Chris McGahan 19 INTO THE WOODS 12 7 PRODUCTION A LETTER FROM COLLABORATION 13 STEVE PALMQUIST ON THE COVER Theatre UNI production of INTO THE WOODS 2

A LETTER FROM THE DEPARTMENT HEAD

Next year we will take on a new type of theatre experience: Immersion Theatre.

Inspired by the 50th anniversary of the moon landing, this will be a devised project directed by Gretta Berghammer. The “show” will involve creating an installed environment in the Bertha Martin Theater, and small groups (approximately 20) being led through in a roughly 30-minute experience. There will be three “different” environments—so someone could come three different times and get a unique experience each time.

The Strayer-Wood Theatre will be undergoing a major renovation of the lighting system this summer. In August, we will be moving into a new on-campus storage facility provided by Greetings from Cedar Falls and Theatre UNI! the university.

I’m excited to share the information in this 2020 – that’s the year to keep your eye on for newsletter with you, and I hope you find some the next reunion! We have not finalized a date things in here that helps you “re-connect” to yet – but we will be picking that season before Theatre UNI! too long, and hope to tie the reunion to one of the shows during that Spring semester. The Department of Theatre is definitely in a period of some change. You’ll see further We value our connection to our alumni, and down that there have been two recent faculty hope that this newsletter reaches as many of retirements - and another one coming in you as possible! NEW December. Additionally, Jordan Andrews, who has been an excellent Production Be well – and please let us hear from you! Manager for Theatre UNI since August of FACULTY 2014, will be moving to Seattle to pursue opportunities there in May. We will be MEMBER searching for someone to fill that position in Eric Lange Amy Osatinski started teaching in the coming months. We have been fortunate our department this semester! She to hire one new faculty member (also profiled comes from the Denver area, and we’re further down!) and hope to move forward very happy to have her on the faculty. with other hires soon. She’ll direct her first show this year— our production of Hair in the spring! We continue to host the Iowa Thespians Department Head, Theatre Amy has created this short video to Festival each year - and have contracted with introduce herself to you: them to keep coming to UNI until at least Artistic Director, Theatre UNI 2020. Our student population remains strong, CLICK HERE TO MEET AMY and our productions are well-received in the community and providing real growth in the students. 3

THE BEST WEEK OF MY LIFE JON DANKER

Jon Danker loves the theatre! He also Theatre Play in a Day Workshops Gretta Highlights of the tour for Jon, aside from enjoys musicals (RENT is his favorite,) offers throughout the school year. life on the road with a group of 12 other Disney movies (he has seen Zootopia more committed and passionate theatre artists, times than he can count,) making videos, When Jon confided to Gretta that his included the variety of each performance and a variety of computer games. “dream” was to go out on tour with a space, watching the reaction of young production, she began to percolate how people with autism as they interacted with And Jon has autism. the Department of Theatre could make it the play, and two days in downtown Des come true. With the support of Eric Lange, Moines. “I got to go to Zombie Burger…I Jon was born in 1992. Autism Spectrum Jordan Andrews and Mark Parrot, Jon was have always wanted to go to Zombie Disorder was just beginning to emerge as invited to become a paid “road technician” Burger. We also went to Ray Gun and a significant cognitive disorder in children, as a member of the Palette of Possibility Tacopocalypse.” especially boys. Little was known about production tour, a life event that Jon refers autism at the time of his diagnosis in the to as “The Best Week of My Life.” When I asked Jon if there was a message mid 90’s; programs designed to meet the he wanted to share with others reading this needs of these learners were scarce. His When I asked Jon what made it so great, he article, he paused for just a bit. “As an older parents struggled to find after-school flashed me one of his huge thousand watt person with autism I feel proud to pass the enrichment programs that would not only smiles and said, torch, to pave the way to help get more be inclusive of their son, but would help kids involved in theatre. And to let them him thrive. know that you can be a part of theatre at “Because I got to be with a any age. No matter how different you are, All that changed in 2006 when Jon found group of people and be a if you have a disability, you can do theatre. his way into an after-school drama Theatre makes a place for everyone.” program at Bunger Middle School that was valued part of that group. I being offered by UNI Theatre professor met new people, I got to see Gretta Berghammer. It was life changing new places, I was one of them, for both of them. Jon found a place where his gifts and abilities could make valuable one of the ensemble. I loved contributions; a place where he could being on the road, sharing interact with others and begin to make stories and conversations friends as they collaborated to make theatre. Gretta recognized a need in the profession with others as we traveled of youth theatre to make programming by van to all the different more accessible and responsive to the schools and theatres. I just needs of youth with autism. The more Jon’s passion for learning about, participating loved the whole experience.” in, and experiencing live theatre grew, LEARN ABOUT THE PALETTE the more Gretta worked to enlarge her OF POSSIBILITY TOUR programs to be more inclusive and It was also the first time Jon traveled away responsive to the needs of Jon and others from home without his parents, a life event with autism. The result…the Department that everyone else in the company had of Theatre’s Spectrum Theatre program, done well before the age of 25. As Gretta and nationally recognized work in drama and others worked to put the tour schedule and theatre education for youth with together, Jon and his Job Coach, Katie developmental delays, including autism, in Kimber, worked to translate that schedule both production and classroom teaching. into a format that would help Jon plan for each day, including prompts to help Jon’s collaboration with the Spectrum him remember to set his alarm clock and Theatre continues to this day. Initially he strategies for budgeting his daily meal per was a member of the acting company; as he diem. Katie was excited by the challenge grew older, his interest in technical theatre of helping Jon plan for seven full days on and production took “center stage.” Since the road. She viewed the tour as a fabulous 2010 Jon has been a paid employee of the opportunity for Jon to build friendships Sturgis Youth Theatre, working on summer and experience new social situations that productions as well as serving as a teaching he would never otherwise encounter. associate for the inclusion based Spectrum 4 MAGICAL MOMENTS IN LIGHTING AN INTERVIEW WITH CHRIS ANDERSEN

BY CYNTHIA GOATLEY CG: Where did you get your Associate CA: I was an assistant designer for a show degree? before DMCP which allowed me to apply for Chris Andersen (’17) was my lighting the lighting designer position. I then gave designer for Dead Man’s Cell Phone [DMCP] CA: From Iowa Western Community a design presentation for the show and was in the fall of 2016. Recently, we had a phone College, Council Bluffs. approved as the designer. conversation about his time at UNI, his love for lighting design, the DMCP process, and CG: Why did you chose lighting design for CG: How do you begin your design process his current status. your area? What do you like about it? for a show?

CG: Chris. It’s Cynthia. Thanks so much CA: I enjoy all the areas of lighting from CA: When I first start on the design process, for taking time to talk with me today. I have the electrical work, to the programming, I try to match colors to the emotions I feel in missed our interactions. to designing a show. I really like the mix the script. lighting design gives you incorporating art CA: It’s good to hear from someone at UNI. and technology together. It also allows me as CG: What was the most difficult thing about the designer to analyze the script for clues to Dead Man’s Cell Phone? CG: Your area of emphasis at UNI was the story, and how I can help the audience Design and Production. Did you come to understand it. I chose lighting design CA: Working in an arena style theatre. I was UNI knowing you wanted to be a Theatre because as a designer it allows me to create always adjusting angles of lights so everyone major? magical moments in a show. could see and so light wasn’t shining in someone else’s eyes across the room. CA: Yes. I had my Associates degree in CG: I want to come back to your creation of Technical Theatre. I did think about doing magical moments, particularly in DMCP, in CG: Yes, arena staging is difficult. Do you feel a minor in computers at one time, but the a minute. First, tell me how you became the you successfully conquered that problem? scheduling didn’t work out. designer for DMCP. 5

CA: I think I did. But, I was never happy CG: I remember. You were always adjusting, with the shadows. It seemed like there were refining. That’s what made it so good to work a lot of shadows, and I was always trying to with you. You kept working to make it better. fix it. Looking back, I realize it wasn’t as bad What are you doing now, Chris? as I thought it was. CA: I am working in a school district as a CG: What was the most enjoyable aspect of technology assistant, and I also help the the work? high school with the shows they perform in the auditorium. I also help out at a local CA: I liked the amount of brainstorming community theater on the shows they that was involved in the show, especially perform. being able to light the paper houses in the show. It took so much trial and error to get CG: How is it going? the houses to work like I wanted. CA: Last week was my first week. It was [Note from CG: At the end of the first really overwhelming at first. I’m supposed to act, there is a moment when the two lead be in the middle school, but in the training, characters kiss. They both have a great love they have me working with the head guy at of paper, and this kiss happens in the back of the high school … Every single day there is a stationary store. Paper drops from above a steady stream of people wanting help and as paper houses, designed by student Megan things fixed. I thought at first, I couldn’t do Coffel, descend.] this job … Towards the end of the week, it got a lot better. You sit behind a desk all day CG: Now, since your mentioned the houses, behind a computer. You get back at night let’s get back to “magical moments.” What and you are completely exhausted. were those for you in DMCP? CG: Chris, I’ve worked with you and know CA: The lighting for the paper drop. The you are definitely up to any challenges. characters were secluded for a moment Thanks so much for talking with me. before the paper houses with lights inside came down. CA: You’re welcome.

CG: Where did you get your lighting idea for that moment

CA: Leonard Curtis, [set designer] had presented an image of a little house with the starry night above it. The impulse came from that.

CG: It was a lovely moment.

CA: Thank you.

CG: When looking back at the project, what is your assessment of it?

CA: I am a lot happier with my work now looking back on it than I was at the time of the show. While working on it, I constantly seemed to be picking at things I didn’t like and it was hard to see the good parts in it. 6

A CORNERSTONE PROJECT OF THEATRE UNI

BY JENNIFER SHESHKO, KATRINA This workshop utilized the talents SANDVIK AND MATTHEW WEEDMAN of seven students: Callie Baack, Madison Fairbanks, Kendra For almost the past decade, Theatre UNI Gliem, Integrity Narcisse, Cooper has dramatized the common read for the Patterson, Keegan Patterson, Cornerstone freshman intake course, a class and Alexandra Stickels (also the developed with the Reaching For Higher stage manager.) Utilizing writing Ground initiative. These productions for prompts from themes of the text, Cornerstone have taken many different forms acting exercises, research, and the over the years: an actual adaptation of their students’ own personal experiences common read, an existing piece of theater Matt created a script. While many of related in theme to their reading, and more these students were all performers, recently a devised piece inspired from their they also had or developed the text. These productions have been offered as skills to hang and focus lights, of 2017. “The Lonely Death of George Bell” a part of our departmental season or as extra construct and paint the set, and to help craft by N.R. Kleinfield centered on a man who presentations early in our semesters. the costumes. They held total ownership over lived and died in New York, illuminating the this production. network of people needed to settle the estate of For the last two years, we have dramatized a person without family or friends. Second was a selection of the Cornerstone reading and As Matt worked with the students to write Kyle Boelte’s “Reluctant Citizens,” a story seen performed back-to-back presentations in the the text, Jenn and Ron designed the scenery, through the eyes of twelve jurors, speaking on second week of school for the various class costumes, lights, and projections. Inspired by whether a society needs to help everyone in it sections. Each performance was followed by the writing and drawings taken from “Wear regardless of their level of social contribution. a brief talk-back in which the actors, director Areas,” the scenic design was based on outlines and designers could engage with the audience of the students’ bodies. After tracing and Matt led the cast through various acting cutting out each silhouette onto exercises and writing prompts from which he masonite stencils, Jenn and Ron created the script. Jordan took inspiration for showed the cast how to paint the the scenic design from a writing exercise done floor, which was the main scenic with chalk on the floor. To create this main element. As Matt took the writings scenic element, Jordan and Katrina supervised of the students and crafted a text, the cast in painting the stage floor, then cutting Jenn and Ron created numerous stencils and painting keywords pulled from the projections for the background. ideas and issues discussed in the production. These projections were sourced Projections created from photos provided from the students’ research and by the cast were used to help underline and highlighted the themes of body illustrate their performances. Katrina took image awareness, sexuality, inspiration from the ideas of community, personal history, racism, and fear individuality and self- image found in the found in the texts. original stories and those of the cast for the costume design. At the end of the performance about the piece, its content, and its creation. American/Citizen week, a single public performance was held Outlines/Shadows In 2017, Matt took on the role of director once with an audience of about 80 people from the In 2016, director Matthew Weedman was more, with faculty members Jordan Kelly community. tasked with devising a short theatrical Andrews and Katrina Sandvik as the design piece based on two readings from the Best team. They facilitated another two-week long During the time Theatre UNI has supported American Nonrequired Reading of 2015: workshop with students Callie Baack, Patrick the Cornerstone classes with these Claudia Rankine’s poem “Driving in The Car Hale, Haleigh Kent, Madison Knaack (also productions, feedback from professors has in the Dark” and “Wear Areas,” a chapter the stage manager,) Integrity Narcisse, Jakob been positive as they appreciate another lens from Women in Clothes by Sheila Heti, Reha, and Mikayla Wahl. through which to discuss the common read. Heidi Julavits, and Leanne Shapton. Aided Connecting the themes of these stories to the by fellow faculty members Jennifer Sheshko American/Citizen focused on a sense of real life experiences of our own students has Wood and Ron Koinzan, Matt ran a two-week community and what it meant to be a resonated with the Cornerstone population. long workshop to develop the script and the member of society, as seen through two texts Some students connect deeply with the issues production based on these readings. that identified issues prevalent within those portrayed, while others feel alienated, but they societies. This year’s texts were taken from all go away with something to talk about. The Best American Nonrequired Reading 5 7

INTO THE WOODS PRODUCTION COLLABORATION

In April of 2017, Theatre UNI collaborated with UNI’s School of Music From choreographer Mandy Masmar: and the Gallagher Bluedorn Performing Arts Center to produce Into the Being able to work with the students who were primarily beginning Woods. The show played to nearly sold-out audiences! level movers was a wonderful experience; since I’m also an instructor of dance, it’s always rewarding to see how far the students come not only Sean Urbantke was our guest Scenic Designer for Into The Woods. in ability, but also in confidence level. This production was an exciting He holds an MFA in Scenic Design from The University of Maryland challenge that I was extremely eager to take on; the large cast size, College Park, in College Park MD. ability level, the giant set, performing in the Great Hall, and so much more made the process a bit tricky at times, which made it all the more He was challenged with creating an environment that could fill the enjoyable. Working with this entire team of professionals and students GBPAC, allow for the orchestra to be on stage and still have ample space really made the project a special one. for the actors to move around and tell the story. He created an athletic, intense, and sprawling environment for these character to traverse. Our From Vocal Coach Mitra Sadeghpour: “woods” became hard, extreme-scaled pieces of musical instruments, As the vocal coach, I loved coming in and working with singing actors soft, flowing pieces of fabric, and the orchestra itself. who were beautifully prepared by Dr. Burkhardt and show pianist Seth Butler. I get to do the fun part: working with text, inflection, subtext, The final product was a dramatic playscape for actors, lighting, articulation, and also helping singers navigate difficult vocal passages. and projections designers to play on. The set was as physically I consider it essential to teach students how to safely and healthily use demanding to act on as it was beautiful, giving both our performance and their voice to communicate in the style of the show, and give them solid, our production/design students a new and dynamic experience. Other basic vocal information they can continue to use to make future singing examples of Sean’s creative work can be seen at www.SeanUrbantke.com experiences successful.

Projected imagery was a very important part of the production. We From Music Director Rebecca Burkhardt: were fortunate to make an association with guest artist Kristen Geisler, a I enjoyed employing a larger orchestra for the ensemble and being lighting and projections designer based in Mt. Vernon, IA. She holds an on the stage. The Great Hall is a wonderful venue for singing and for MFA in lighting design from the University of Tennessee, and currently orchestra so the sound was terrific! works as an AV/Lighting Specialist at Hancher Auditorium in Iowa City. Kristen utilized recorded video, live video and a beautiful selection of From Sound Designer Shawn Poellet: still images to enhance the stage environment and establish a multitude I enjoyed the opportunity to work with some of the best people in all of locations for the show. Other examples of Kristen’s creative work can three departments to produce a show of a scale and quality that I have be seen at KristenGeeisler.com. not yet seen at UNI. As part of this show I was also glad to be able to work with new students that I had not previously had the opportunity to interact with. Producing a large show in the Great Hall has been a long time goal of mine and I was trilled to see it happen!

From Lighting Designer Chris Tuzicka: The expression “it takes a village” really, in the case of Into the Woods, CLICK HERE TO SEE MORE needs to be “it takes a kingdom.” The students, faculty, designers, and staff had to work in a time frame and space that they may not have been used to and that provides its own challenges on top of the normal challenges of getting a production off the ground. It was a great amount of fun to see the students take on that challenge and in a lot of cases meet and exceed it. 8 JAY EDELNANT & LEONARD CURTIS CAREER PROFILES

JAY EDELNANT received his doctorate in Jay also has national stature from his many of Iowa Summer Repertory Theatre. In 2005, Performance Studies from Northwestern years of theatre artistry. He served as National the publication Backstage featured Professor University in 1980 after having started his Chair of the Kennedy Center American Curtis among theatre artists contributing teaching career at UNI in 1972. He retired after College Theatre Festival (KCACTF.) He was a to important summer theatre training 45 years of creative collaborations, brilliant founding editor of the national theatre journal opportunities in the Midwest. He provided directing and acting, stimulating teaching, Theatre Topics. He has served as a member of great support and expertise to the success of progressive thinking, innovative curriculum the National Endowment for the Arts Theatre Marshalltown’s Orpheum Theatre by assisting development, social awareness, and inclusion. Panel and has been the recipient of the John F. designer Pip Gordon with productions of Jay taught a variety of classes in the department Kennedy Center Medallion. His face and voice Foxfireand Something’s Afoot. including Theatrical Makeup, Directing,are well known to many in the Cedar Valley. Aesthetics, and Playscript Analysis. He directed He could be heard in many local commercials, plays of all stripes in the Bertha Martin Theatre, public service announcements, and as one of on the mainstage of the Strayer-Wood Theatre, the voices of UNI commencement ceremonies. in found spaces like the courtyard, and staged readings in the “Off Hudson Series”. He was Jay was best known for his pithy phrases and never one to shy away from a new idea or an gestures. We all remember the ever-expanding unusual approach. Jay was a prolific actor and hand waves of depth and understanding that director; his projects are almost too expansive would represent our Art: Acting, Directing, and to count. His Theatre UNI resume includes Theatre. Others—well at least one—described directing such productions as Angels in him as an “intellectual in a baseball cap.” Also, America: A Gay Fantasia on National Themes, we could never forget to “Read the Damn Play!” The Imaginary Invalid, Sh**faced, an original touring production about binge drinking, LEONARD CURTIS arrived at UNI in 1993 Sueño, Fortinbras Gets Drunk, November, from the University of Iowa, full of ideas, high and Love and Information. He directed many artistic standards, and creative solutions amidst musicals including Hair, Assassins, Spring old-world techniques for scenic designing, Awakening, Urinetown, and his swan song— building, painting and embellishing sets in all Into the Woods. He also worked his magic at of the Theatre UNI spaces. the Ridotto Players (Chicago,) Chicago Opera Leonard owns several properties, all of which Theatre, Timberlake Playhouse (Mt. Carroll, Some of his most memorable scenic designs at he is in the process of restoring, including a IL,) Boars Head Players (Fayetteville, AR,) Theater UNI include,A Little Night Music, The “Folk Victorian house with Second Empire Theatre West (Scottsbluff, NE,) and Theatre Imaginary Invalid, Cabaret, Angels in America, details” in his hometown of Webster City, L’Homme Dieu (Alexandria, MN.) Summer and Smoke, In the Heart of America, A the future home of Essex House Gallery. His Dyybuk, The Music Lesson, Sueño, The Laramie interest in the Bayreuth Festival has yielded Project, Count Dracula, and Eurydice. Leonard a collection of over 1500 examples of paper designed Macbeth, a final production for fellow ephemera related to that institution. UNI Theatre colleague and icon, George Glenn. Leonard was tireless in designing amazing sets Leonard is lovingly known for attention for countless operas (The Crucible, The Merry to detail, finding of the perfect prop or set Widow, Die Fledermaus, The Elixir of Love) decoration, raising the bar for the quality of and the beautiful three-story house for August: craftsmanship, historic accuracy, and for his Osage County. His swan song scenic design was sardonic wit. for Dead Man’s Cell Phone. Both of these retired theatre artists spent a large Professor Curtis has worked as a guest artist portion of their lives at UNI as teachers and and instructor at Coe College, Cornell College, mentors of countless undergrad and graduate Grinnell College, Indiana State University, bourgeoning theatre artists. In every region of and the University of Iowa. Professional the country, you can meet a professional actor, credits include scenic artist appointments at director, scholar, technician, or designer who Missouri Repertory Theatre in Kansas City, will credit their success to the encouragement and design appointments at the University and care they received in their encounters with these amazing professors during their tenure at UNI. 9

THEATRE UNI NATIONAL ADVANCEMENT BOARD 2017

CRAIG COON (1994) MICHAEL PEITZ (1970)

DICK DEVIN (1966) SARAH RINNER (2000)

ANNE HEALY (1984) RANDY STEFFEN (1997)

RONALD KELLER (1978) ANDREA TONSFELDT (2000)

TOM NEVILLE (1983) STEPHANIE WESSELS (2011)

JASON PALMQUIST (1993) SARAH NOLL WILSON (2003)

WOULD YOU BE ONE OF THE EDELNANT 200?

If 200 people who hold a fond memory of Jay can each contribute $100, this fund will reach maturity and can begin helping students soon.

Theatre UNI wishes to thank the members of our National Advancement Board for 100% participation in supporting the development of the Edelnant Theatre Enhancement Fund. Once funded, this account will provide an annual scholarship of at least $1000 as well as supporting costs students incur while completing internships. If you are able to participate, please visit https://theatre.uni.edu/department/about-us/support. 10 SPOTLIGHT ON ACTING

the Susan Grace Cohen Acting Studio and won the Audience Award for Best Feature Circle In The Square summer intensives, it at the San Diego International Film Festival. was a natural transition upon graduation Further, he’s been seen on stage regionally at from UNI in December of 2000 to move to the Penobscot Theatre in Bangor, Maine, off NYC in January of 2001 where he hit the broadway in various short and full length ground running in a musical adaptation plays at The Barrow Group, most notably of William Shakespeare’s Two Gentlemen this past spring in Henrik Ibsen’s An Enemy Of Verona produced by fellow UNI theatre Of The People. While accomplishing all this alums’ Key Theatre. Mike also married his college sweetheart, fellow UNI theatre alum Shannon Patterson, In September of 2001 he discovered what with whom he has two beautiful daughters. would become his professional and creative MIKE GIESE home in New York at The Barrow Group Mike Giese grew up in Dubuque, Iowa Theatre Company. A now 30 year old acting where he developed an interest in theatre and producing institution off broadway, it at an early age. Upon graduating from is where he has been honing his craft over Wahlert high school in 1996 and receiving the last nearly 17 years. Over those years a scholarship to attend UNI as a theatre Mike has been seen in numerous national performance major, he promptly dove into network commercials for products such the progressive and immersive theatre as Coca-Cola, Hellman’s, New York Life community here that gave him his first real Insurance and Dr. Scholl’s. He appeared in taste of what it means to be an actor and true Grand Theft Auto V as Fabien LaRouche, theatre practitioner. Having studied during on television in As The World Turns and subsequent summers in New York City Nurse Jackie, in multiple short and feature toward the end of his tenure at UNI at both length films, most recently Life Hack which LINDSEY CATRAMBONE and volunteering at a VO casting studio, a Choice, and Nickelodeon. I’ve worked in job in voiceover casting where I had been multiple video games including Grand Theft volunteering became available. Again, Auto V. I’ve also voiced numerous animated not necessarily what I had planned, but I characters such as Luna, the outdated, jumped at the opportunity to work in the teenage smartphone (pictured - while 9 business in which I eventually wanted to months pregnant), as well as a spunky perform. I met some of the most gifted VO shrimp named Alice in the newly released talent in the business while I worked as a animated feature film “Deep.” Ironically Voiceover Casting Director. I also had the enough, I’ve also returned to doing on- opportunity to learn what the client (who camera commercial work again, and can does the hiring) is looking for and which currently be seen in a Groupon commercial After graduating in December 2003 from talent they ultimately select to book the job. airing all over the world as “Supermom 1.” UNI with a BA in Theatre Performance, You can’t learn any of THAT in a class. It was I moved to Hollywood to pursue an on- invaluable. Meanwhile, I was auditioning I guess what I’ve learned through this camera acting career. Within a few months for VO jobs on my own time and finally, almost 14 year journey is not to be too set I was fortunate to book a union, on-camera after two years, landed my first VO gig for on “my plan.” As my great-grandfather commercial as “Female Golfer 1” (thrilling,) Skechers. It was my only voiceover job that always said, “If things don’t go your way, and joined the Screen Actor’s Guild. It didn’t entire year! My next step was to cut my they just may go a better way.” I’ve also take long to realize I didn’t actually love demo and get an agent. Once those steps learned that on camera they cast real golfers being on-camera. So naturally, I started were accomplished I thought I was on my and supermoms, but in voiceover I get to pursuing professional golf. Not what I had way to make it big... play a smartphone and a shrimp. I love that. planned, but why not? However, when I heard about voiceover (VO) through a golf Five years later, I was finally able to quit buddy of mine I thought I’d give it a shot. my “day job” and actually make a living solely as a voice actor. I haven’t looked back So, I invested in my new venture by signing since! I’ve been fortunate to voice hundreds up for as many classes as I could afford... of commercials including campaigns for one. My acting degree from UNI translated Toshiba, Proactiv, Fabletics, and Talking well to acting “behind the microphone” Stick Resort to name a few. I’ve also voiced and I instantly fell in love with VO. After promos for networks such as HBO, Cartoon a year of classes, lots of networking, Network, Disney Jr, NBC Sports, Music 11

MIKE SCHMINKE So, how did I get where I am commercial agent and started now? After I graduated from going on auditions. Since then UNI, I moved straight to Los I’ve done national voice over Angeles, CA where I studied work, industrial, regional, and improv at the Upright Citizen’s national commercials as well as Brigade. I then moved to film and TV work. I’m also Chicago, IL to study at the taking classes as often as Second City. I graduated from possible as it keeps me sharp their Improv Conservatory and more connected with the program and performed on acting community. I will be their House Co. team for a year. teaching a “Using Comedy in After that program came to an Commercial Auditions” class ANTHONY SOIKE end, I transitioned out of the starting next year. Ironically, most of my foundation through therapy, or improv community, got a TV/ convictions about what leads to by expanding your horizons “success” as an actor has little to through creative fields or travels, do with acting and more to do you’re setting yourself up for the with self. Anyone can get lucky long haul. It’s not a journey of booking a part here or there, or erroneous time even a big role that launches a commitments, expectations of career, however I’m convinced self, or hopes of others, but one that sustained “success” as an where the ups and downs are actor comes from strengthening expected and where the hope is yourself. Whether it’s to reach a point where “success” intellectually through podcasts as an actor doesn’t matter. and books, strengthening your

THE THEATRE IN YOU AN INTERACTIVE, DIGITAL TEXTBOOK Associate Professor of Theatre, Stephen Taft was discern what can and must be improved upon awarded a Professional Development Assignment or changed.” The Theatre in YOU provides a during the spring 2017 semester. Although foundational knowledge of theatre in order that much of his time was spent focusing on the final the student may begin to recognize how such development phase of his text, he also traveled knowledge may be relevant to them on a personal to NYC and Los Angeles interviewing various level. professionals within the theatre and entertainment industry. Real world examples from weddings to job interviews and athletics to politics form a basis of The Theatre in YOU is an interactive digital text understanding in order that students may discover book specifically designed for non-theatre majors. the relevancy of theatre in their lives. Eleven Due to the interactive nature of the text, Taft is chapters provide a foundation of the art form with hopeful students using the textbook to its fullest the flexibility for any professor using the text to extent will have a greater understanding regarding incorporate their specific interests, expertise and the process of creating theatre, gain an appreciation experiences into the class. website and discover the insights, perceptions, of the creative and performing artists working in personal journeys and advice of these working the industry, and understand how the art form is The ability for students to read the text and then artists to be valuable and inspiring.” relevant to the student, not only in the here and immediately seek illustration of a specific topic now, but years after graduation. More importantly, via industry professionals in the field with a click Interactive responses embedded within the it’s his hope that students will be able to use the of a button was an initial attraction to Taft. “I’ve digital textbook have been developed to increase knowledge they have gained in the class in their incorporated a number of excerpts from various student participation and to jumpstart classroom daily lives. conversations I’ve had with industry professionals discussions. End of chapter flashcards are the including text, audio and video.” Students can norm to encourage students to study anytime A primary inspiration has been Tony Wagner’s access the full interviews on his website at: www. and anywhere on any digital device. One final book, Creating Innovators. Wagner states: stevetaft.com. “I wanted to explore the journey consideration for Taft was the cost of the textbook “Increasingly in this 21st century, what you know of the working artist in the theatre, television and which is approximately half of a printed textbook. is far less important than what you can do with film industry that took that elusive first step after The Theatre in YOU is being piloted during the what you know.” However, Wagner also notes: graduation and continued to work in their chosen Fall 2017 semester and is published by Great River “Knowledge is also essential in order to innovate. industry years after they were college students. It’s Learning of Dubuque, Iowa. You need foundational information to be able to my hope that UNI Theatre majors may visit my 12

AN ACTOR’S PATH CHRIS Mc GAHAN

us to call it quits. It sucked. It one here (except for the incomparable was heartbreaking to let it go, Clint Clark, former BAP member and to feel like I failed- my friends, ultra-amazing UNI Alum.) I had no my art, my school, and mostly contacts. I was in the middle of a nasty myself. But! I was not to be divorce. I was alone. And booking jobs had deterred. I started working with been extraordinarily easy up until now. In other companies- directing, Minneapolis? I booked the first commercial producing, honing my craft(s.) I auditioned for. In Hawaii, I booked a I was also fortunate enough to national network show within two weeks of start booking commercials and my first audition (and managed to book a industrial training films, and role before my grad school acting professor even a few small local features. did!!) But LA is huge. And hard. And I made some good friends, and scary. My first year was just me adjusting connected strongly with some to being here, and finding a support circle. Here’s the bulletpoint version: people who would show up again in my life My second was feeling overwhelmed and 1. Let the no’s go. later on. chasing down any and every lead to get me 2. Be smart- Hard work isn’t valuable if it into a room. My third was recovering from isn’t efficient and the RIGHT work. Then I went off to grad school in Hawaii. burnout- I wasted so much energy on so 3. Persevere. You never lose until you stop It was simultaneously the best and worst many bad decisions, I didn’t have anything fighting. three years of my life. My personal life left in the tank to carry me forward without 4. Celebrate your successes. Every was falling apart- my very new marriage a plan. So I sat down and made one. And single one. And then forget about them: hit rocky ground very quick. We were when I had a plan, I started booking again. Dwelling on yesterday’s wins doesn’t facing money problems (Hawaii is NOT I got smarter. I got a better agent. I was get cheap.) There was a whirlwind of drama asking the right people for help finally, you to the end of today’s game. (the substantially-less-fun-off-stage-kind) doing the right workshops to get me in 5. Focusing on lack only generates happening in the department around us, front of people who understood me. My more lack. and it was too easy to get sucked into it. I was social circle got bigger, and stronger, and facing casting challenges as well- no one at they grew alongside me. My ego stopped It’s kind of hard to pinpoint how I got where the school quite knew what to do with me. I getting in the way, and started helping me I am- a lot of it was failures and loss and wasn’t a leading man, but I was too normal out- it kept me rooted in who I was, even rejection. Successes too, definitely, but the to be a character actor. But, suddenly, I when auditions and bookings were scarce. failures were the things that took me from was Hawaii’s television IT boy. I booked And speaking of scarcity, I finally stopped place to place. Skill, training, perseverance, roles on three shows back to back to back. paying attention to it. The things I didn’t and building good relationships are I booked a role in a summer blockbuster. have, the auditions I didn’t book, the absolutely necessary to stay vital in this I was blowing up regional union radio relationships that fell apart- focusing on business. But luck sure helped me early on commercials! And those wins made me the lack was an energy vacuum- the more I too. realize that I needed to go to Hollywood. focused on what I didn’t have, the bigger it Not because it was the only choice, but got. So I just stopped looking at it. Nothing After I graduated from UNI, I moved to because when someone suggested it, my good ever came from caring about nots. Minneapolis. I did theatre, lots, and lots heart or brain or….something *clicked* of theatre, and even started a company and I knew it was my right next step. By year 4, I finally felt like I belonged here, with a group of like-minded UNI grads. like I was making progress to my next big (BAP REPRESENT!) We fundraised, and I want to be clear here: I didn’t sweep level. This big, scary, challenging place felt fought, and used every connection we Hollywood off its feet. I didn’t show up here, like home. And now, as I keep on creeping could to build something. But breakups, and become a star overnight. I struggled. towards being here for a decade, I’ve long bad partnerships, ego, and ultimately a HARD. I had a job that was flexible, which since let go of the idea that my success were difference of vision meant it was time for was AWESOME. But, I knew next to no flukes, or that my next failure was the one 13

that would prove I should give up entirely. I even if they didn’t? It doesn’t matter. I’m go on avail probably once a month. (Avail is happy with my trajectory. I haven’t hit my this weird film thing where they say “you’re big goal yet, and that’s okay too- it means on our very short list: hold the day but we still I have a reason to keep fighting, to keep reserve the right to not use you up until the becoming a bigger fish in this gargantuan day before.”) I have offers for small projects pond. What motivates me has grown and regularly. I’ve booked 12 commercials in changed and I have too. the last three years. I wrote some scripts that are being workshopped with agents So here I am. Great at failing; great at and directors, trying to get them sold and rejection. Excited and terrified and awe produced. People occasionally recognize struck and lucky and lost and stupid and me in classes or at bars. Which is nice. But brilliant and HERE.

A LETTER FROM STEVE PALMQUIST

Greetings, Theatre UNI Alumni. enjoy hearing yours, perhaps we can underwrite future theatre educators with accomplish that in some other venue. scholarships. Bravo, Mr. Superintendent. I came to Theatre UNI in the fall of 1976 as a graduate student under the tutelage My plea is that you continue to engage In the next few years the National of Stan Wood, D. Terry Williams, with your Alma Mater (or re-engage if Advancement Board will charter a plan George Glenn and Harvey Sweet. My you have let that relationship lapse.) Our to update the Strayer-Wood Theatre assistantship was to provide publicity current crop of student actors, designers, to better serve 21st Century needs. and public relations. I was Stan’s stage and fledgling educators need our Anticipate that exciting chapter and plan manager for The Madwoman of Chaillot continuing support: attendance at their to contribute. If you use social media, that fall. Unfortunately, Stan didn’t live to productions, scholarships, and other check out FaceBook pages “Theatre see the performances of that production, financial aid to enhance their education. UNI Buddies”, “Strayer-Wood Theatre”, nor the construction and opening of the etc. Feel free to contact Eric Lange, fine theatre that shares his name. Why not become a Friend of Theatre other faculty members, or Friends board UNI? The enrollment information may members. I write to you today as a member of the be found online at https://theatre.uni. Board of Directors of the Friends of edu/department/about-us/support. We are family. Theatre UNI (formerly S.T.A.G.E., Inc.) Subscribe to the Theatre UNI season. Theatre UNI changed the course of my Or you may wish to contribute to the Steve Palmquist, MA 1977 life and enhanced its quality in countless newly formed Jay Edelnant Theatre [email protected] ways. I’m sure that is true for each of you Enhancement Fund. My classmate, as well. While I would love to share some colleague and friend John Karbula of my theatre stories with you and would has created a special endowment to 14

CAREER PROFILE: CYNTHIA GOATLEY

At the end of the Fall 2017 semester, Dr. A Sudden Loss of Altitude, was produced by Cynthia Goatley will retire from a 27-year Theatre UNI in 1997. career at UNI. During that time, she has established an impressive record of quality On multiple occasions, shows that she teaching, research and creative activity, directed received affirmation from the including the completion of several original Kennedy Center/American College theatrical scripts. Theatre Festival: • Meritorious Achievement in Directing She is a member of the Dramatists Guild (On the Verge, 2011) and The Playwright’s Center (Minneapolis). • Meritorious Achievement in Directing She received the Regents’ Award for Faculty (The Laramie Project, 2002) Excellence in 2002 and the College of • Meritorious Achievement in Directing Humanities and Fine Arts (CHFA) Faculty (The Singular Life of Albert Nobbs, Earlier, she developed (also in conjunction Excellence Award in 2007. Additionally, 2000) with Rebecca Burkhardt) a musical entitled Dr. Goatley was twice chosen as a Fulbright The Misses Pirie and Woods (current title Scholar, completing work with the In 2011, She was selected from over 120 Scotch Verdict) which received a concert University of Gdansk in Poland, where she applicants to attend a one-week intensive performance at the Theatre Building directed Crimes of the Heart for the Maybe workshop for professional directors in Chicago, in Chicago, IL. Her play for youth, Theatre Company. Chicago. The Director’s Lab, Chicago is Catching Butterflies, was commissioned by affiliated with the Lincoln Center Director’s Theatre Wybrzeze in Poland and received Lab in NYC. performances in Sacramento, CA and in Cedar Falls, IA. Cynthia is a consummate researcher and insists on providing her actors with a strong dramaturgical founding from which to And, Cynthia has been featured as a work. performer in Theatre UNI productions, including Noises Offin 1998 and August: At UNI, Cynthia has regularly contributed Osage County in 2014. In her final semester, to Honors coursework and has consistently Cynthia is portraying the title role in been recognized for rigorous and high- our production of Mother Courage and quality teaching in Acting, Playwriting, her Daughters. It is perhaps fitting, given Directing, and specialized coursework such Cynthia’s high achievement across multiple as Feminist Theatre. areas of the theatre, that as she concludes her academic career she is taking on the Most recently, Dr. Goatley and her performance of one of theatre’s most epic collaborator, Rebecca Burkhardt, guided roles. As has always been the case, Cynthia the world premiere of their original musical has no doubt used the process of inhabiting based on the life of Texas Governor Ann this role to further educate our students Richards: Just Ann. A local reviewer spoke about professional practice and craft. accurately in saying: As the recipient of multiple Summer Cynthia plans to retire in Santa Fe, New Fellowships, PDA’s, and Iowa Arts Council Mexico, where she and her wife, Rebecca grants, she has been enabled to complete “A rousing, inspiring, musically Burkhardt—who is the conductor of the multiple writing projects, and to work and theatrically exciting new Northern Iowa Symphony Orchestra and passionately to workshop these productions; musical. Cynthia Goatley has collaborated frequently with most often in a setting which includes UNI heatre UNI—own a home. students and community members. During deftly unfolds Richards’ life one such assignment she completed the through a series of revealing Godspeed, Cynthia! libretto for a one-act opera about explorer vignettes that move about in Isabella Bird. One of her earlier scripts, time.” 15

ALUMNI PROFILES: TORI REZAK (2012)

understanding of technical theatre as well as Arts Administration was a career option. I strong communication skills. had spoken to PCPA’s Production Manager, and decided I needed more training— As you were applying and working in specifically on the business side—if I different companies, how did your tasks wanted to found a company. When I began and responsibilities differ, and how were applying for Arts Admin programs two they similar? years later, I was looking for schools that offered both the business training I needed Going from the costume shop to the with an arts-specific focus. I considered What jobs have you held that helped marketing and development office may seem Columbia College in Chicago, American prepare you for the position you are in like a strange leap, but the mind set required University in DC, and the Cincinnati now? by a stitcher or draper is not dissimilar to that College-Conservatory of Music (CCM) at required of an administrator. Working with the University of Cincinnati. I’ve held a few different jobs that have helped designers and directors, the final costume me prepare for my job as External Relations is the goal; the technician pulls apart the How did you decide/narrow down your Officer for Theater Aspen. Theatre Aspen design into its component pieces. Similarly, choice for a master’s program? is a small company and our staff members I now work with the administrative staff to all wear several different hats. My work in develop our long-term goals for ticket sales Before officially applying to any of these undergrad was based around costume design and fundraising, then work backwards to schools, I visited each city, toured the and production. Working in UNI’s costume develop a plan of attack to meet those goals. campuses, and met with faculty and students. shop as a TA during undergrad and then in At one time I focused on the details of each Physically visiting each school was extremely the costume shop at the Pacific Conservatory stitch in a costume, now I focus on the details important to me. I would be moving for Performing Arts (PCPA) in California of of engaging language, timed mailings, and somewhere completely new, completely on course strengthened my costume-specific exciting imagery. Something that has never my own, and that new city might be where I training, but those jobs also gave me a changed—despite my different companies stayed for a long time. I had to at least feel at holistic understanding of the technical and and titles—is working with people and home in this new place. I also knew that I did performing elements of mounting a show. making sure all parties have what they need not want to pursue a four year program, and While I was still at UNI, I also co-founded to do the best they can. I spend way more time that the cost of living and tuition would be a the drag and burlesque troupe Sissy’s Sircus: at a computer than a sewing machine these big factor. Ultimately, I was looking for the I served as their president for 4 years, days (though I do sometimes get drafted to biggest bang for my buck. How much could I designed costumes, planned tours, and help with alterations and craft builds,) but achieve in the shortest time with the smallest managed marketing and fundraising efforts. the ability to break down a final product amount of money? CCM became my top Running that troupe gave me a taste for into its component parts while maintaining pick because I could get two masters in two working in a more administrative capacity. clear communication has remained constant years, and they offered a full tuition waiver After undergrad, I worked as a corporate throughout my career. with a Graduate Assistantship. Additionally, and social event planner in Des Moines. the cost of living in Cincinnati was not much That job exposed me to LOTS of different When did you decide to pursue your MA higher than that in Des Moines, and the city personalities and taught me how to be and MBA, and what was that process like was entering a revitalization phase with patient in challenging situations, calm under for you? several arts organizations redefining their fire, and how to manage the expectations place in the community. of clients and fellow staff members. I knew I wanted to pursue grad school Event planning is just a different form of while I was finishing up at UNI. I attended What advice do you have for current theatre—there are lots of moving parts, URTAs and toured various design programs students and others as they are looking and communication is key. In my current while I was working in California, but I for work and companies to work with, or position, I manage marketing, fundraising, was also still managing Sissy’s Sircus from considering grad school? front of house, and event rentals. Ensuring across the country. My co-founders and the ease of purchasing a ticket and attending I were considering what it might take to This might be the MBA talking, but jobs a show, connecting donors’ interests with the make the Sircus an official non-profit, but and grad school are both a big investment— company’s needs, and negotiating contracts none of us quite knew how to achieve that. of your time, your energy, your sanity, and with event clients all require a thorough It was around that time that I discovered your money. Think hard about what you 16 stand to gain from applying for a specific distraught audience member or out to lunch company or school. If you tour, you’ll get to with a high-end donor, focusing on the other travel the world, but you probably won’t see allows me to be fully present and enables me to your family for a while. If you take an office job, adjust to any situation. In grad school, I hated you might have more stability and predictable my e-marketing class. Now I help manage a work hours, but you might be bored working website and social media. Go to that class you at a desk. Know your priorities and personal hate. Eventually you’ll be glad you did. goals, and keep them in mind as those exciting offers come in! Find people you love to work with and hold on to them. The people you’re living and working How have your goals and interests shifted with now will probably continue to be part of since graduation? (from undergrad and your life well beyond college. If you work in grad school?) theatre, you’re sure to cross paths at one time or another. If you’ve found someone you respect My goals and interests have clarified since and enjoy working with, an opportunity may graduation from UNI. I inadvertently co- eventually arise for you to work together again. founded a company when I was 20. At the time Keep in touch, watch their careers bloom, I was just interested in creating something fun and send them a Facebook message every so with my friends, but that project inspired me often. When a position opens up that they’d be to one day found an interdisciplinary arts perfect for, get them back on your team! incubator. Pursuing grad school gave me the basis to lead such an organization, and Go big. Teachers say it all the time: this is a safe working at Theatre Aspen is honing those place to try and fail. Go big with your tries. If skills. In addition to founding a company, you find yourself thinking “What the hell am I I also want to ensure that it is a creative and doing? Can I really pull this off?”, then you’re supportive environment for staff and artists. probably on the right path.

How has theatre changed for you now that What do you find exciting about your you work on the marketing/developing side current position? of the stage? The people I work with and the small size of Working on the marketing and development the organization make my job exciting. I have side of the stage allows me to experience the pleasure of working on a team of insanely theatre from the audience’s view point. While talented people. Every day I get to see them the creatives, technicians, and performers tell kick ass at their jobs, and we often get to kick the tale on stage, I help craft the theatregoer’s ass together. We produce huge shows in a tent personal experience. From the first ad you see that gets torn down every winter. Sitting in in the newspaper, to a call to the box office, that house, though, you could easily believe to cultivating donors and long-time allies you’re in a regional theatre in a major city. I’m for the theatre—all of those pieces create an really proud of the work Theatre Aspen does. individualized experience that can impact We make magic, and it’s really fun. a huge number of people. If I’m attending a show at another theatre, I’m looking for What’s the most challenging part about your similar things as an audience member. Though job? my lens may have shifted a little, I still love to The most challenging thing about my job be taken away by a theatre production. Theatre is the summer schedule. I am a team of one is still magic, even though I know the secrets managing four departments. The days get long, to most of the tricks. and the weekends never really come until the season closes. Though it’s a lot of work, I get to What advice do you have for current students spend that time in one of the most beautiful in school? places in the country with some of my favorite people. The class you hate the most might be the most important one you ever take. I’m going to Thank you and all the best! be honest: I hated my UNI acting class. The Tori Rezek professor and my classmates were great, I just didn’t see why I had to take acting when I was External Relations Officer focused on production. I’d never audition Theatre Aspen for a show, and I hated being on stage. Now, I act every day. Whether I’m dealing with a 17

ALUMNI PROFILES: LEIGHANN WESTERMEYER (2016)

What advice do you have for current together and find a solution. At Walnut students and others as they are looking Street the bigger projects were more of a for work and companies to work with? team effort because of the size of the set and Look for the companies that care about the time crunch. their employees, talk to the instructors, former students, current students and see As you wrap up another season and start where they went and how they liked it. But on something new, what are your new also trust your gut, if it the company feels goals and ideas for the next big thing? off to you your gut is probably right about My goal for this year is to expand my it. experience in every area that I can so I can apply it in future projects. After I am As someone who began to work with What jobs have you had that helped finished with the season at Riverside I plan professional theatre companies right prepare you for the position you are in to find work as a props artisan. away, what was that process like for you? now? Going from a theatre where we work a The experience I got while working at Where are you going in Florida? few hours a day and classes in between to the Gallagher Bluedorn Performing Arts Vero Beach, Florida working a full day in the shop is really nice. Center and the experience I got from being You aren’t being pulled away to work on a paint charge for a few shows my last year What will you be working on? homework or work on other projects and really helped prepare me for the jobs that I I will be working on shows such as Hank you’re able to put all your time and energy have now. At GBPAC touring shows come Williams: Lost Highway, Mamma Mia, into the work that you love! in and you get to meet the crew that once Gypsy, A Christmas Story, and many more! started in the position you are in. Being able How was your experience with the Walnut to chat with them and learn what their work What advice do you have for current Street Theatre, and what were some of life is like is very valuable. You also learn students still in school? your responsibilities and tasks? how these broadway shows are set up, taken My advice for current students is to take I had a great experience at the Walnut down, and everything in between—that every opportunity, learn all that you can, Street Theatre. I learned so much—many only helps you as a builder and designer. and know your worth. new techniques—and much much more! Being the paint charge showed me what it As the apprentice it was my responsibility was like to be in a higher position which to assist painting the main stage shows, included conversions that I would have with along with the Studio shows—but the designers, scheduling work hours, making a kid shows were my direct responsibility. I plan and scheduling to get everything done would discuss them with the paint charge on time. and come up with a plan—there was often a time crunch and I would usually get help As you were applying and working in on those shows. different companies, how did your tasks and responsibilities differ, and how were How have your goals and interests shifted they similar? since graduation? After working in a professional theatre, I With switching departments this year some decided to start working in props. I realized of my tasks changed and some are similar. that I have always been a bit more well- Both apprenticeships have the apprentices rounded in the different departments and take charge of some of the smaller shows decided that props would be a better fit for us to get more experience in a higher for me. I still love to paint but I missed the position. At Riverside Theatre, I will have woodworking aspect. more responsibilities building the bigger props. If we are stuck on a project, we work 18 THOUGHTS ON RETURNING KATY SLAVEN

BY KATY SLAVEN #6 Everyone is so welcoming #1 Making an impact My former professors regularly take time out The goal was to teach theatre in college. The I graduated from UNI in May 2010 with a BA of their day to stop by my office and chat with dream was to be the kind of professor I valued in Theatre: Performance-Acting, then earned me, colleague to colleague. The professors the most when I was a student, the kind who my MFA in Acting from Florida Atlantic who weren’t here when I was a student reach works tirelessly, genuinely cares about the University in May 2015. In the Spring of 2017, out to me too, and tell me they are really glad students, and does everything they can to help I was hired to teach three classes at UNI: I’m here. I don’t think they know how much it them achieve their potential. My students Foundations of Theatre, Theatrical Arts and means to me! have reached out to me—emails, hand-written Society, and Acting. This fall I am teaching letters, sometimes in person during office Theatrical Arts and Society and Intro to #5 Perspective hours—to let me know how much they loved Reading Playscripts, and in the spring I will Teaching the classes I once took helped me my class or how I inspired or influenced them. return to teach Acting. develop a greater appreciation for what my This brings a smile to my face and tears to my professors put into their jobs, and what they eyes. Here are my top ten favorite things about put up with from students! (i.e “Read the teaching at UNI as an alum: Damn Play!” – Jay Edelnant) Iowa Theatre Artist and Educator I stay pretty busy with work! Besides UNI, I #10 Familiarity #4 I’ve never been a better student teach at Coe College in Cedar Rapids, I already know how to get around campus. I was always a pretty good student, but my Hawkeye Community College in Waterloo, Not only does this help in terms of efficiency drive then was nothing compared to what it is Nolte Academy in Coralville, and Theater (not to mention confidence), but everywhere now. In my experience, being the person in Cedar Rapids. About once a year (sometimes I go, I get to relive some incredible memories. charge means I never get to skip class, tune twice) I make time for an acting project. In out, fall asleep, or show up late or unprepared. 2016, I did a national tour of a play called Out #9 Parking! I am a leader and a role model whether I want of Bounds. In 2017, I did A View from the I can’t even explain how wonderful this is. to be or not! Bridge by Arthur Miller. In 2018, I will be Only once you have experienced the insanity doing Detroit by Lisa D’Amour at Riverside of competing for spots in CP, C, or B lots can #3 Appreciating opportunities Theatre in Iowa City. I work in other areas of you truly appreciate parking in an A lot. I UNI is constantly reaching out to me theatre as well, including dialect coaching and imagine this is what flying first class feels like, with growth opportunities. The Theatre directing. and I’ll never be able to go back. Department is always offering ways for me to get even more involved: adjudicating acting For more information about me, #8 Relating to the students juries, going on field trips with students to please visit www.katherineslaven.com. I remember what it was like to be a UNI see plays, facilitating talkbacks, attending student. I even know what it was like to have leadership conferences, taking technology many of the professors that current UNI classes, etc. I have tried to snap up as many students have for their theatre classes. It of these opportunities as possible. reminds me it wasn’t that long ago. And yet… #2 Carrying on a legacy Every lesson I teach is an amalgamation of my #7 Seeing the progress own original thoughts and the nuggets of So much has changed since I was a student wisdom I have picked up from my teachers here! There are at least half a dozen new faces over the years. It’s inspiring to teach alongside on faculty and staff. The curriculum is the very professors who guided me in my different. The facilities have been updated! formative years. They continue to teach me The Strayer-Wood even has a gender-neutral and influence me whether they realize it or restroom in the lobby! It’s amazing how much not. can happen in just a few years. 19 GARY KELLEY POSTER RETROSPECTIVE

The process: how do you go about finding inspiration after you’ve talked with directors, companies, other designers, etc.?

It all depends on the project. For Theatre UNI’s production of Hair, I can pull from my memories, because I lived during the Age of Aquarius. I was around when Hair was around the first time. I use visual inspirations as my jumping off point, like old photos, art styles, clothing and hair styles and patterns. Research is a big part of it for me. You don’t want to get too complicated. You have to find a focus, that’s the key. Whether that’s one figure or interactive figures, you don’t want to create a scene from a play, you want to find a metaphor for the story and music. In this case, it may be a simple figure or two, I don’t know yet.

What do you want viewers to take away from your work?

One really important thing for me to do is to the lines.) I’ll let the storyline lead the imagery seduce the viewer to read between the lines. of the poster a little bit, but it’s not about In other words, what’s going on in this image telling the story on the poster. I don’t want that I don’t quite understand by just looking to repeat what’s been done, I want to create at the poster, but obviously has to do with our own version. I love projects that prompt the story line? I don’t want to just hit people me to get into the subject matter and create between the eyes with the most obvious image something new and fresh. of the production. I want to take people back to that time, first of all. I want the nostalgia to be there, that’s important I think. There’s a bit of subtext of information (reading between 20

First projects/posters? National Awards? isn’t telling me what they want. They’re trusting me to interpret it, whether it’s the 1980, for Dee Terry Williams. It was a entire season or a specific play. seasonal poster. I did a few show specific posters, but the majority were seasonal I studied graphic design and art at UNI. posters. I did his posters at Western I always enjoy the projects where I get to Michigan when he moved there, too. The be the designer as well as the illustrator, first UNI poster was a view of the new especially with posters. They’re big, bold, Strayer-Wood Theatre, I was really taken sometimes simple and direct. by the architecture from that point of view. The second one was a harlequin sort Other projects: of design; both of these were challenging and fun projects to do. These posters were I do a wide variety of work, and that’s the important for my career because they way I like it. were the first major awards I won at the New York Society of Illustrators. I won It’s a really eclectic range of clients and two years in a row, and they were both for projects I work on. I’m kind of all over the Theatre UNI posters. The first poster I did place. I do a lot of paintings for people. I for Theatre UNI won a gold medal. I was did a lot of work for Rolling Stone over the thrilled. To win the top award in the most years. Most of the projects were portraits. prestigious illustrator show in the country I worked for Playboy. I do a lot of picture was huge for me. They put the image on books for young readers, and also produce the cover of the catalog of the entire show. work for Google Murals, Roundabout These posters were spring boards for my Theatre in New York, and theatres in Iowa career. These are fun projects to do because City. there isn’t a lot of art direction. The client

Poster design for Hair