View Playbill - Muhlenberg College
Transcripción
View Playbill - Muhlenberg College
The Muhlenberg College Department of Theatre & Dance presents NEW VISIONS D i r e ct o r ’ s F e s t i v a l Evening a | Sept 27+3O | pa ge 5 The Love of Don Perlimplín for belisa in the garden by Federico garcía lorca directed by allison lloyd Hrosvitha by Romulus Linney directed by Julia ROSE Schneiderman production Stage Manager Carrie Jablansky Evening B | Faculty Advisor Francine Roussel Sept 28+29 | pa ge 19 Out Loud Three Short Plays directed by Michael Witkes This is a Chair by Caryl Churchill directed by Hayley Cooke production Stage Manager Briana Boche Faculty Advisor Holly Cate costume mentor Lara D e Bruijn “ What is New Visions? At The Wescoe School, we are proud to partner with the local employers who understand the value of supporting lifelong learning for their staff. The investment they make in their employees not only contributes to the growth of those individuals and the organization, but also our community as a whole. ” Jane Hudak, M.Ed. Dean of The Wescoe School T he New Visions Director’s Festival is presented as part of the Mainstage Theatre & Dance season. The festival showcases the talents of senior directing students and features rarely produced, avant-garde works for theatre. It offers a rare opportunity for audiences to see the work of the next generation of up-and-coming theatre artists. This year’s festival will feature the work of four promising directors from the Class of 2015, presented in two evenings. The first features Hrosvitha, Romulus Linney’s rediscovery of the 10th century canoness widely regarded as the first Christian playwright, directed by Julia Schneiderman; and Federico García Lorca’s The Love of Don Perlimplín for Belisa in the Garden, one man’s quest to win the love of the woman he has married, directed by Allison Lloyd. The other will feature Out Loud, a collection of three short plays about the journey of coming to terms with sexuality, directed by Michael Witkes; and Caryl Churchill’s This Is a Chair, an exploration of the complexities of relationships and language, directed by Hayley Cooke. Contact our office for information on tuition deferment and how we can bring Muhlenberg College classes to your site: 484-664-3300. muhlenberg.edu/wescoe 2 New Visions September 2014 September 2014 New Visions3 New Visions director’s festival evening a The Love of Don PerlimplÍn for belisa in the garden (Amor de Don Perlimplín con B elisa en su J ardín ) Federico García Lorca by Translation by Caridad Svich directed by Allison Lloyd scenic designer Alexander Michael michaels costume designer lara de bruijn Lighting designer Claire Waggoner Composer/Sound designer marc jablonski stage manager 4 New Visions September 2014 Carrie Jablansky Cast James Ofalt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don Perlimplín Julia Garber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Belisa Seamus Good . . . . . . . . . . . . . . . . . . . . . . . . . . . . Duende #1/Marcolfa Dahlya Glick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Duende #2/Mother Amor de Don Perlimplín con Belisa en su Jardín, copyright © Herederos de Federico García Lorca, from Obras Completas (Galaxia/Gutenberg, 1996 edition), and The Love of Don Perlimplín for Belisa in the Garden copyright © Translator(s) and Herederos de Federico García Lorca. All rights reserved. For information regarding rights and permissions of Lorca’s plays and other material, please contact [email protected] or William Peter Kosmas, Esq., 8 Franklin Square, London W149UU, England. Hamilton Family Restaurant Open 24 Hours Late-Night Specials 10% off for all Muhlenberg students and staff! www.hamfamrestaurant.com 6 New Visions September 2014 September 2014 New Visions7 a N ote A bout t he Play F ederico García Lorca was a Spanish writer from the southern region of Andalucia, archived in the ranks of the great dramatists of the early 20th century. Famed for his rich, imagistic poetry and poetic drama, Lorca wrote from within the nexus of the great historical avant-garde movements. He became swept up in the gush of symbolism, expressionism, and surrealism, following in the steps of such dramatists as Maurice Maeterlinck and William Butler Yeats. His plays also draw inspiration from the mysterious and captivating traditions of the Andalucian gypsies, sharing origins with the rich sensuality of flamenco dance and cante jondo. Lorca is also remembered among the ranks of his high-profile colleagues, including composer Manuel de Falla, filmmaker Luis Buñuel, and famed surrealist painter Salvador Dalí. His partnership with Dalí was particularly intense, beginning in 1923 while both young men were attending art school in Barcelona. The two men spent several years bound in a deeply personal and ambigu8 New Visions September 2014 September 2014 ously erotic relationship, but eventually the pressures Dalí felt from the openly homosexual Lorca caused a fracturing tension. Lorca, too, experienced great struggle in troubled relation to his Roman Catholic roots. In 1928, Dalí packed his bags and left for Spain. In the same year, Federico García Lorca wrote his short and twisting “alleluia” about the nightmare of love and deceit, The Love of Don Perlimplín for Belisa in the Garden. Though it often falls short of the rankings for Lorca’s best-known works, it was considered by the writer to be one of his best. Four potent scenes illustrate the event of a man overtaken by the spirits of passion and desire to win the love of the woman to whom he is married. Written in the abstractionist, image-heavy style of the symbolists, the tale is told as a poetic fable, speaking with a vocabulary that in many ways compliments the visual surrealist style of Dalí. The play also extends from the Spanish tradition of the duende, a word originally used to describe the spirit that possessed a flamenco dancer and provided the primal fire behind the passionate New Visions9 movement. “The duende is a mysterious force that everyone feels and no philosopher has explained,” writes Lorca in his essay Theory and Play of the Duende. “It surges up inside, from the soles of the feet… It’s in the veins, meaning it’s of the most ancient cultures of immediate creation.” As I have come to understand it, the duende is the thing that grasps hold at the very moment when one finds oneself capable of such extreme acts as falling in love and committing murder. As in Belisa, Lorca often figured the duende into his plays as a character, a mysterious creature who sits at the heart of the play, puppeteering the dissolving actions of men and women overcome with passion. Endlessly exciting and mystifying to stage, this play has challenged us to tackle masks, movement, music, and pure magic in an attempt to lay hand on the evasive spirit of the duende.“I get butterflies when I think about this show,” I told my assistant director after rehearsal one night. “When I step into the rehearsal room my heart starts racing, and I feel possessed.” Enveloped in Lorca’s tempestuous histories, his gutwrenching plots, and the deep poetics of his words, I have found the duende deep in my own soul called to life. Giving myself over to the clutch of these spirits, I have been delightfully possessed to make attempts at the seductive enigma that translator Caridad Svich calls Lorca’s “Impossible Theatre.” —Allison Lloyd Images: p. 9, Lorca and Dalí at a fair in Barcelona, mid-1920s; p. 11: a sketch portrait of Lorca by Dalí. 10 New Visions September 2014 September 2014 New Visions11 New Visions director’s festival evening a Hrosvitha by Romulus Linney directed by julia ROSE schneiderman scenic designer Alexander Michael michaels costume designer lara de bruijn Lighting designer Claire Waggoner Sound designer Patrick Moren Musical Director Tess Dul stage manager Sarah Desrosiers 12 New Visions September 2014 Hrosvitha is presented by special arrangement with Dramatists Play Service, Inc., New York. Au th o r Pr of i l e Cast R omulus Linney was born in Philadelphia and raised in North Carolina and Tennessee. He earned his Bachelor of Arts degree at Oberlin College and his MFA at Yale School of Drama. He authored three novels, four opera librettos, 20 short stories, and 85 plays, which have been staged throughout the United States, Europe, and Asia. His plays include Holy Ghosts, Childe Byron, Heathen Valley, and an adaptation of Ernest L. Gaine’s novel A Lesson Before Dying. In 2010 Linney completed a libretto for an opera based on his first play, The Sorrows of Frederick, commissioned by The Metropolitan Opera and Lincoln Center Theater. Linney was the recipient of many awards, including two Obie Awards, one for sustained excellence in play writing; two National Critics Awards; three Drama-Logue Awards; and fellowships from the Guggenheim and Rockefeller foundations, the New York Foundation for the Arts and the National Endowment of the Arts. Linney passed away in January 2011. Joseph Comey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abraham Sabrina DeWeerdt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gerberga Tess Dul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hrosvitha David Raccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brother William Annie Stevenson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary Vocalists: Marissa Cutrona, Tess Dul, Molly Karlin, Nicole Karrs, Kelly Shannon Start dancing! MCDC Muhlenberg Community Dance Center Programs for Young Dancers Classes for children and teens at all levels, in creative movement, ballet, modern, tap, jazz, pointe, hip hop. Adult Pilates & Fitness Classes • Adult Ballet Tap Dance with Shelley Oliver 484.664.3087 • muhlenberg.edu/MCDC 14 New Visions September 2014 September 2014 New Visions15 I D i r ector ’s Not e t is the age-old struggle of spirit and body. Is one dominant? Should we allow one to suppress the other? Most organized religions have, for hundreds of years, chosen to suppress the bodily — to hide it and shame it. Taking the pleasure out of sex, and instead viewing it as a commandment to bring about offspring. In particular, the female body and female sexuality have been seen as shameful, as well as dangerous. Male sexuality has become an uncontrollable beast that can’t help but be let loose at the sight of a woman’s shoulder. This highly objectifying (as well as heteronormative and transphobic) view of women is a damaging thread that flows through the major Abrahamic religions — Judaism, Christianity, and Islam. But can we label it as “wrong” and walk away? Ignoring the women who have found meaning and power in the modesty of dressing frum (the Jewish Orthodox custom of modest dressing with specific rules and regulations), or in choosing to not having intercourse until marriage? Can we say that women who wear the hijab are oppressed, and discount the possibility that wearing one makes them feel closer to Allah? Discount the benefit in that? Should we completely step away from the spiritual side of ourselves? As contemporary feminism fights battles over the crushing multitude of issues still plaguing women around the world today—everything from equal pay to free- 16 New Visions September 2014 September 2014 dom of dress, to honor killings to the epidemic of campus rapes, it is also growing and learning to tackle the complex issue of intersectionality. That is, taking all women, and their beliefs and traditions, into account. However, it is a complex line to tread, when so many of the rules and boundaries we feel pushed to honor were written by men and have difficult histories of being used to oppress and diminish women. These are in many ways the same tensions that exist in Romulus Linney’s play within and around Hrosvitha — a forward-thinking woman with an understanding of the world that doesn’t always harmonize with her religious beliefs and deep faith. While the actual historical figure’s early life is unknown and the rest is still hazy, it can be presumed that, like the other canonesses of Gandersheim Abbey, she was of noble birth. In addition, historians agree, Hrosvitha knew intimately of love, loss, and shame. As Linney’s Hrosvitha struggles to integrate what she knows, what she feels, and what she believes, we are taken on a journey of love, loss, lust, creation, and understanding, that ultimately contends that we are the authors of our own stories, and that women, most of all, must struggle to rewrite the world around them. And now please, enjoy and grapple with this piece as much as we have. — Julia Rose Schneiderman New Visions17 New Visions director’s festival evening B Out Loud Three Short Plays Black Eye by Carolyn Gage Game On by Gary Garrison Baby Steps by Geoffrey Nauffts directed by Michael Witkes scenic designer Alexander Michael michaels costume designers Rebecca Bitondo Black Eye, Game On Mae Cutrona Baby Steps Lighting designer Zachary Heffner featuring Norah Jones, Sasha Dobson and Catherine Popper sponsored by WDIY 88.1 and WNTI 91.9 FM SteelStacks™ Bethlehem, PA Projection designer Tommy Walters Sound Designer October 12 | 7:30 pm Patrick Moren Tickets available at artsquest.org | 610.332.3378 stage manager 18 New Visions September 2014 Briana Boche Plays & Cast Black Eye by Carolyn Gage Mr. Kent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clay Westman Miss Marshall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kristen Wendt Amanda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deanna Mayo Game On by Gary Garrison Ted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clay Westman Donnie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Kempner Produced through special arrangement with the playwright and Original Works Publishing. You may purchase this play and many others by visiting the Original Works website at www.originalworksonline.com. 4 4 The Music Department Concert Series Presents: Baby Steps by Geoffrey Nauffts Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clay Westman Rosemary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Olivia Stevenson THE ALEXANDER QUARTET Produced by special arrangement with Playscripts, Inc. (www.playscripts.com) Photo: Rory Earnshaw November 9, 2014 3:00 p.m. Empie Theatre, Baker Center for the Arts Special Thanks: Avery Brunkus, projection photographer Troy Dwyer, Charles Richter, and Beth Schachter Jointly presented with... Including... Beethoven Quartet in F Major, Op. 18 No. 1 Kodály Quartet No. 2, Op. 10 Shostakovich Quartet No. 2 in A Major, Op. 68 “Dream-come-true performances, impressing with their sure ensemble, lyricism, accurate pitch, handsome sound and technical fluidity.” — The Boston Globe Purchase tickets at the event or online at lvartsboxoffice.com or cmsob.org Tickets: $30 Adults, $25 Seniors (65+), $5 Students (with valid student I.D.) 20 New Visions September 2014 September 2014 New Visions21 A N ot e F r om t he Di r ector I n Out Loud, the characters soon realize that coming out is only one step in a larger journey towards self-acceptance. Taking on the label of gay might make them feel like they are putting themselves in a box. But they must find a way to become empowered by their label, rather than limited by it. We live in a culture with pervasive stereotypes of femininity and masculinity that define how we are supposed to present ourselves to the world. These stereotypes serve no one. We should not have to hide our identities, but should celebrate them, without shame and without compromise. Our country is riddled with unsafe environments, where Americans are legally denied job offers, fired, or otherwise discriminated against because they are gay. Where students are bullied for their sexual orientations. Where the notion of being out doesn’t seem possible. Where gay Americans fear for their lives. But even in the most tolerant and accepting of environments, there are still Americans that are afraid to be out, that are afraid to be visible, and are afraid to be their truest selves. As a society, we must work to end the stigmatization of homosexuality, so that all gay people can feel free to love openly, equally, and fearlessly. The issues that these plays explore have not gone away. Society’s attitudes may have progressed and evolved, but as the lines of oppression become less blatant and obvious, where do we stand? —Michael Witkes 22 New Visions September 2014 September 2014 New Visions23 New Visions director’s festival evening B This Is a Chair by Caryl Churchill directed by Hayley Cooke scenic designer Alexander Michael michaels costume designer Sarah Wanger Lighting designer Zachary Heffner Sound designer Patrick Moren stage manager Sean Watkins 24 New Visions September 2014 Cast Alexander Geoffrey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julian Tess Forestieri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mary/Muriel Jake Haven Parisse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric/Father Alexandria Rust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deirdre/Mother Taylor Brahms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ann Evan Richter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ted Troy Appel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Hannah Dempsey Schott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Polly Tommy Walters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leo Mac Myles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom Peter Callahan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charlie Lydia Jordan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maddy Special Thanks: Lydia Baxter, Jenna Spiwack, Beth Schachter, and Michael Witkes WMUH 91.7 fm The only station that matters muhlenberg.edu/wmuh 26 New Visions September 2014 September 2014 New Visions27 T D i rector ’s Not es he title of this play is a reference to artist René Magritte’s painting entitled The Treachery of Images (below). In this painting, we see a pipe above the words “Ceci n’est pas une pipe,” translated into English as “This is not a pipe.” The same pipe, but with the title of the show, is displayed on the cover of Churchill’s play. Of his work, Magritte later said that it would have been lie if he had labeled the image as a pipe. This is a reference to the difference between representation and reality. Something may look like what 28 New Visions September 2014 we’ve seen or know, but that does not mean that it is the thing itself. The “pipe” cannot be held and it cannot be used. So, it is not a pipe but a representation, an image, of a pipe. But what is a pipe? How do we know what a pipe is when we see it? How are we manipulated by both images and words? Magritte’s work explores the relationship between words, images, and meaning. I invite you to see how Churchill engages with Magritte’s ideas in a different way, and through a different medium: a play. —Hayley Cooke P r o du ct i on Staff General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jessica Bien Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Damon Gelb Master Electrician and Audio Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul E. Theisen, Jr. Costume Shop Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caroline Cook Assistant Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eric Covell Props Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cheryl Soper Christensen Assistant Director, Don Perlimplín . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patrick Moore Assistant Director, Hrosvitha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel Aberman Assistant Director/Dramaturg, This Is a Chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Avalon Esposito Assistant Stage Manager, Don Perlimplín . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Simone Becker Hrosvitha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brendan O’Hara Out Loud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sara Rosenman This Is a Chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Olivia Chatfield Sound Board Operator, Evening A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Devan Callahan Evening B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Ottaviano Light Board Operator, Evening A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael Masse Evening B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Molly Karlin Scenic Run Crew, Evening A . . . . . . . . . . . . . . . . Briana Boche, Olivia Chatfield, Sara Rosenman, Sean Watkins Evening B . . . . . . . . . . . . . . . . . . . . . . . . . Simone Becker, Sarah Desrosiers, Carrie Jablansky, Brendan O’Hara Wardrobe Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patricia Baumgartner, Anne Kitz, Lauren MacCready Staff Stitchers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Megan Evans Gartley, Lex Gurst Work Study Stitchers . . . . . . . . . . . . . . . . . . . . Dylan Ashton, Jane Bertelsen , Rebecca Bitondo, Annie Corrao, Nicole Esposito, Meghan Garvey, Dayna Kline, Ally Merrill, Bree Ogaldez, Samantha Simon, Liz Spilsbury, Sarah Jacqueline Wanger Stagecraft Stitchers . . . . . . . . . . . . . . . . . Aubrey Carey, Nicole DelCioppio, Nicky Rosolino, Daryll Heiberger, Tyler Holoboski, Jessica Land, Emmia Newman, Lauren MacCready, Lauren Waters, Sydney Watt Scene Shop Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kevin Gallagher, Kristen Mayer Carpenters . . . . . . . . . . . . . . . . . . . . . . . Dalit Agronin, Samantha Bernstein, Rebecca Canziani, Catherine Clark, Demetra Demetriades, Michael Dziuba, MJ Hodge, Jordan Horne, Philip Kaufman, Katie Kooistra, Heather Lash, Lauren MacCready, Bob Madani, Alexander Michaels, Phillip Middleton, Brenna Schaffell, Brandan Skahill, Nicole Tetreault, Clay Westman Assistant Master Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ron Gerschel Programmers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Burwell , Ron Gerschel, Jared Loeb Student Electricians . . . . . . . . . . . . . . . . . . . . . . Benjamin Burwell, Hannah Cascio, David Forbes, Sean Fowley, Brydon Geisler, Ron Gerschel, Connor Gibbons, Zachary Heffner, Jared Loeb, Malcolm McClain, Patrick Moren, Brian Pacelli, Claire Waggoner Box Office Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Taylor Beckman, Gianna Beleno, Avery Deutsch, Hannah Gross, David Triplett, Kristen Wendt Box Office Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Mitchler, Lillian Pritchard, Jackie Schweighardt, Sydney Watt, Alex Womer House Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Erin Bradford, Lydia Condoluci Marketing & Development Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Snyder Presidential Assistant for Marketing & Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Liana Decates New Visions Graphic Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark McGillivray Publicity & Marketing Associates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Briana Boche, Allison Conley, Natalie Coy, Taylor Hunsberger, Jason Leonhard 30 New Visions September 2014 September 2014 New Visions31 Faculty & Guest Artist Profiles Holly Cate (Faculty Directing Advisor, Evening B) is an awardwinning actor and director. Credits include Broadway: An Ideal Husband (directed by Sir Peter Hall); Regional: Blithe Spirit (Portland Stage); An Ideal Husband (Pioneer); All My Sons (American Stage); Arms and the Man (Asolo); numerous New York theatre credits. Holly also played the deliciously evil Janice Maxwell on As the World Turns, as well as appearing in many television and radio commercials and narrating numerous audio books. Holly teaches acting at Muhlenberg while still maintaining an active professional career in New York. She has her undergraduate degree from Harvard and her MFA in acting from Brandeis University. Cheryl Soper Christensen (Properties Coordinator) has coordinated props for Muhlenberg since The Crucible in 2001, and for MSMT since You’re a Good Man, Charlie Brown!, summer 2001. She has also worked locally with The Theatre Outlet. Previously Cheryl was prop coordinator, then production manager for The Whole Theatre in Montclair, N.J., where, alongside Artistic Director Olympia Dukakis, she worked with renowned talents including director Susan Strohman, Austin Pendleton, Philip Seymour Hoffman, playwright Romulus Linney, and many others. She also served as production manager at her alma mater, Upsala College. The productions of which Cheryl is most proud are her sons, Kramer, Alex, and Ethan. 32 New Visions September 2014 September 2014 Lara de Bruijn (Costume Designer, Evening A; Costume Mentor, Evening B) has designed for Moving Stories, Master Choreographers and Dance Emerge at Muhlenberg. Other credits include Under My Skin (Little Shubert Theatre), The Two Character Play (New World Stages), Don Giovanni (Castleton Opera Festival), Ndebele Funeral (59E59), Slow Dusk & Markheim (Little Opera Theatre of New York), The Yellow Wallpaper (Boston Playwrights’), The Circle (Peterborough Players). MFA from NYU Tisch School of the Arts. See more at laradawndesign.com Francine Roussel (Faculty Directing Advisor, Evening A) was among the founders of the Actors Studio in Paris. She has written and performed her own shows, and continues her acting career in Europe and America: Saturday Night Live, Sex and the City, Sydney Pollack’s film The Interpreter. She created Kicking Mule Theatre Company to develop work for alumni and faculty. Jean Genet’s The Maids that she directed (and in which she performed the role of Madame) was the first show of the company. Before Muhlenberg, Ms. Roussel taught acting and directed at NYU’s Tisch School of the Arts and the Stella Adler Conservatory. She was movement director for Nicholas Hytner’s film The Crucible and mask coach on The Green Bird, directed by Julie Taymor at The Victory Theatre. She also directed The Square, by Marguerite Duras, at UBU Repertory Theatre in NYC. She has directed over ten shows at Muhlenberg. New Visions33 Com pa ny Pr of i l e s Rachel Aberman (Assistant Director, Hrosvitha) previously directed a play as part of the 2014 Red Door Play Festival, wrote a play for the 2014 New Play Reading Series, and participated in Marathon of the Arts. She is also a part of An Artist Collective and runs the weekly MTA playwriting workshop. Rachel is a double-major in theatre (concentrating in directing and design) and media & communication. Troy Appel ( John, This Is a Chair) has appeared in the Studio Production of MUD and the Red Door production of Terrible, Beautiful Bodies. Other credits include the Indecorous Theatre production of Arms and the Man and the short professional film Iowa City. Troy is a theatre and communication double-major and is a thrower for the Muhlenberg track-and-field team. Simone Becker (Assistant Stage Manager, Don Perlimplín), Class of 2018, is ecstatic to be making her Muhlenberg theatre debut with New Visions! Previously, Simone has taught and acted professionally with California Theatre Center and Peninsula Youth Theatre. She is also deeply rooted with Monta Vista Theatre Arts, having stage managed, directed, produced, company managed, and acted throughout 34 her years there. Simone is pursuing her theatre degree and elementary education credential and is involved with Eye to Eye on campus. Rebecca Bitondo (Costume Designer, Out Loud—Black Eye and Game On) is a senior theatre and history double-major, concentrating in acting and costume design. Past design credits include the world premier of Sinternet! The Musical (RDPF) and The Problem (Studio Productions), and she served as assistant designer for Love’s Labour’s Lost (HVSF) and Bartholomew Fair (Muhlenberg). Rebecca is excited to announce that she will also be returning as the hair, makeup, and costume designer for The Muhlenberg Circus Workshop for their spring show. Enjoy the show! Briana Boche (Production Stage Manager, Evening B; Stage Manager, Out Loud) is a senior theatre major with English and business minors and a concentration in stage management. This past spring, she studied abroad in Edinburgh, Scotland. This is her second time working on the New Visions festival, and she most recently stage managed the New Voices 2013 production Sinternet! The Musical. She is a marketing associate for the Theatre & Dance Department. New Visions September 2014 Taylor Brahms (Ann, This Is a Chair) is making her Muhlenberg debut. Previous credits include Carrie and Xanadu (Broadway Workshop), Gypsy (The Wheatley School), and She Kills Monsters (NHSI Cherubs). Taylor is a freshman at Muhlenberg and plans to be a theatre major. and Noises Off at Palo Alto High School, and Macbeth and The Importance of Being Earnest at Concordia International School Shanghai. Joseph is a theatre major and a proud member of the fencing club, the Chamber Singers and the Muhlenberg Acafellas. Peter Callahan (Charlie, This Is a Chair) is appearing in his first Mainstage production. Previously he has been a part of the technical crew on What Strong Fences Make, directed by Lauren Goldberger. Peter is a theatre major and business minor. Olivia Chatfield (Assistant Stage Manager, This Is a Chair) is working on her first show at Muhlenberg. Previous credits include The Cherry Orchard (stage manager) and Metamorphoses (assistant director) at Concord Academy. Onstage she has participated in Concord Academy’s Theatre Company, a group dedicated to producing original collaborative work for the stage. Olivia is a freshman from Massachusetts, majoring in elementary education and political science. Joseph Comey (Abraham, Hrosvitha) debuted on the Muhlenberg stage in The Bourgeois Pig his freshman year, and has also appeared in Every Good Boy Deserves Favour. Other credits include Our Town September 2014 Hayley Cooke (Director, This Is a Chair) is a theatre and media & communication double-major. Previous directorial credits include MUD (Studio Production 2013), No Such Thing (Red Door Play Festival 2012), and assistant director of Crazy For You (SMT 2013). Other credits include assistant stage manager of Stop Kiss (Mainstage 2012), and stage manager of Desire, Desire, Desire (Red Door Play Festival 2012). Hayley has also spent many summers teaching and directing children’s theatre. Most recently, Hayley taught creative drama at Camp Imagine (SMT 2014). Hayley studied abroad in the spring of 2014 at John Cabot University in Rome, Italy. She is a proud member of Phi Sigma Sigma sorority. Mae Cutrona (Costume Designer, Out Loud—Baby Steps) previously designed costumes for the Muhlenberg Studio Production of What Strong Fences Make and makeup for the Red Door Play Festival production of Cagebirds. Mae recently worked as the costume intern New Visions35 at Chautauqua Theater Company. Other credits include Peter Rabbit (Chautauqua Theater Company) and The Rebellion (Eagle Hill School). Mae is a theatre major and a gender studies minor, a member of Women’s Ensemble, and the events coordinator for SGI Muhlenberg. Sarah Desrosiers (Stage Manager, Hrosvitha) worked backstage on the mainstage productions of On the Town, The Marriage of Figaro, and The Mystery of Edwin Drood, and was the assistant stage manager for Every Good Boy Deserves Favour. Sarah is a theatre and environmental science double-major and is a member of the Students in Newman. Sabrina DeWeerdt (Gerberga, Hrosvitha) appeared as Ellen in Cages in the Red Door Play Festival and as Adrienne in the Studio Production What Heaven Doesn’t Have To Know. She’s a proud member of An Artist Collective and Chamber Singers. Sabrina is a theatre major who has dabbled in social sciences. This is her Mainstage debut. Tess Dul (Hrosvitha, Hrosvitha) is a senior at Muhlenberg, studying theatre, music, and math. She was recently seen in Muhlenberg Summer Music Theatre’s A Chorus Line. Muhlenberg Mainstage credits: On The Town and Superhuman (New Voices 2013). Other credits include Dido and Aeneas 36 (Muhlenberg Music Department), To Kill a Mockingbird, The Threepenny Opera, The Pajama Game, and A Midsummer Night’s Dream (Philipstown Depot Theatre). Avalon Esposito (Assistant Director, This Is a Chair) is junior double-major in film studies and media & communication. This is Avalon’s first Mainstage experience. She previously served as the assistant Red Door Play coordinator for the Muhlenberg Theatre Association. Avalon is the treasurer of her sorority, Phi Sigma Sigma, the president of the service fraternity Alpha Phi Omega, and a residential advisor in Brown Hall. Tess Forestieri (Mary/Muriel, This Is a Chair) is a senior at Muhlenberg, majoring in theatre and media & communication. You may have seen Tess in last year’s Mainstage production of Pricking (New Voices 2013) as Rachel. Tess has also participated in the Studio Productions of The Real Inspector Hound (Cynthia Muldoon) and Offending the Audience. As a freshman Tess was also in the Red Door Play Performances AML and Desire, Desire, Desire (Blanche DuBois). Tess is a member of the Seegers Union Student Advisory Board and a participant in the Muhlenberg Outdoors Club. Julia Garber (Belisa, Don Perlimplín) is a senior theatre major and English minor. She has performed on the Muhlenberg New Visions September 2014 Mainstage in On the Town, Dance Emerge ’13 and ’14, and most recently the Muhlenberg Summer Music Theatre production of A Chorus Line (Sheila). Other credits include the world premiere of The Diary (Margot Frank), Spelling Bee (Marcy), and work with the Blank Theatre Company and the Falcon Theatre in Los Angeles. Alex Geoffrey ( Julian, This Is a Chair) is making his mainstage debut. His previous productions include Death in Character (RDPF), The Boyfriend, City of Angels, and Beauty and the Beast (Princeton High School). Alex’s intended majors are theatre and chemistry. He is the beatboxer for the a group NoteWorthy and the resident advisor for first floor Prosser Annex. Dahlya Glick (Duende #2/Mother/ Voices, Don Perlimplín) – Dahlya’s Muhlenberg theatre credits include 44 Plays for 44 Presidents, Words, Words, Words, and Jack & the Beanstalk, in which she played either a mother or a monkey. She is co-founder of Muhlenberg’s first all-female comedy troupe, Damsels in Excess, performs with UiP and InAcchord, and studied abroad in Nepal and India last year. Post-graduation, Dahlya will move to LA to work with The Groundlings Theatre and pursue a financially promising life of cartoon writing and comedy making. September 2014 Seamus Good (Marcolfa/Duende #1, Don Perlimplín) is in his first year at Muhlenberg. He is planning on majoring in theatre and fine arts. Past credits include Spring Awakening (HHS), The Government Instector (HHS), and The Duck Variations (NHETG). Zachary Heffner (Lighting Designer, Evening B) is excited to be designing another Muhlenberg production. Most recently he designed the lighting for Summer Music Theatre’s production of Gruff! Other lighting design credits at Muhlenberg include: MUD, The Viper’s Circus, and Muhlenberg’s Circus Workshop. Zachary is currently in his sophomore year at Muhlenberg. Carrie Jablansky (Production Stage Manager, Evening A; Stage Manager, Don Perlimplín) is humbled to be working on her final Mainstage production. She most recently served as the production stage manager of the 2014 Spring Mainstage production of Mad Forest. A senior sociology major and business minor, she spent last fall at the Hebrew University of Jerusalem, and currently serves as the president of the Muhlenberg Theatre Association. Marc Jablonski (Composer/Sound Designer, Don Perlimplín) is a senior with a major in anthropology and a double minor in French and studio art. This is his second time working on music and sound for a New Visions37 New Visions production, after Still Life With Iris last spring. He has also worked on five Studio Productions at Muhlenberg, including The Intruder and Viper’s Circus. Marc plans to continue onto graduate school to study sound and linguistic anthropology. wMatt Kempner (Donnie, Out Loud) was last seen in the Mainstage production Pricking. Matt is a theatre major as well as president of the on-campus improv group MIA (Muhlenberg Improv Association.) Matt is also a member of UiP and is an on-air DJ for the radio. Allison Lloyd (Director, Don Perlimplín) made her first steps at Muhlenberg as the assistant director for the New Voices pieces …continuance…in a time of disarray… and Make Your Acquaintance. Since then, she has provided the directorial voice behind picnic (pik’nik): v.i. (Red Door Play Festival), The Library (in coordination with the Institute for Jewish Christian Understanding) and The Intruder (Studio Production). Allison has also enjoyed a brief career as an educator, including work with Allentown Public Theatre on a series of youth drama workshops, serving as the drama director at Emma Kaufmann Camp (in coordination with mainstages, inc.) and as the education coordinator for Theatre Aspen in Aspen, Colo. When not masquerading as director and teacher, Allison is also the 38 editor-in-chief for Muses magazine, an avid hiker, a yogi and outdoor enthusiast, and the voice behind Strings and Other Fun Things on Muhlenberg’s radio station, 91.7 WMUH. Deanna Mayo (Amanda, Out Loud) is appearing in her first Muhlenberg production. Her other production experiences include Les Misérables as Cosette ( JC Players), Peter Pan as the title character (Molloy High School), Little Shop of Horrors as Audrey (Holy Cross High School), and You Can’t Take It With You as Alice (Molloy High School). Deanna is a first-year Dana scholar from New York who is an aspiring theatre and accounting major. Alexander Michael Michaels (Scenic Designer) is a senior with a double-major in theatre design and music composition. He has worked both professionally and in college as master carpenter, scenic painter, and designer. He is a musical director of the Muhlenberg Acafellas and has acted in Mainstage productions and local Allentown theatres. He is also ready to graduate and continue life in the real world. Patrick Moore (Assistant Director, Don Perlimplín) is incredibly excited to be working on such an amazing project. He is a sophomore with a double-major in business and theatre. His Muhlenberg credits include playing Alexander in Every New Visions September 2014 Good Boy Deserves Favour (New Visions 2013) and MMRP (Studio Production). He couldn’t ask for a more passionate and inspiring director than Allison. Patrick is also a member of the Muhlenberg Acafellas and Fun With Science. The Musical and as the Doctor in Every Good Boy Deserves Favour. Other credits include Jesus Christ Superstar and the world premiere of Gruff! for Summer Music Theatre. James is a theatre and physical science double-major, a member of both the Muhlenberg College Choir and Chamber Singers, and an active contributor to the Muhlenberg Film Association. Patrick Moren (Sound Designer, Out Loud, This Is a Chair, Hrosvitha) came to Muhlenberg in 2012. He is a doublemajor in theatre and philosophy and has designed sound for New Voices 2013 and ‘dentity Crisis (Studio Productions 2013), assistant sound designed 44 Plays for 44 Presidents, and was the audio technician for Fishbowl Collective (February 2013). He is a member of the Muhlenberg Pep Band, Percussion Ensemble, and Kappa Kappa Psi honorary band fraternity. Brendan O’Hara (Assistant Stage Manager, Hrosvitha) is involved in his first Muhlenberg production. Prior to Muhlenberg, he was an assistant stage manager and production stage manager at Morris Hills High School. Brendan is a sophomore theatre and psychology double-major at Muhlenberg. He is also a writing tutor, a peer tutor, and a member of Best Buddies. Mac Myles (Tom, This Is a Chair) previously appeared in The Mystery of Edwin Drood and The Marriage of Figaro on the Muhlenberg Mainstage, in Muhlenberg Summer Music Theatre’s Jesus Christ Superstar, and in last semester’s MTA Fundraiser Cabaret. Mac is a junior theatre and media & communication double-major and a brother of the Alpha Phi Omega service fraternity. James Ofalt (Don Perlimplín, Don Perlimplín) has previously appeared on the Mainstage as Edward Elliot in Sinternet! September 2014 Jake Haven Parisse (Eric/Father, This Is a Chair) has appeared in The Winter’s Tale and Mad Forest on the Mainstage. He performs with the on-campus comedy groups UiP, MIA, and Fun with Science, and also produces short films with Weast Coast. Jake is a Dana Scholar studying theatre and media & communication. David Raccio (Brother William, Hrosvitha) is a first-year student planning to double-major in theatre and political science. This is his debut Mainstage performance. During the summer he performed New Visions39 in Ragtime the Musical with a community theatre group in Branford, Conn. David attended Cooperative Arts and Humanities High School in New Haven, Conn., and in his four years there he was in a number of shows, including The Laramie Project, Rumors: a Farce, The Drowsy Chaperone, and The Importance of Being Ernest. Evan Richter (Ted, This Is a Chair) was last seen in The Mystery of Edwin Drood on Muhlenberg’s Mainstage, the 2014 Red Door Play Festival, and The Library. Other credits include Twelfth Night and Man of La Macha (Moravian Academy). A sophomore, Evan is majoring in theatre and is involved in Shelley Oliver’s tap ensemble. Sara Rosenman (Assistant Stage Manager, Out Loud) first joined the Muhlenberg theatre community behind the scenes for the fall 2013 Mainstage production of The Mystery of Edwin Drood. She was also involved in the Red Door play Marcus is Walking. Her past theatre experience includes leading the properties crew at Byram Hills High School. She is a sophomore psychology major and a member of the Muhlenberg Broadcast Community. Alexandria Rust (Deirdre/Mother, This Is a Chair) is excited to work on this project with a fantastic group. She appeared in On the Town (Flossie), The Adventures of Alice and Noah (Annie), and Jack and the Beanstalk (Cow) at Muhlenberg. Alexandria also directed and produced her own work 16 Bars and a Monologue, Please. She is a senior theatre and English doublemajor, president of NoteWorthy a cappella, retired member (and avid supporter) of Damsels In Excess, and spin teacher. Julia Rose Schneiderman (Director, Hrosvitha) has previously directed the Studio Production of Hello, From Bertha and the Red 40 Door Festival production of Crazy Eights, and was the assistant director for the Summer Music Theatre production of Jesus Christ Superstar. Julia was last seen onstage during Single Carrot Theatre’s 24-hour play festival, this past July. She is the founder and artistic director of The Rude Mechanicals, and the publicity coordinator for Muses literary & arts magazine. Julia is a theatre major with a double-minor in creative writing and women’s studies. She studied at the Accademia dell’Arte in Arezzo, Italy, in fall 2013. Hannah Dempsey Schott (Polly, This Is a Chair) is making her Muhlenberg stage debut. Favorite roles include Reckless and Songs for a New World (Walnut Hill School for the Arts), You’re a Good Man, Charlie Brown! (Encore Repertory Company), and Little Shop of Horrors (Moses Brown School). Dempsey also backpacked the last 120 miles of the Appalachian Trail and summited a 12,300-foot glacier. Georgie Simon (Dramaturgy, Hrosvitha) is a senior with a double-major in theatre and religion studies. She has previously been in four mainstage productions and in the Muhlenberg Summer Music Theatre productions of Hairspray and Jesus Christ Superstar. She is the president of both Omicron Delta Kappa and the Religion Studies and Cultures Forum. Annie Stevenson (Mary, Hrosvitha) is excited to debut in her first Mainstage at Muhlenberg. Other credits include Ms. Bingely in Pride and Prejudice (Conestoga High School), and Mrs. Chevely in An Ideal Husband (Conestoga High School). Annie is a theatre and biology double-major. Olivia Stevenson (Rosemary, Out Loud) is a senior English and theatre (acting) double-major. She was last seen at Muhlenberg as Armande in The Learned Ladies last New Visions September 2014 spring. Previous roles at Muhlenberg include Mooncalf in Bartholomew Fair and Irina in Three Sisters. She has trained classically at the Royal Academy of Dramatic Arts in London, and she spent her semester abroad at the Accademia dell’Arte in Arezzo, Italy, where she studied physical theatre. and business administration. Previous credits at Muhlenberg include ASM for The Mystery of Edwin Drood. In 2013, he received an award for Outstanding Student Achievement at the Connecticut High School Musical Theatre Awards for his work as the stage manager of How To Succeed in Business Without Really Trying at Newtown High School. Claire Waggoner (Lighting Designer, Hrosvitha) is a junior theatre major with concentrations in acting, directing, and design. Her previous design experience includes scenic and lighting for Hello, From Bertha and lighting for What Strong Fences Make and MMRP, all a part of the Studio Productions. She has also done lighting design for the informal dance concerts. Claire is a member of The Rude Mechanicals and the master electrician for the MTA, and over the summer she was an electrics intern at The Glimmerglass Festival. Kristen Wendt (Miss Marshall, Out Loud) is thrilled to be making her Mainstage debut. She was previously seen at Muhlenberg as Principal Anderson in the studio production Subtext. A senior theatre major and elementary education certification candidate, Kristen studied abroad at the Accademia dell’Arte in Arezzo, Italy, during the fall of 2013. Kristen is the president of the a cappella group InAcchord, and is an original cast member of the allfemale comedy troupe Damsels in Excess. Tommy Walters (Leo, This Is a Chair) is a sophomore making his Mainstage debut. Over the summer Tommy performed at Summer Music Theatre in A Chorus Line, and also was a teaching assistant at Camp Imagine. Tommy has performed in the Red Door Play Festival and the MTA Fundraiser Cabaret, and his play Spiderchick debuted in the New Play Reading Festival last spring. Last year, Tommy co-founded the film adventure squad Weast Coast, and he is looking forward to a year of creating cool stuff. Clay Westman (Mr. Kent/Ted/Robert, Out Loud) is a senior theatre and music major. He has appeared previously in the Mainstage productions of Curse of the Starving Class and The Bourgeois Pig, as well as several Studio Productions, including Words, Words, Words. Sarah Wanger (Costume Designer, This Is a Chair) debuted designs in last year’s Studio Production The Viper’s Circus. She is a theatre and English double-major and works in the Muhlenberg costume shop, where she is affectionately referred to as “Sassy.” Sean Watkins (Stage Manager, This Is a Chair) is a sophomore Dana Scholar pursuing a double-major in theatre September 2014 Michael Witkes (Director, Out Loud) is a senior theatre major with concentrations in directing and acting. He most recently appeared as Paris in the BrooklynONE production of Romeo and Juliet. This summer he worked as the directing and casting intern for both the Bushwick Starr and the Rising Sun theatre companies. In the fall of 2013, Michael studied abroad in London at Queen Mary University. He has also appeared in the Mainstage productions of The Marriage of Figaro (Usher) and On the Town (Dance Ensemble), and the Summer Music Theatre production of Harold and the Purple Crayon (Dancing Horse). New Visions41 Muhlenberg College Theatre & Dance Department Theatre Faculty The Kennedy Center American College Theater Festival XLVII sponsored in part by Stephen and Christine Schwarzman The Kennedy Center Corporate Fund U.S. Department of Education The National Committee for the Performing Arts Dr. Gerald and Paula McNichols Foundation This production is entered in the Kennedy Center American College Theater Festival (KCACTF). The aims of this national theater education program are to identify and promote quality in college-level theater production. To this end, each production entered is eligible for a response by a regional KCACTF representative, and selected students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, dramaturges, playwrights, designers, stage managers and critics at both the regional and national levels. Productions entered on the Participating level are eligible for inclusion at the KCACTF regional festival and can also be considered for invitation to the KCACTF national festival at the John F. Kennedy Center for the Performing Arts in Washington, DC in the spring of 2015. Last year more than 1,300 productions were entered in the KCACTF involving more than 200,000 students nationwide. By entering this production, our theater department is sharing in the KCACTF goals to recognize, reward, and celebrate the exemplary work produced in college and university theaters across the nation. 42 New Visions September 2014 Beth Schachter – Department Chair; Associate Professor: Acting, Directing, History & Theory Charles Richter – Director of Theatre; Professor: Directing, Theatre History, Theory Curtis Dretsch – Director of Design and Technical Theatre; Professor: Scenic, Costume, and Lighting Design Timothy Averill – Professor: Scenography Dr. Arnab Banerji – ASAINetwork; Luce Foundation Teaching Fellow Holly Cate – Associate Professor: Acting Michael Chin – PT Lecturer: Acting, Stage Combat Troy Dwyer – Associate Professor: Acting, Voice & Speech Mark McKenna – PT Lecturer: Acting Matthew Moore – Visiting Asst. Professor: Theatre History & Theory James Peck – Professor: Directing, Performance Studies, Theatre History Francine Roussel – Professor: Acting Larry Singer – Visiting Assistant Professor: Directing, Acting Dance Faculty Karen Dearborn – Director of Dance; Professor: Ballet, Composition, Dance History Pattie Bostick – Lecturer: Jazz, Ballet Lisa Bottitta-Busfield – Lecturer: Modern, Dance Education Corrie Franz Cowart – Assistant Professor: Modern, Ballroom, Composition, Dance on Camera Susan Creitz – PT Lecturer: Improvisation, Movement for Actors and Dancers Heidi Cruz-Austin – Lecturer: Ballet Gayanne Grossman – Dance Clinic Director; Lecturer: Anatomy and Kinesiology for Dancers September 2014 Megan Flynn – Visiting Lecturer: Ballet, Modern, & Pilates Beau Hancock – Lecturer: Modern Madeline Hoak – Lecturer: Aerial Acrobatics Janet M. Peck – Lecturer: African Dance & Cultures Ellen Troy Mulcahy – Lecturer: Pilates, Ballet Shelley Oliver – Director of the Muhlenberg Tap Ensemble; Lecturer: Tap Jeffrey Peterson – Assistant Professor: Modern, Jazz, Dance Technique & Performace Tara Repsher – Director of the Muhlenberg Community Dance Center youth classes; Lecturer: Ballet, Jazz Sammy Reyes – Guest Artist: Hip Hop Teresa VanDenend Sorge – Director of the DanceMax Moving Company; Lecturer: Modern, Dance Education, Dance & Society Jessica Warchal-King – Lecturer: Ballet Lynn Wiener – Lecturer: Ballet, Jazz, Horton Technique Dance Musicians Paul Fejko Rebekah Ruth Michael Schnack Professional Staff Jessica Bien – General Manager Damon Gelb – Technical Director Caroline Cook – Costume Shop Manager Scott Snyder – Marketing and Development Manager Paul E. Theisen, Jr. – Theatre Technician Eric Covell – Assistant Technical Director Alexis Gurst – Staff Stitcher Tracy C. Kline – Department Secretary Liana Decates – Presidential Assistant for Marketing & Development Theatre & Dance Department Offices: Trexler Pavilion for Theatre & Dance 484-664-3335 Box office: 484-664-3333 New Visions43 Muhlenberg Theatre Association - Executive Board - President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carrie Jablansky Vice President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Becca Grady Executive Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lydia Condoluci Business Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Becky Goodman Historian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zach Love - Advisory Board - Fundraising Coordinator . . . . . . . . . . . . . . . . . . . Emma Steiger (Fall), Marie DiNorcia (Spring) Publicity Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . Helen Laser (Fall), Rachel Oshrin (Spring) Studio Productions Coordinator . . . . . . . . . . . . . Lena Schneider (Fall), Sean Watkins (Spring) Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean Watkins Red Door Play Coordinator . . . . . . . . . . . . . . . . . Cody Johnson (Fall), Sarah Bedwell (Spring) Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Bedwell Student Master Carpenter . . . . . . . . . . . . . . . . Demi Demetriades (Fall), Brian Pacelli (Spring) Student Master Electrician . . . . . . . . . . . . . . . . Claire Waggoner (Fall), Ron Gerschel (Spring) Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ron Gerschel Performance Ensemble Coordinator . . . . . . . . . . Leah Alfieri (Fall), Sarah Weinflash (Spring) Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Avery Deutsch Social Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kate McMorran Concessions Coordinator . . . . . . . . . . . . . . . . . . . . . . Russell Norris (Fall), Zoe Briggs (Spring) Community Outreach Coordinator . . . . . Liv Amundsen (Fall), Lauren Goldberger (Spring) MTA/MDA Liaison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Liz Spilsbury Muhlenberg Dance Association - Executive Board - President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Braviak Vice President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danielle Gumbert Secretary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Krysta Parker Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tyler Holoboski Public Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allison Conley Community Engagement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dalit Agronin, Nikki Horwitz MTA/MDA Liaison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Liz Spilsbury Class Representative 2015 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Courtney Hunsberger Class Representative 2016 . . . . . . . . . . . . . . . Zoe Papaeracleous (Fall), Sarah Braviak (Spring) Class Representative 2017 . . . . . . . . . . . . . . . . . . . . . . . . . . . Meredith Clemons, Emily Lombardo Class Representative 2018 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Capasso New Visions In Theatre and Dance, faculty and staff have developed a multi-faceted approach to education that combines exciting creative experience with rigorous professional standards. The production program reinforces the belief that as academic disciplines, theatre and dance must be intellectual and practical. Serious training and intense interaction between faculty and students provide a collaborative rather than competitive atmosphere in the department. Students are challenged as artists in the studio and classroom, working closely with distinguished faculty and nationally recognized guest artists to achieve a conceptual understanding and a practical working knowledge of the arts and the profession. Stage experience is considered one of the most important elements in the training process for actors and dancers, directors and choreographers, production stage managers, designers and technicians. Students provide considerable talent and leadership in the staging of both main stage and studio projects. Performing Arts graduates of Muhlenberg College are prepared for study at the graduate level, pursue lives as professional artists, and contribute creative leadership in many other careers. The blend of academic work in the liberal arts with a professional level of training in theatre and dance has prepared them to work as actors, directors, designers and stage managers, choreographers, dancers, and dance educators, and production assistants and arts administrators on Broadway, in film and television, and in major regional and educational theatres across the nation. Muhlenberg’s production program has been ranked in the top ten in the country for six years running, according to The Princeton Review, including a No. 1 ranking for 2012. The Fiske Guide to Colleges ranks Muhlenberg among the top 20 small college programs in the nation in both theatre and dance—one of only eight schools in the country to appear on both lists. For more information, visit our website at www.muhlenberg.edu/theatre&dance Muhlenberg Theatre Association & Muhlenberg Dance Association are supported by funds provided by Student Government and the Department of Theatre and Dance. 44 The Muhlenberg College experience offers a direct learning partnership among faculty and students in the classroom, laboratory, and performance studio. Muhlenberg offers students opportunities to foster the most important goal of the liberal arts education—education of the whole person. September 2014