Training News Spring 2016

48 Pages·2016·4.77 MB·English

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Training News
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Photos:
Cover:
Cast of Freedom Rider.
UMKC Theatre 2015
Inside Front:
From Top:
t n
raining eWs Joshua Gilman in The
Learned Ladies.
UMKC Theatre 2015
Writers: Project Manager: eDitors: Korrie Murphy in
The Rocky Horror Show.
Jamie Alderiso Tom Mardikes Felicia Londré UMKC Theatre 2015
Amanda Davison Cindy Stofiel
Andrew Hagerty Collin Vorbeck Alex Ritchie in Wittenberg.
D /L M :
esign ayout anager UMKC Theatre 2015
Dalton Pierce
David Ruis Sarah M. Oliver Designer:
Inside Front Facing Page:
Collin Vorbeck
Kate Mott Mariem Diaz, Frank Oakley,
Ethan Zogg
and Aishah Ogbeh in
Freedom Rider.
UMKC Theatre 2015
Collective Collaboration 1
En Charrette 3 Inside Back From Left:
Lightning Strikes Twice in Scenic Design 5 Cast of Wittenberg.
UMKC Theatre 2015
Illuminating Projections 8
Matt Carter and the Hudson Scenic Studio 10
Frank Lillig and Korrie
Professional Educators 12
Murphy in Pericles.
Professors Stay Sharp 14
UMKC Theatre 2014
Working Actors 18
A Lasting Bond 20
Michael Thayer in
Sound Mandala 22 The Learned Ladies.
Graduate Students Strut Their Stuff 23 UMKC Theatre 2015
A National Collaboration 26
Alumni at Work 28 Back:
Shaping Stage Managers 35 Cast of Caucasian Chalk
Circle.
Playwrighting: The Art and the Craft 36
UMKC Theatre 2014
A Vocal Homecoming 37
Fringe With Benefits 39
Above photos courtesy of
Dramaturgs on the Rise 41
Brian Paulette
UMKC Theatre is composed of a team of creative, educational profes-
sionals who work actively in the professional theatre. We build bridg-
es. We assist the creative student to make the journey to becoming a
creative professional. The practice of the department is to vigorously
educate students in the many arts, crafts and traditions of theatre, and
to provide a basis for future careers in the creative industries. Our spe-
cialties are the development of actors, designers, technicians and his-
torians. We expose our students to a wide range of theatrical influences
and traditions. Under the guidance of extremely experienced mentors,
creativity and professional discipline are valued and developed. Our
program offers intensive hands-on experience, in a conservatory train-
ing tradition, while at the same time fostering the analytical and
contextual skills offered by a liberal arts education. The whole of greater
Kansas City is our auditorium. The practical experience of theatre-mak-
ing occurs not only within the performing venues of UMKC, but also
in many professional theatres in the Kansas City area. We therefore
stress theatre’s role in the overall civic dialogue, as well as giving our
students professional exposure, and contacts. Theatre is a passion. We
seek it, train for it and embody it.
Goals and Objectives
- To provide our students with the skills necessary to establish
rewarding careers in an expanding and rapidly changing profession.
- To strengthen and develop relationships with professional theatres,
artists and communities in greater Kansas City, and to devise major
projects and initiatives which can make an impact on the national stage.
- To expand working spaces for our productions, rehearsals and craft
shops.
- To enhance the network of UMKC Theatre alumni who will maintain
their participation by supporting current students and new theatre-mak-
ing initiatives in Kansas City
- To further strengthen our national reputation as a major American the-
atre training institution.
T

he UMKC MFA program in Acting is a rigorous conservatory experience that provides advanced training for the young
professional actor. Over the course of three years, the program challenges actors to develop the varied skills necessary to achieve
success.
Fundamental to the training is an exposure to a diverse set of performance methods from contemporary to epic, from devised
work to Shakespeare, from the Greeks to new plays commissioned and premiered by us. This unique program seeks individuals who
will bring their full hearts, minds, consciences and artistic souls to the discovery of personal, foundational and daring acting techniques.
Our national and internationally recognized faculty is committed to partnering with such individual talents with the goal of guiding them
to their fullest creative potential.
University of Missouri- Kansas City Theatre Department www.umkctheatre.org Apply Online
by Dalton Pierce
T
he UMKC Theatre program has Thayer quickly learned that acting pro-
Michael Thayer (MFA Acting
an established tradition of working with fessionally is slightly different from per-
2016)is one of many UMKC students to
professional theatres so that its actors, de- forming in an educational setting. “The
have the opportunity to work at The Uni-
signers, and stage managers may benefit rehearsal time is cut in half,” Thayer said.
corn. He performed in Bengal Tiger at the
from the experience of working on a pro- “When you work in an educational setting,
Baghdad Zoo last year, and will be the
fessional show. Few theatre departments it’s like a lab. You can experiment and try
understudy in the one-man show Buyer
grant students this opportunity, but new things. In the professional setting,
and Cellar.
UMKC partners with the it’s still a lab, but you have to
Unicorn Theatre, The Coterie, come to it quicker.” Working on
and the KC Rep. These part- these shows also allows Thay-
nerships allow the future pro- er to build Equity points, which
fessionals to gain experienc- can ease the process of audi-
es as well as providing them tioning in a city such as New
an opportunity to establish York. None of these skills could
their names in Kansas City. have been obtained without
The Department of the training he received from
Theatre will partner with the the department. “UMKC has
Unicorn theatre to perform given me so many tools. The
Mr. Burns, a post-electric techniques that they give us
play, written by Anne Wash- allow us to adapt them in our
burn. This play tells the story own work.”
of a group of people who The Coterie has long
perform an episode of The been a partner of UMKC,
Simpsons after surviving and past collaborations have
an apocalyptic shutdown of included Oliver Twist, The
electricity. Directed by UMKC Hobbit, A Village Fable: In the
faculty member Theodore Suicide Mountains (a produc-
Swetz, this play examines the tion that moved to the Kennedy
lasting effect that popular Center), Arthur Miller’s Playing
Damron Russel Armstrong and Michael Thayer in Bengal Tiger at the Baghdad Zoo,
culture can have on enter- for Time, Our Town, and Lois
Unicorn Theatre. Directed by Ian R. Crawford, 2014.
tainment and performance. Photo courtesy of the Unicorn Theatre Lowry’s Number The Stars.
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www.umkctheatre.org Apply Online
Last year the co-production was The The resulting court case was the driv- happening to Spencer Theatre, located
Miraculous Journey of Edward Tulane, a ing force that got Lincoln into the White in the Olson Performing Arts Center. The
play that allowed the cast of four third-year House. Directed by Jeff Church, this play construction, which began in May, adds a
actors to perform multiple roles throughout engages the audience by having them act new stage floor, as well as new acoustic
the 60-minute production. This year’s col- as “1858 Massachusetts State Senators and lighting designs. Spencer Theatre will
laboration is And Justice For Some: The [who] discuss the themes at the end of the also get an expanded lobby, as well as
Trial of Anthony Burn, written by Wendy play.” new restrooms and a second-floor lounge.
Lement and Bethany Dunakin. This work The co-production with KC Rep is The construction will be finished in time
tells the story of an escaped slave, who is the classical Dickens story A Christmas for the annual production of A Christmas
unjustly sent back to his Southern master. Carol. There is also something exciting Carol, which will feature several of our
graduate students in various roles.
Spencer Christensen, Nicole Marie Green, and Emily Nan Phillips in The Miraculous Journey of Edward Tulane.
The Coterie Theatre 2015.
Photo courtesy of the Coterie Theatre
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Missouri’s Campus for the Arts University of Missouri- Kansas City Theatre Department
by David Ruis & Collin Vorbeck
T
he term charrette (the French word for
cart) dates back to the Ecole des Beaux Arts in
19th-century Paris. It can be defined in two ways:
a trip on a cart for a criminal facing the guillotine
or a session during which focused design students
rigorously work to beat the clock on arts projects
being pulled on a cart – the final product then being
critiqued by a master artist.
Luckily, UMKC Theatre has been
experiencing the latter since 1994, when Hall Fam-
ily Foundation Professor John Ezell planted the
first seed by bringing in Mary Zimmerman to work
with MFA design students in this intensive format.
Many award-winning guest master designers have
followed over the past two decades, including David
and Karen Shulz-Gropman, Fiona Shaw, Eldon
Elder, Ralph Koltai, Ricardo Khan, Deborah
Nadoolman Landis, Willa Kim, and George Tsypin.
David and Karen Shulz-Gropman, production
designers for the film Life of Pi, found the UMKC
charrette experience to be stimulating and reward-
ing. They stated, “Professors John Ezell and Gene
Friedman have organized and structured an ideal
learning environment. For us, the chance to collab-
Victoria Morgan critiques student designs for the ballet The Wizard of Oz. orate with the design students on the charrette was
Photo by Jae Shanks
so refreshing, a true gift.”
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Missouri’s Campus for the Arts University of Missouri- Kansas City Theatre Department
The charrette process is an action- Jae Shanks (MFA Sound Design was wonderful. I especially enjoyed par-
packed endeavor, with students creating 2017) was impressed by how the char- ticipating in her ballet class which com-
and presenting their designs to the mas- rette was able to incorporate her studies bined conservatory dancers with design
ter artist within a matter of days. From in sound design. “I was excited to show students, so that designers could better
research to sketches to conceptualizing Victoria Morgan what a sound designer understand the dancer’s experience.”
a theatrical project, the process is invig- could bring to a ballet. Even with a sym- “Yes!” offered scenic and costume de-
orating for both students and masters phony providing the music, I was able to signer Zoe Still, “and it is an eye-opening
alike. David and Karen Shulz-Gropman give her an idea of what else could be experience to see how much you can
both say, “The opportunity to have full done to enhance the production. She was get done in such a short amount of time.”
concentration on a single design project is very receptive and provided encouraging The experience forces you to trust your
a dream. Add to that the imaginations of feedback to all of us.” UMKC Theatre’s instincts.” Added Max Levitt (MFA Cos-
your mentors: Lindsay Davis, Victor En Yu charrette is a total immersive experience tume Design 2017) as a summation of
Tan, and peers, and you are in a tank with and is often accompanied by readings, the 2015 charrette, “At the end of the day,
no limits.” classes, or different events that will in- after having worked so closely with one’s
The 2015 charrette master was form or inspire the students to be able to peers, it is wonderful to be able to walk
Victoria Morgan, Artistic Director of the do their best work. Said Gretchen Halle away feeling that everyone I study with
Cincinnati Ballet, challenging the students (MFA Costume Design 2017), “With my is exceptional.” Mission accomplished for
in the development of a new narrative dance background, working with Victoria another Master’s charrette.
ballet based on the illustrations used for Morgan from the the Cincinnati Ballet
the 1905 edition of L. Frank Baum’s novel
The Wizard of Oz. The process led not
only to immeasurable academic growth for
the graduate students involved, but also
to professional work for Alexander La-
France (MFA Scene Design 2015).
Ethan Newman (MFA Lighting
Design 2017) couldn’t believe how much
he learned from his first charrette in 2015.
“I’d heard so much about the process
when I visited that it was part of my de-
cision to attend UMKC. I was floored by
what it did for me. The collaboration, the
encouragement (not only from the char-
rette master, but also from my professors
and peers), and the focus: every part of
the experience helped me to grow both as
an artist and a theatre professional.” 2015 Charrette Master Victoria Morgan mentoring costume design student, Tyler Wilson.
Photo by Jae Shanks
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www.umkctheatre.org Apply Online
a L F t s s
LexanDer a rance anD he iLver hoes
Alexander LaFrance’s theatre back- This gave students across theatre disci-
ground encompasses everything from plines access to collaboration with working
acting to directing to stage management. professionals. A charrette, a collaborative
Victoria Morgan, the artistic director and session during which students work with
by Amanda Davison CEO of the Cincinnati Ballet, was brought professionals on real projects, provides
to the Department of Theatre to conduct a students the chance to shine, hone skills,
charrette with Professors Ezell and Fried- and potentially have their work seen in a
man. professional production.
T
wo scenic design graduate stu-
dents found artistic inspiration and real-world
alliances through professional mentorship
opportunities at the UMKC Department of
Theatre. “When this happens,” says Gene
Friedman, assistant professor of scenic
design, “We call it ‘lightning striking’; it is that
astonishing chemistry that happens on rare
occasion between a designer and a direc-
tor.”
Jeff Ridenour (MFA Scene Design
2014) and Alexander LaFrance (MFA
Scene Design 2015) forged strong pro-
fessional relationships while they were still
graduate students at UMKC. They created
scene design magic when they were given
opportunities to work with professional direc-
Freedom Rider stage design by Alexander LaFrance.
tors, artistic directors and choreographers. Photo by Brian Paulette
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Missouri’s Campus for the Arts
LaFrance found inspiration in Ms.
Morgan and her aesthetic, as well as in the
topic of the 2014 charrette: a new ballet
based on L. Frank Baum’s The Wizard of
Oz. What most interested LaFrance were Alexander LaFrance has also been
the parallels between the ballerina’s psy- awarded one of the most coveted intern-
chological journey and that of Dorothy’s. “I
ships in the country. In January 2016, he
presented my ideas,” he said, “at the risk
will embark on a five-month journey as an
of them being rejected, only to find them
art design intern with Disney’s Creative
embraced and encouraged by Victoria.”
Entertainment. Thousands of applicants
That risky spark of creativity, ultimately, led
to LaFrance being hired as concept creator, vie for a spot in this program, from across
librettist, and designer of sets, costumes, America and across the globe. LaFrance
and projections for the concept that he and
will relocate to Los Angeles to partici-
Ms. Morgan developed in the charrette:
pate in this professional, fully-funded pro-
The Silver Shoes: The Ballerina in Oz. An
gram. It will be the experience of a lifetime.
original score will be composed for the
debut at the Cincinnati Ballet and none
other than Victoria Morgan herself will cho-
reograph the ballet. The ballet, for which
LaFrance is receiving full professional
credit for scenic design, will be produced in
the spring of 2017. In addition to the ballet,
Alex is also designing The Ghosts of Lote
Bravo, a world premiere being produced at
Cynthia Levin’s Unicorn Theater — another
professional relationship that Alex forged
while studying at UMKC.
Alexander LaFrance
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University of Missouri- Kansas City Theatre Department