Download Mother Courage Program

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3
FROM THE CHAIR
Jim Hunter
FROM THE DIRECTOR
Steven Pearson
Authentic Task
In Ten Steps to Complex Learning, education and technology
professors Paul Kirschner and Jeroen van Merrienboer outline
an instructional program for problem-centered learning. Their
Complex Learning models involve “the integration of knowledge,
skills, and attitudes; …and often the transfer of what is learned in
the school or training setting to daily life and work settings.” They
stress that successful complex learning approaches must focus on
“authentic learning tasks” -- those situations where learners apply knowledge to
real world situations that also teach how to transfer what is learned to new future
problem situations.
The making of a production at Theatre South Carolina is just such an enterprise.
The fifty-five students named in the program you are currently reading have
been immersed this semester in the complex learning experience of bringing
Mother Courage and Her Children to life. The actors have met for more than
130 hours of rehearsals. The designers began their process in early September and
the technicians were fabricating the scenery and costumes well before our last
show, The Skin of Our Teeth, opened. Tonight’s performance is the product of the
knowledge and insight gained from their study of history, theory, criticism, and
technique -- resulting in this authentic collaborative achievement. Under the sure
guidance of our dedicated and gifted faculty, our production endeavors to provide
lessons applicable to our students’ futures while bringing the power of Brecht’s
play
into your life.
JIM HUNTER
“Why do this play now?” It’s a critical question that any director
faces when producing a play. At the present moment we, like
Mother Courage, are on the fringes of an active and costly war.
We are all affected by it. Some of us have direct connections to
the conflict through the participation of family and friends, and for
some of us the cost is catastrophic and deeply personal. For most
of us the war is on the edge of our consciousness; we may feel the
cost indirectly through the present economic situation, or we may
relate the idea of the war to political points of view being disputed
on the national or international stage. We mostly view the distant events of the war
through a television lens, a medium which depends on creating and maintaining
our interest, and keeping us visually entertained while purchasing the products of
those who sponsor the broadcasts.
As a consummate man of the theatre, Brecht was interested in the interface
between our emotional and rational response to live theatrical situations, and
how these modes of perception are related. In this production we present Brecht’s
portrait of what we have come to call collateral damage; we present a portrait of
a woman, her family, her associates, her environment and her business. Whatever
the political or moral arguments for or against any particular conflict, it cannot
be disputed that there are very real consequences to being around war, whether
by choice or not, and that the economics of a war play a significant role in its
effects.
Brecht was a playwright and poet of great scope and humanity. In our production
of his powerful play we hope we have captured some of his ironic wit, his
wonderful sense of humor, his passion for social justice, his political acuity and
his keen perception of human nature.
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STEVEN PEARSON
THEATRE SOUTH CAROLINA PRESENTS
BY BERTOLT BRECHT DIRECTED BY STEVEN PEARSON
TRANSLATION BY DAVID HARE MUSIC BY JONATHAN DOVE
Music Director Dick Goodwin
Scenic Design
Craig Vetter
Lighting Design
Jim Hunter
Costume Design
Marilyn Wall
Sound Design
Walter Clissen
Stage Manager
Zach Kennedy
CAST
Mother Courage.........................................................................Robyn Hunt
Kattrin...................................................................................LaToya Codner
Eilif, Singer............................................................................Brian Clowdus
Swiss Cheese......................................................................Todd Zimbelman
The Cook .................................................................................Eric Bultman
The Chaplain ...............................................................................Ben Blazer
Yvette......................................................................................Katie Krueger
Ensemble..................................................................................Ryan Krause
Ensemble.....................................................................................Daniel Hill
Ensemble........................................................................Daniel Bumgardner
Ensemble.............................................................................Sydney Mitchell
Ensemble.................................................................................Adrienne Lee
Ensemble/Piano...................................................................William Shuler
Clarinet...................................................................................Doug Graham
Trombone.....................................................................................Eddie Bird
Double Bass...............................................................................José Carrión
Performed with the permission of Samuel French and C.F. Peters Corp.
There will be one intermission. Running time is approximately 2 hours.
The theatre programs of the USC Department of Theatre and Dance are accredited by the National
Association of Schools of Theatre. The Department is a member of the University/Resident Theatre
Association and is affiliated with the Shakespeare Theatre of Washington, DC
and the Milwaukee Repertory Theatre.
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CAST
Ben Blazer
The Chaplain
Ben is a third-year MFA
Acting candidate at
USC. Born and raised
in Pittsburgh, PA, he is
a huge Steelers fan and
an even larger admirer of his family
and circle of friends. Here at USC he
has appeared as Yang Sun in The Good
Person of Setzuan, Detective Tupolski
in The Pillowman, and Oliver in As You
Like It. Cast and Crew: “Break a leg!
My respect and admiration for you all
can’t be put into words. Thanks for all
the laughs and great memories!”
Eric Bultman
The Cook
Eric is a third year MFA
acting candidate. His
New York credits include GRAVITY with
the Pacific Performance
Project East and A SOLIDIER’S PLAY
with No Empty Space Theater. This
season he appeared in STATE OF THE
UNION, EURYDICE and A CHRISTMAS CAROL at Milwaukee Repertory
Theater. His USC credits include roles
in THE SKIN OF OUR TEETH, A CABAL OF HYPOCRITES, THE TEMPEST, OH WHAT A LOVELY WAR,
NOISES OFF, AS YOU LIKE IT,
TWELFTH NIGHT, and THE GOOD
PERSON OF SETZUAN. He received
an Artist’s Fellowship from the South
Carolina Art’s Commission. He trained
at the Eugene O’Neill Theater Center’s National Theater Institute and is a
graduate of Duke University.
Daniel Bumgardner
Ensemble
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Daniel is a sophomore
theatre major. He is
making his debut with
Theatre South Carolina
main stage. Daniel was
most recently seen as the Principal in
Vanities in the Lab Theatre. His past
credits include Bottom in A Midsummer Night’s Dream, Ben in The Sunshine Boys, and William in The Legend
of Alice Flagg.
Brian Clowdus
Eilif, Singer
Brian is a first year
MFA having most
recently played The
Telegram Boy in The
Skin of Our Teeth and
Oscar Wilde in Gross Indecency. Brian
holds a BA in Theatre from Amherst
College. Credits include: Broadway
National Tour, The Best Little Whorehouse in Texas; Lead Singer/Dancer
with Holland America Cruise Lines and
Tokyo Disney. NYC/Regional: Emcee
in Cabaret, Billy Flynn in Chicago,
Ozzie in On The Town, FrankNFurter
in The Rocky Horror Show, Willard in
Footloose, Frankie in Forever Plaid,
and Fred Graham in Kiss Me Kate. This
summer Brian will be playing Sir Walter Raleigh in The Lost Colony. Brian
thanks all the courageous women in his
family for all their amazing love and
support.
LaToya Codner
Kattrin
LaToya is a first year
MFA actress from Upstate New York . She
has a BA in Theater
with a concentration in
acting from Buffalo State College in
NY. Last semester she performed in
the plays Fen by Caryl Churchill (Nell,
May, Japanese Business Man, and
Margaret) and Away by Micheal Gow
(Meg). Most recently you have seen
her as Sabina in Thorton Wilder’s The
Skin of our Teeth.
Daniel Hill
Ensemble
Daniel R. Hill is a 1st
year MFA actor from
Louisville, KY.
He
holds a Bachelor’s Degree in Theatre Arts with
a double concentration in performance
and African American Theatre from the
University of Louisville. Past credits
include the Humana Festival, KY History Museum Theatre, BTN Theatre
Festival, and others. He was seen last
semester in GROSS INDECENCY and
AWAY.
Robyn Hunt
Mother Courage
A member of Actor’s
Equity, Hunt has acted
professionally in the
US, Canada, Europe
and Japan. She worked
for over a decade with Tadashi Suzuki,
performed in Tokyo and Kanazawa in
Opium, a joint Pacific Performance
Project/Theatre Group Tao production
under the direction of Kenji Suzuki,
studied and performed in Kyoto under the direction of Shogo Ohta, and
between 1994 and 2000 performed
frequently at the Actor’s Theatre of
Louisville, under the direction of Jon
Jory. Hunt was co-founder and first artistic director of the San Diego Public
Theatre and co-heads the Pacific Performance Project/east, now based in
Columbia, SC. In 2001, she received
the University of Washington Distinguished Teaching Award. Most recent
acting roles include Dottie in Noises
Off, and Ranevskaya in both Gravity (Connelly Theatre, NYC) and The
Cherry Orchard Sequel at LaMaMa.
Hunt performed in the New York debut
of Peter Kyle Dance as Miss Haversham in To What Extent at the Henry
Street Settlement/Abrons Arts Center
in Fall 2007, and in 2000 appeared in
another Kyle dance, Going. She has
created several evening length dance/
theatre pieces, including the trilogy
Suite For Strangers, which had its Seattle debut in 2004. Other dance/theatre
collaborations (with Peter Kyle and
Steven Pearson) include: Myra’s War,
Prix Fixe, and Shogo Ohta’s The Water
Station (Mizu No Eki). She appears in
the January 2008 article “Shaping the
Independent Actor,” in American Theatre Magazine. Her work can be viewed
at the Pacific Performance Project/east
website (P3east.com).
Ryan Krause
Ensemble
Ryan is a first year MFA
student from South
Bend, IN who graduated
from Ball State University last May. This
is his third show at USC. Past credits
include Tom (Away) and Carson/Narrator 5 (Gross Indecency). He’s excited
to be a part of this creative team and
hopes everyone digs the show. Thanks
to God, Faculty, Family, and his soon
to be wife Amber!
Katie Krueger
Yvette
Katie Krueger is a first
year MFA graduate actor candidate. She was
born and raised in San
Francisco, CA (4th generation) and is a huge baseball fan.
She received her BA in Performing
Arts: Theatre at Saint Mary’s College
in Moraga, CA. There she earned the
Louis LeFevre Award for Outstanding
Scholarship in her major. Her most
recent appearances at Drayton Hall include Gladys in The Skin of Our Teeth
and 4 different characters in Fen by
Caryl Churchill. Other past roles include Juliet in Good Night Desdemona,
Good Morning Juliet, Charlotte in Tennessee Williams’ Night of The Iguana,
and Nydia in the all-women cast of Cry
Havoc. She has also dabbled in independent film and voiceover work. Katie is a proud member of Theatre Bay
Area (www.theatrebayarea.org). Next
up is a class presentation of William
Shakespeare’s Macbeth in Longstreet
Theatre on April 27th, also directed by
Steve Pearson.
Adrienne Lee
Ensemble
Adrienne is a graduate of
The Governor School for
the Arts and Humanities
and is now a sophmore
theater major here at USC. Previous
roles include: Elizabeth Proctor in The
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Crucible, Fred Phelps and ensemble
in The Laramie Project, Arkadina in
The Seagull, all of which were at The
Governors School, and Ensemble in
Oh, What a Lovely War, Lady Capulet
in Romeo and Juliet, Kate in Sylvia,
Roo in Clowns, and Mrs. Crachit in
A Christmas Carol. She is thrilled to
be back on the mainstage performing
in Mother Courage and would like to
thank the cast, crew, and director for
making this an invaluable production
to be a part of.
Sydney Mitchell
Ensemble
Sydney has thoroughly
enjoyed being a part
of this production and
getting to work with a
director she admires.
She is a third year undergraduate theatre major pursing a minor in Spanish.
Previous to the recent The Skin of Our
Teeth, Sydney assistant directed Godspell with Act 3 Productions this past
summer in Atlanta. On the USC stages,
she has most recently been seen in A
Cabal of Hypocrites (Mariette Rival),
The Tempest (Spirit), and At the Water’s Edge. Locally she’s performed in
Mame (Pegeen), Seussical (Gertrude),
and most recently as the mistress in
the Trustus production of Evita. She
thanks her professors, mentors, family,
friends, and Robert for giving her the
chance to grow.
William Shuler
Ensemble/Assistant
Musical Director
William Shuler is a third
year music and theatre
major at USC, studying
piano under Dr. Joseph
Rackers. Mother Courage is William’s
Theatre South Carolina debut after
having performed at Workshop, Trustus, and Town Theaters over the past
two years. Previous Columbia credits
include: Urinetown (Old Man Strong),
Sweeney Todd (Ensemble), Southern
Baptist Sissies (Brother Chaffey/Houston), Little Shop of Horrors (Orin),
8
and West Side Story (Music Director).
“As always, all the love in the world
to Ann.”
Todd Zimbelman
Swiss Cheese
Todd has been acting for
the last ten years and recently decided to return
to school to obtain his
MFA degree. He started his training in New York at Terry
Schreiber Studios, where his passion
for performing was solidified. Later,
he left his corporate job to obtain his
undergraduate degree in Theatre. Todd
achieved his BA (Summa Cum Laude)
from the University of Nebraska. Todd
is a firm believer that the only way to
get ahead is to take action; without action there is no reaction. Todd most
recently appeared on the Drayton Hall
stage in The Skin of Our Teeth.
ARTISTIC COMPANY
Jim Hunter
Artistic Director of
Theatre South Carolina
and Department Chair
Jim’s scene and lighting
designs have been seen
at such theatres as Arkansas Rep, Charlotte Rep, Playhouse
on the Square, Drury Lane Theatre, Theatre Virginia, the World Stage Exposition in Toronto, Heritage Rep, LaMama
in NYC, The Flat Rock Playhouse, the
Veggie Tales Live! National Tour, Wall
Street Danceworks and others. Recent
designs include the lighting design for
The Lost Colony last May and the scene
design for Thoroughly Modern Millie at
Phoenix Theatre in Arizona, for which
he was awarded his second consecutive
AriZoni Award for Excellence in Scene
Design. Jim is a member of the national
designers union, United Scenic Artists,
Local 829 in scene and lighting design.
Recent national service activities include
the Commission for Accreditation with
the National Association of Schools of
Theatre and as a mentor for the Association for Theatre in Higher Education’s
Leadership Institute. Visit his website
at www.jimhunterdesigns.com.
Steven Pearson
Director
Professor Pearson has
acted and directed professionally in the US,
Japan, Canada and Europe. A graduate of Carnegie-Mellon University with degrees
in acting and directing, and a 10-year
student of Tadashi Suzuki, Professor
Pearson was head of the Professional
Actor Training Program at the University of Washington from 1992 to 2003,
and previously taught in and headed
the acting program at the University of
California, San Diego. He is an Artistic Director of the Pacific Performance
Project/East. Recent professional work
includes directing at On the Boards in
Seattle, LaMaMa in New York, in Sibiu, Romania, in Chicago and Minneapolis, and acting in Seattle and Kyoto,
Japan.
Eddie Bird
Trombone
Eddie was born and raised in South
Carolina. After graduating from Brookland-Cayce H. S. he was accepted at
the Cincinnati Conservatory of Music
where he completed a Bachelor’s Degree in 1969. Upon separating from the
Air Force in 1973, he moved to Dayton, Ohio where he worked six nights a
week as a house musician backing entertainers including Julie London, Leslie Gore, Neil Sedaka, Vaughn Monroe,
Brenda Lee, and various dance and
magic acts. He came back to South
Carolina in 1974 to begin a career
teaching music in public schools. He
eventually ended up being an elementary band and general music teacher to
dependents on the U. S. Army base at
Fort Jackson. While teaching, and with
the aid of the G.I. Bill, he completed
a Masters Degree in commercial music and jazz at the University of South
Carolina. He retired from teaching in
2002 and now occupies his time fishing, hunting, training dogs, and playing
gigs. His theatre music experiences
include playing for High School Musical at Workshop Theater and West Side
Story at Town Theater.
Malorie Brown
Assistant Stage Manager
Malorie is a junior at
USC and is very excited
to be working on such a
great show. Acting credits include various characters in At the
Water’s Edge and Life in The Game.
She has also been the sound board operator for A Cabal of Hypocrites, Fen,
and The Skin of Our Teeth.
José Carrión
Double Bass
José A. Carrión is originally from Loja,
Ecuador, where he began his musical
studies at the “Salvador Bustamante
Celi” National Music Conservatory.
He is a former member of the Ecuador National Youth Orchestra and the
Guayaquil Symphony. He graduated
Cum Laude from the University of
South Carolina with a degree in String
Bass Performance, where he studied
with Tim Easter and Craig Butterfield.
The South Carolina Arts Commission
chose Mr. Carrión as the only educator to participate in the National Symphony-Kennedy Center Teacher Fellowship in Washingtonm, DC, during
the summer 2008, as part of the NSO
American Residency program. Mr.
Carrión is an accomplished performer
and is currently the Assistant Principal Double Bass in the South Carolina
Philharmonic and a member of the
Greenville and Spartanburg Symphony
Orchestras. He also performs with the
Augusta and Asheville Symphony Orchestras, and performs regularly in the
Columbia area. Mr. Carrión became
the orchestra director at Ridge View
High School in 2002, and transferred
to Richland Northeast High School in
2005 to direct the orchestra, teach at
the Palmetto Center for the Arts, and
direct the Northeast Current, an allelectric string ensemble. He has collaborated with international artists such
as Mark Wood, Tracy Silverman, Chris
Howes, Julie Lieberman, and Barrage.
Mr. Carrión taught in Querétaro, Mexico, where he served as director of the
“Instituto de Música, Idiomas y Otras
cont. page 12
9
ABOUT THE AUTHOR
Eugen Berthold
Friedrich Brecht
was born in 1898
in Augsburg. He
had his first play
(Baal) produced
in 1917. Along
with
Erwin
Piscator he began
investigating
theatrical styles outside of realism,
developing a style that came to be
called “Epic Theatre” and which is
now most closely associated with
Brecht. Breaking sharply with the
naturalistic stage conventions current
at the time, Epic Theatre employed
overt theatricality in performance, and
utilized non-realistic sets and lighting,
projections and film, music, and
direct address to the audience by the
performers. All of this was in service of
the Verfremsdungeffekt, or a “making
strange” of the familiar, so the audience
could rediscover and examine their own
experiences and assumptions. Socialist
in his politics, Brecht’s plays often
focus on social inequity and injustice,
and offer the chance to see how the
world may be changed for the better.
Along with Elizabeth Hauptmann and
Kurt Weill he crafted The Three Penny
Opera in 1928. Other works include
Galileo, The Caucasian Chalk Circle,
The Good Person of Setzuan, and one
Hollywood film: Hangmen Also Die,
produced in 1943 with Fritz Lang
directing. He was a founding member
of the “Berliner Ensemble” theatre
in East Berlin following WWII, and
continued working there until his
death in 1956. The company remains
in existence today.
For further reading:
Eyewitness Accounts of the Thirty Years War 1618-48, Geoff Mortimer, Palgrave, 2002
Brecht: Mother Courage and Her Children, Peter Thomson, Cambridge University Press, 1997
The Cambridge Companion to Brecht (2 ed.), Peter Thomson, Cambridge University Press, 2006
Brecht on Theatre: The Development of an Aesthetic, John Willett (ed. and trans.), Hill and Wang, 1964
10
“If art reflects life it does so by special mirrors.”
Bertolt Brecht – A Short Organum for the Theatre1
The year was 1938 and Brecht was
on the run. His political and social
sympathies had made him an enemy of
the Nazi government and he, along with
his family and a number of associates,
had to flee. He ended up in Sweden, and
while attempting to secure passage to
the United States began crafting one of
his greatest plays: Mother Courage and
Her Children. It received its inaugural
performance in neutral Switzerland
in 1941 – where the production of
an exiled and condemned German
playwright’s work served as an artistic
jab at Hitler. Following the war Brecht
was able to return to Germany, rework
the script, and stage a production in
1949.
For all of the darkness that informs
his life and work, Brecht never lost
his joy at being in and of the theatre,
and delighted in the ways theatre could
reach people. Answering critics who
felt that elements of his production
of Mother Courage were “frivolous”
Brecht replied, “One ought not to
disapprove too much of frivolity
in the theatre so long as it is kept
within bounds.”2 Brecht wanted to
create plays encompassing the range of
human experience, where the audience
could laugh and weep, sometimes
simultaneously, rather than sound a
single repeated note.
Mother Courage is ostensibly set
during the Thirty Years War. While
for most people in the U.S. this war
is something of a historical footnote,
it is nearly impossible to overstate
the impact and reverberations of this
particular war on Europe in general,
and Germany in particular. A history
of the Thirty Years War published in
1912 was simply called The Great
War in Germany.3 During the Thirty
Years War Germans saw damage and
devastation unlike anything they had
experienced before. Imperial powers
jockeyed for greater territorial control,
generally at the expense of those who
1
Willett, 204
2
Willett, 217
3
were unfortunate enough to be living in
disputed land or caught in the vicinity
of the armies. Those who escaped the
initial onslaught of artillery, assault,
siege, looting, or outright robbery,
rape, and murder, were left in a blasted
landscape of fallow and infertile fields,
devoid of infrastructure, and threatened
by starvation, predation, and the
plague.
Brecht was uninterested in simply
offering a historical drama, and it is the
parallels between the two conflicts – the
“total war” of WWI and its aftermath on
one hand and the first “Great War” on
the other – that Brecht found evocative
in constructing Mother Courage. These
were disasters that he knew first hand.
Brecht was sixteen when WWI started,
and had seen many of his friends
disappear into the abyss of the fields of
France. (His own military service was
short-lived. He served as an orderly in
an Augsburg medical clinic during the
final weeks of the war)4. After fleeing
Germany he spent years running from
the reach of the Nazis, and he returned
to a devastated country. Brecht’s wife
Helene Weigel, playing the title role
in Berlin in 1949, performed knowing
that her own father had been murdered
in a Polish concentration camp.
The costs of any war are always
incredibly high, and while war may
sometimes be necessary – and Brecht
certainly argues that the Thirty Years
War was anything but – it is never
cheap. Those who end up paying the
most are often those least invested
in the outcomes and little agency to
escape the destruction. At the same
time there are those who profit from and
continually choose conflict, regardless
of the damage done to themselves or
others. The backdrop of this play - the
“special mirror” Brecht crafted - is
simultaneously the Thirty Years War
and the cataclysmic events of the 20th
century, in which we are invited to see
something of our multi-faceted selves.
Mortimer, 1
4
Thomson, Cambridge Companion, 24
11
Artes”. Mr. Carrión enjoys traveling,
listening to ethnic world music, and
collecting old LP’s.
Walter Clissen
Sound Designer
Walter has 25+ years of
experience in all aspects
of the audio world. He
received his BFA/MFA
from the Higher Institute of Theatre and Culture Spreading
in Brussels, Europe. Born in Belgium
and working in venues all over Europe, he moved to Los Angeles, CA
in 1988. His sound designs include
work for L.A.’s Center for Bilingual
Arts, The National Flanders Opera in
Belgium, where he resided 2001-2003,
PCPA Theaterfest in Santa Maria and
Solvang, CA, and the Arizona Repertory Theatre in Tucson, AZ. He taught
several audio courses, workshops and
lectures in Europe, at UCLA, at the Pacific Conservatory of Performing Arts
in Santa Maria, CA, and at the University of Arizona in Tucson, AZ. He
just finished a theatre/opera production
by Subsonic Sonar called Emerald
Green Vortex which was released
in 2008. He is currently composing
and designing a brand new musical,
SEVEN STARS IN PARADISE, with
his partners from France and England,
Jean-Louis Milford and Francis Nugent Dixon.
LoreLei Esser
Assistant Costume Designer/ Props
Artisan
Lorelei has been designing properties
for the Hippodrome since the 1994
production of Earthly Possessions.
She has long been recognized for her
accomplishments and contributions as
an independent artist. Her medium, the
collection and assemblage of “the stuff
of life,” can now be experienced in the
sets of the Hippodrome productions.
Lorelei’s understanding of time periods, cultures, the writer’s intentions,
and the director’s vision along with
her tenacity for detail bring artistry to
the craft of properties design. Lorelei
12
has shared in designing several shows
with Marilyn Wall beginning with The
Big Bang, where props turned into costumes and costumes into props (a likely
beginning.) The process was enlightening to them both and they have created
several other shows together sharing
design for both props and costumes.
Lorelei says that she loves working
with Marilyn. She aso worked in production on Victor Nunez’s film, Coastlines. Lorelei is the Hippodrome Gallery Curator.
Dick Goodwin
Musical Director
Dr. Goodwin holds a doctorate in composition from the University of Texas
where he taught theory and composition and ran the jazz program for nine
years. In 1973 he moved to the University of South Carolina to initiate a
doctoral program in composition, arrange music for the USC Marching
Band, and to conduct the University
Orchestra. His compositions in virtually every idiom from jingle to opera,
jazz band to orchestra, have been performed across the United States and
abroad. Dr. Goodwin is active as a
performer (fifteen foreign and numerous domestic tours with his jazz quintet
and The Dick Goodwin Big Band), a
recording studio composer/performer/
producer, and a Yamaha Trumpet Artist. He is Distinguished Professor
Emeritus at the University of South
Carolina and the recipient of the 2001
Elizabeth O’Neill Verner Individual
Artist Award, the highest honor given
in the arts by the State of South Carolina. His wife, Winifred Goodwin, is
a much sought-after chamber musician
and is principle keyboardist with the
South Carolina Philharmonic and staff
pianist at the USC School of Music.
Doug Graham
Clarinet/Saxophone
Doug is a Distinguished Professor
Emeritus at the University of South
Carolina. He holds music degrees
from the University of Texas where he
studied with Raymond Schroeder and
Leland Munger. He is the South Carolina Philharmonic’s principal clarinetist, and often performs as a soloist and
chamber musician in the Columbia
area. In the summer of 1997, Doug
was clarinet soloist with the Performing Arts Orchestra, a professional ensemble in the UK, conducted by Nicholas Smith. His solo performances
with the South Carolina Philharmonic,
the USC Symphony Orchestra and
USC Symphonic Bands include works
by Mozart, Goodwin, Copland, Finzi,
Glazounov, Weber, Corigliano, Rossini, Warschauer, Ligon, Basset, Rogers,
Wiedoft, and others. An active studio,
jazz, and commercial musician, Doug
is a member of the Dick Goodwin Jazz
Quintet, the Columbia Jazz Orchestra
and the Columbia Jazz Society House
Band. He may be Carolina’s most
valuable player.
Sam Gross
Assistant Technical
Director
Sam Gross is a graduate
of Indiana University
where he earned an MFA
in Theatre Technology.
He specializes in mechanized scenery,
computer-controlled systems, electronics, set construction, and rigging. He
has designed and built motion control
systems for such productions as The
Real Thing, Sweeny Todd, Romeo and
Juliet, Sweet Charity, Dracula, and Pal
Joey. He has overseen the construction of USC productions since 2005.
Mr. Gross received his Bachelor of
Science degree from the University of
North Alabama where he also worked
as a sound designer, lighting designer,
sound engineer, carpenter, and actor.
In his position as Assistant Technical
Director, Sam supervises graduate and
undergraduate students in the construction of scenery and props for USC Theatre and Dance productions.
M. Spencer Henderson
Costume Studio
Supervisor
M. Spencer Henderson is a graduate of the
University of North
Carolina at Chapel Hill
where he received an MFA in Costume
Shop Management and Costume Technology. He received his BA in Theatre from Florida State University. His
costuming credits include Playmakers
Repertory Company, The Utah Shakespearean Festival, and Stages St. Louis.
Most recently he spent the summer at
Glimmerglass Opera as the Costume
Administrator. Spencer supervises the
USC costume shop, assists with the
patternmaking and construction of costumes, and teaches costume construction classes.
Victor Holtcamp
Production Dramaturg
Victor Holtcamp was
an instructor most recently at the University
of Washington. He has
been an actor, dancer,
director and/or dramaturg, for U of
WA; the Pacific Performance Project;
Cabaret Theatre, Penthouse Theatre
and Eve Productions in Seattle
Zach Kennedy
Production Stage
Manager
Zach Kennedy is a junior at USC. Recent
credits: Assistant Stage
Manager on the OffBroadway Production Cherry Orchard
Sequel, LaMaMa/ Uniarts Company;
ASM for Marriage of Figaro, Palmetto
Opera Company; Production Manager
for Little Tin Gods, University Arts
Council; Production Stage Manager for
Fiddler on the Roof, Workshop Theatre
of South Carolina; Stage Manager for
Les Liaisons Dangereuses, Workshop
Theatre of South Carolina. At USC:
This Lime Tree Bower (ASM); Twelfth
Night (SM); As You Like It (ASM); Oh,
13
What a Lovely War (Production SM) ;
Romeo & Juliet and The Tempest (Production Manager); A Cabal of Hypocrites (Production SM); Fen (Production SM); The Skin of Our Teeth (Stage
Manager). Before USC, Zach was
a resident Stage Manager for In the
Wings Production Company. Zach also
directed Scrooooge!!! for Trinity Collegiate School as a senior. He is ecstatic
to work with so many great people and
hopes to have the chance to work with
them in the future.
Jeni Miller
Assistant Director
Jeni is a junior at USC
and is thrilled to be involved in this production. She previously
assistant stage managed
Fen and A Cabal of Hypocrites, and
stage managed This Close! and Molly
Whuppie: An Irish Folk Tale. Jeni
was also the Fight Captain for Fen and
worked on Mr. Marmalade and the collaborative outreach project Translations in Ten: Breaking Out of the Box.
Recent acting credits for Jeni include
Kid Simple: A Radio Play in the Flesh
(Moll), Words, Words, Words (Kafka)
and No Exit (Estelle), and an ensemble
member in Molly Whuppie: An Irish
Folk Tale. She would like to thank
Steve for this fantastic opportunity, her
professors for all of their guidance in
the last year, and her family and friends,
especially Esteban, for their continual
love and support.
Lisa Martin-Stuart
Costume Design
Advisor
Lisa’s professional credits include costume designs for regional and
national touring theatres
(Hippodrome State Theatre, Asolo
State Theatre, Aquila Theatre Company
of London) and film (Ulee’s Gold). She
continues to work with Mad Monkey
Productions as wardrobe stylist.
14
Andy Mills
Technical Director
Andy has designed professionally at Shakespeare Theatre’s Young
Company (Washington,
DC), Charlotte Repertory Theatre, Carolina
Opera, USC Opera, and Trustus. His
most recent works include Doubt at
Trustus and Dogs, The Musical at Piccolo Spoleto. Andy currently teaches
Intro to Theatre Design and Theatre
Laboratory. He specializes in the area
of properties, finding or building the
most obscure of items. Andy is a Member of USITT.
Valerie Pruett
Hair/Wig/Makeup
Design
Valerie is the instructor
and designer for hair
and makeup at Theatre
South Carolina. She
started out in professional theatre as
a makeup and hair artist for such outdoor pageants as Tecumseh! and Unto
These Hills. After paying her dues with
the outdoor circuit Valerie went on to
work and sub-contract with several regional theaters including Milwaukee
Repertory Theatre, American Players’
Theatre, Utah Shakespearean Festival,
Dallas Theatre Center, Hippodrome,
New American Theatre, Heritage Repertory Theatre, and, most recently, the
American Folklore Theatre. Before
returning to USC, Valerie was a guest
instructor and artist at the University of
Wisconsin-Milwaukee’s Professional
Theatre Training Program and at Lawrence University in Appleton, WI. She
is a registered artist with the SC Film
Commission and the makeup artist for
the Addy Award-winning media company, Mad Monkey.
Craig Vetter
Set Designer
Craig is a third year
MFA Scenic Design student here at the Univer-
sity of South Carolina. Having received
his BFA at the Penn State University, he
is delighted to be studying at USC under
Nic Ularu. Craig’s designs have included
several shows at his undergraduate
school as well as On The Verge, 12th
Night and, most recently, A Cabal of
Hypocrites, As You Like It and Crumbs
From the Table of Joy here at South Carolina. He looks forward to his remaining
time here and developing his design
aesthetic before finally moving abroad.
Marilyn Wall
Costume Designer
Marilyn Wall is a co-founder of the Hippodrome Theatre, where she is Artistic
Associate and Costume Designer-inResidence. She has designed and built
costumes for more than 350 professional
productions for the stage and for film. Her
stage designs have been seen in San Diego,
Boston, Denver, Connecticut, New York,
Alabama, Massachusetts, and Toronto.
In the film world she has designed costumes and makeup for: A Flash of Green,
with Ed Harris; Shimmer, with MaryBeth
Hurt; Ruby in Paradise, with Ashley
Judd; Gathering Evidence, with Angelina
Jolie; Miami Hustle, with Kathy Ireland;
and Ulee’s Gold, with Peter Fonda and
Patricia Richardson. Ms. Wall has also
served as a designer for Phil Donahue,
Bill Clinton, Al Gore, Todd Field, Joan
Steffend, Scott Simon, and Travis Tritt,
and is a two-time Emmy Award winner
for her design work on Salsa, a national
television children’s series. She received
an Audelco Award nomination for her
original costume design for Cookin’ at
the Cookery and a Beverly Hills/Hollywood Theatre Award nomination for Best
Costume Design. She is presently designing puppets and costumes for a new children’s television series called OrganWise
Guys. Marilyn was the invited artist for
HGTV White House Christmas Special
from 2003-2005. Most recently, Marilyn
was awarded a Florida Individual Artist
Fellowship for 2009.
K. Dale White
Stage Management
Advisor
K. Dale is a proud member of Actors’ Equity. His
credits include: Virginia
Scenic, Virginia Opera,
NY Shakespeare Festival, The Berkshire Theatre Festival, Shakespeare and
Company, Bay Street Theatre Festival,
Playwrights Horizons, Manhattan Theatre Club, Cambridge Theatre Company,
The American Repertory Theatre, Emerson Stage, Chamber Theatre Productions,
Boston Early Music Festival, and many
other notable venues. He has taught at
Emerson College, Old Dominion University and Simon’s Rock College of Bard.
K. Dale received his BFA from Webster
University, St. Louis, MO.
Danielle Wilson
Assistant Technical
Director
Danielle holds a BA in
Theater from the University of North Carolina at
Asheville, and an MFA in
lighting design from the University of
South Carolina. In her present position
she supervises graduate lighting designers,
instructs undergraduates, and manages the
daily operations in the lighting and sound
areas. Danielle also works as a freelance
lighting designer. Her designs have been
seen on the stages of Theater South Carolina, Texas Repertory Theater, Shakespeare
Theater New Jersey, and the North Carolina Blumenthal’s Spirit Square, among
others. She has also worked with dance
companies including the USC Dance Company, The Joffrey Ballet, the Royal Ballet
School, and the Augusta Ballet.
15
2008-2009 Season
High School Musical
June 27 - July 19
Fiddler on the Roof
September 5 - 20
Table Manners
October 31 - November 15
S. Claus & Company
December 11 - 14
Les Liaisons Dangereuses
January 30 - February 14
Caroline, Or Change
March 20 - April 4
Moonlight and Magnolias
1136 Bull Street, Columbia, SC
May 15 - 30
799-6551 • www.workshoptheatre.com
These programs are funded, in part, by the South Carolina Arts Commission which receives funding from the National Endowment for the Arts.
These programs supported, in part, through corporate and individual donations to the United Arts Fund of the Cultural Council of Richland and Lexington Counties.
16
Behind the Scenes
Technical Director
Asst. Technical Director
Asst. Technical Director
Assistant Stage Manager
Hair, Wigs, and Makeup Design
Properties Assistants
Assistant Director
Assistant Musical Director
Production Dramaturg
Lighting Technicians
Scenic Artist
Master Carpenter
Undergraduate Assistants
Projections/Props
Fly Crew
Light Board Operator
Sound Mixer/Playback operator
Andy Mills
Sam Gross
Danielle Wilson
Malorie Brown
Valerie Pruett
Lorelei Esser, Stephen Kelsey
Jeni Miller
William Shuler
Victor Holtcamp
Trey Hobbs, Amelia Underwood,
Zach Kennedy
Craig Vetter
Matthew Burcham
Kyle Gilstrap, Mary Harmon, Jonathon Wise, Chelsea Daewood, Trey Collier,
William Woody
Kathryn Dunham
Phillip Carter, Keith Gouveia,
Beth Roberson, Charles Stabile
Esteban Navarez
R J Foley
Assistant Costume Designer Lorelei Esser
Assistant to the Costume Designer Erin Hamburg
Costume Graduate Assistants Corinne Robinson, April Brown,
Erin Hamburg
Costume Undergrad Assistants Kelly Renko, Steven Kopp, Kayla Watts, Kimberly Poulter, Sean Stephens, Cat Faircloth, Colleen Dobson, and students of the Theatre Lab Program Costume Studio Supervisor M. Spencer Henderson
Dressers Becky Koeller, Brittany Price Anderson
Artistic Director/Chair
Production Stage Manager
Financial Manager
Administrative Assistants
Marketing/Promotions
Promotions Assistants
Jim Hunter
K. Dale White
Ray Jones
Lakesha Campbell, Lee Waters
Kevin Bush
Sara Simpson, Jeni Miller, Zach Kennedy,
Malorie Brown
Special Thanks
Richland School District 2 Auditorium.
Myk Milligan - USC Instructional
Technology
17
THE LITTLE DOG LAUGHED
www.trustus.org
BY: DOUGLAS CARTER BEANE - SEPTEMBER 5 - 27, 2008
THE LIEUTENANT OF INISHMORE
BY: MARTIN McDONAGH - OCTOBER 17 - NOVEMBER 8, 2008
EVITA
MUSIC BY: ANDREW LLOYD WEBBER, LYRICS BY: TIM RICE
DECEMBER 5 - 14; JANUARY 7 - 17
THE GLASS MENAGERIE
BY: TENNESSEE WILLIAMS - FEBRUARY 6 - 28, 2009
DOUBT
BY: JOHN PATRICK SHANLEY - MARCH 20 - APRIL 11, 2009
ELEPHANT’S GRAVEYARD
BY: GEORGE BRANT - MAY 1 - 23, 2009
THE ROCKY HORROR SHOW
BOOK, MUSIC, AND LYRICS BY: RICHARD O’BRIAN
JUNE 19 - JULY 25, 2009
THE SWEET ABYSS
18
BY: JON TUTTLE - AUGUST 1 - 22, 2009
RESERVATIONS:
(803) 254-9732
YOUR SEAT IS
WAITING
FOR YOU!
Upcoming Events
Artistic Director Susan Anderson and the USC Board of Dance invite you to
DANCE! DANCE! DANCE!
A Celebration of our New Facility!
join us for this fabulous fundraising event, featuring the usc dance company
in concert, a delectable cocktail buffet amd after-dinner dancing.
Black Tie Optional. Valet Parking Available.
APRIL 25, 2009
7 PM
324 Sumter Street
tickets: $75 per person, or $125
to include a personalized brick on
the building grounds. reserve a
table for eight for $1000.
Call 777-7264 to reserve tickets!
19
Theatre South Carolina
Longstreet Theatre
Columbia, SC 29208
803/777-4288
theatre@sc.edu
http://www.cas.sc.edu/thea