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PHOTO RICHARD TERMINE AQUILA THEATRE PERFORMS THE TEMPEST
spring 2015
PROGRAM
CENTER STAGE / CRAFTS CENTER / DANCE PROGRAM / GREGG MUSEUM OF ART & DESIGN / MUSIC DEPARTMENT / UNIVERSITY THEATRE
At NC State, the arts are for everyone. All NC State students – regardless of college or major – are welcome to participate in ARTS NC STATE programs and productions, and to take arts courses for credit or non-credit. Whether you have several years of experience or you’re just starting out, our doors are open to anyone who is curious about exploring the arts on campus. Audition for a play. Perform in a concert. Take a class. Work behind-the-scenes. Exhibit your artwork. Volunteer for an event. Live with other student artists. Use your student I.D. to see a world-class performance for just $5. There are so many ways to get involved in the visual and performing arts at NC State. Find out more at ncsu.edu/arts.
ncsu.edu/arts @artsncstate
facebook.com/artsncstate
ARTS VILLAGE / CENTER STAGE / CRAFTS CENTER / DANCE PROGRAM / GREGG MUSEUM OF ART & DESIGN / MUSIC DEPARTMENT / UNIVERSITY THEATRE
spring JANUARY
ARTS NOW! SERIES TUE, JAN 27 / 7 PM State Ballroom, Talley Student Union
FEBRUARY LITTLE SHOP OF HORRORS BY COMPOSER ALAN MENKEN AND WRITER HOWARD ASHMAN FEB 12-15 & 18-22 EVENING SHOWS 7:30 PM SUNDAY MATINEES 2 PM Titmus Theatre, Thompson Hall
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MARCH
FACULTY CHAMBER MUSIC RECITAL WITH DR. KLEIANKINA SUN, MAR 22 / 4 PM Titmus Theatre, Thompson Hall ARTS NOW! SERIES TUE, MAR 24 / 7 PM Titmus Theatre, Thompson Hall PANORAMIC DANCE PROJECT CONCERT THU & FRI, MAR 26 & 27 / 8 PM Titmus Theatre, Thompson Hall
MUSIC OF THE BRITISH ISLES SAT, FEB 21 / 4 PM State Ballroom, Talley Student Union
THE BURIAL AT THEBES, A VERSION OF SOPHOCLES’ ANTIGONE BY SEAMUS HEANEY MAR 27-29, APR 8-12, 15-19 EVENING SHOWS 7:30 PM SUNDAY MATINEES 2 PM Kennedy-McIlwee Studio Theatre, Thompson Hall
ARTS NOW! SERIES THU, FEB 26 / 7 PM State Ballroom, Talley Student Union
RALEIGH CIVIC CHAMBER ORCHESTRA SUN, MAR 29 / 4 PM Titmus Theatre, Thompson Hall
AQUILA THEATRE: THE TEMPEST & WUTHERING HEIGHTS FRI & SAT, FEB 27 & 28 / 8 PM SUN, MAR 1 / 3 PM Titmus Theatre, Thompson Hall
FACULTY TROMBONE RECITAL: DR. WES PARKER MON, MAR 30 / 7 PM Titmus Theatre, Thompson Hall
THE SWINGLE SINGERS TUE, FEB 17 / 8 PM State Ballroom, Talley Student Union
PMC LECTURE SERIES FRI, FEB 27 / 7 PM State Ballroom, Talley Student Union JAZZ ENSEMBLE I SAT, FEB 28 / 7 PM State Ballroom, Talley Student Union
MARCH WIND ENSEMBLE TUE, MAR 3 / 7 PM Titmus Theatre, Thompson Hall REGINA CARTER FRI, MAR 20 / 8 PM SAT, MAR 21 / 5 PM & 8 PM Titmus Theatre, Thompson Hall
KEY
CRAFTS CENTER GREGG MUSEUM
APRIL CHORAL CONCERT FRI, APR 10 / 7 PM Holy Trinity Evangelical Lutheran Church GRAINS OF TIME SPRING CONCERT SAT, APR 11 / 7 PM State Ballroom, Talley Student Union NCSU DANCE COMPANY CONCERT THU & FRI, APR 16 & 17 / 8 PM Titmus Theatre, Thompson Hall RALEIGH CIVIC SYMPHONY SUN, APR 19 / 4 PM / Location TBD JAZZ ENSEMBLE II TUE, APR 21 / 7 PM Titmus Theatre, Thompson Hall JAZZ ENSEMBLE I SAT, APR 25 / 7 PM Titmus Theatre, Thompson Hall WIND ENSEMBLE WED, APR 22 / 7 PM State Ballroom, Talley Student Union BRICKYARD BRASS QUINTET SUN, APR 26 / 4 PM Price Music Center, Room 120
APRIL MUSIC DEPARTMENT STUDENT RECITAL MON, APR 6 / 6 PM Price Music Center, Room 110
GREGG MUSEUM EXHIBITIONS
LADIES IN RED TUE & WED, APR 7 & 8 / 7 PM Titmus Theatre, Thompson Hall
SMOKES AND MIRRORS: REFLECTIONS OF THE SELF IN PHOTOGRAPHS BY JOHN MENAPACE THROUGH FEBRUARY 6
MU BETA PSI'S ACAPELLAFEST THU, APR 9 / 7 PM State Ballroom, Talley Student Union
Historic Chancellor’s Residence 1903 Hillsborough Street, Raleigh, 27607 Call 919.513.7244 or email zoe_starling@ncsu.edu to schedule a visit.
TEATRO HUGO & INES FRI, APR 10 / 5 PM SAT, APR 11 / 5 PM & 8 PM SUN, APR 12 / 4 PM Titmus Theatre, Thompson Hall
UNIVERSITY THEATRE MUSIC DEPARTMENT
LIFE’S LITTLE DRAMAS: PUPPETS IN HUMAN SOCIETY LATE SPRING 2015 NCSU Libraries’ D.H. Hill Exhibit Gallery. Check ncsu.edu/gregg for dates and times.
CENTER STAGE DANCE PROGRAM
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NCSU CENTER STAGE
TEATRO HUGO & INES APRIL 10-12, 2015 TITMUS THEATRE, THOMPSON HALL Peruvian puppeteers Hugo and Ines are beloved the world over for their collection of wordless whimsical vignettes.
PUPPETRY WORKSHOP SUNDAY, APRIL 12, 2015 AT 2:30 PM Hugo and Ines will share elements of mime and puppetry and show how to build easy figures with the hands and other parts of the body. For adults and children 10 years old and above.
FREE Pre-registration required when you purchase your Hugo & Ines show ticket(s).
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GREGG MUSEUM OF ART & DESIGN
LIFE'S LITTLE DRAMAS PUPPETS IN HUMAN SOCIETY Opens late spring of 2015 at NCSU Libraries’ D.H. Hill Exhibit Gallery
CHECK NCSU.EDU/GREGG FOR DATES AND TIMES.
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IMAGE FROM UNIVERSITY THEATRE'S FIRST PRODUCTION, ANTIGONE. PICTURED L-R: CORKI NEWMAN AND GURD BLISS. PHOTO BY SUN ARRENU.
From pigeons TO PROFESSIONALS By Chris Vitiello
Through the decades — and the renovations — University Theatre continues to expand and improve The bustle of rehearsal blares through the phone. John McIlwee, University Theatre Director, laughs and apologizes while he finds a quieter place to talk. Opening night of Little Shop of Horrors is still a month away, but he has a full slate for a Sunday night. “They’re singing,” he says. “I can hear them in the distance. It’s ‘Skid Row,’ the second number in the show. The girls are just coming in in cycles. I’ve got some really good kids with really good voices. But I don’t know about the other parts yet.”
University Theatre celebrates 50 years of this wonderful chaos with a typically eclectic spring schedule. First, the Motowninflected hilarity and gigantic carnivorous plants of Little Shop; next, in March, the wrenching agony and cruel fate of The Burial at Thebes, poet Seamus Heaney’s re-envisioning of Sophocles’ Antigone. The classic tragedy connects back through the program’s halfcentury to then-Thompson Theatre’s very first production. Jean Anouilh’s version of Antigone opened in November 1964, in a theater space carved out of the abandoned Frank Thompson Gymnasium. Inspired by the success of drama workshops conducted by artist-in-residence Romulus Linney in the early 1960s, the theater’s founding was part of an initiative headed up by Dean of Students Jack Stewart to enhance the artistic environment at NC State. Henry Bowers, then-Director of the University Student Center, and for whom the Bowers Medal of Arts is named, remembers working with Stewart and Associate Dean of Student Affairs Banks Talley on the initiative. “The idea from the beginning,” Bowers says, “was to make students on this campus, who were primarily agricultural and engineering—the humanities were really just service departments in those days—aware that this sort of thing was available.”
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Frank Thompson Hall
Linney brought University of Pittsburgh professor Phillip Eck to join the team in a campus search for a theatrical home. They walked the campus, looking at buildings the way you kick tires on a used car lot. Eck saw potential in the old Thompson Gym, which the basketball team had ditched for Carmichael Gymnasium and Reynolds Coliseum. “Thompson was a disaster,” Bowers recalls. “The university had abandoned it, so Thompson was just left as an empty space, which, at that time, no one seemed to want. Nowadays a space like that would be snatched up and people would be competing for it.
repertory troupe by degrees, but that plan shifted in 1967 in favor of a non-academic, student-centric model underwritten by theater receipts. What could have been a setback turns out to have been the real triumph of University Theatre—by offering all NC State students the chance to participate in theatre, the program has become a successful avenue for experiential learning. Even today, the university does not have a theatre major (though it has added a minor in recent years).
“They didn’t get academic credit for it; it was just something that they really wanted to do.”
“Anyway the place was filled with pigeons, just totally a physical wreck. But Eck thought it could work, so he drew up a basic design.”
The suspended running track around the old basketball floor was repurposed as a lighting rig. A flexible structure went over the old gym floor, and smaller, black box theater spaces were opened elsewhere in the building. Ira Allen became Thompson Theatre’s first director and Charles Stillwell, who directed Antigone and played its narrator, was Allen’s assistant. The initial plan was to grow a professional
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“One thing that amazes me, and which I don’t think people really take into account,” Bowers notes, “is the fact that most of these plays were put on by students in engineering or agriculture or communications—not theatre majors. They were student actors and student designers, with a little help from professional directors. It was a learning experience for them, and they turned out some remarkably good performances, as they do today. “They didn’t get academic credit for it; it was just something that they really wanted to do.” McIlwee took over directorship in 1990, putting an emphasis on growing the program’s professionalism and popularity.
Celebrating 50 Years Cast and crew of University Theatre's production of RENT in the 2011-2012 season.
When he arrived, 20 students was a good turnout for auditions. Now, on average, 100 students show up.
studio productions. Over 300 students from varied majors participate in University Theatre productions.
“When I came here to interview, I went to a show—Fiddler on the Roof—and there were 40 people in the audience,” he remembers. “Although some of the people in it were very good, it was just a bit visually uninspired. That’s something we’ve really worked toward. We can control what a production looks like, but we can’t control who comes in to audition for it.”
The theater nearly lost its physical connection to its roots when Thompson Hall was renovated in 2007. But rather than raze the building to construct a new one, the university reconfigured the inside of the existing building. That decision essentially allows the March performance of The Burial at Thebes to share a footprint with its Antigone legacy from nearly a half-century earlier. Just without the pigeons.
McIlwee cites a 1997 production of Cat on a Hot Tin Roof, which Terri Janney directed, as a moment when he realized that University Theatre had really arrived. Everything hit on all cylinders—the acting, the production, even the attendance.
“The most interesting thing for me is watching students grow.”
As University Theatre marks its 50th year, McIlwee personally looks back on 25 years in Raleigh—a stay he never intended.
“Everybody committed exceptionally to that show. When it opened I thought it showed that we were beyond what we’d produced up to that time. It became obvious that we could continue to do things on that level. From that point on, each show felt like it moved us forward.”
“The most interesting thing for me is watching students grow,” he says, as Little Shop surges in volume behind him. “I have students in this show who were in their first show for me when they came in as freshmen and they’re graduating this semester. To have watched them grow each time, and add something to their repertoire of skills, that’s the most exciting thing.
McIlwee now oversees eight to ten shows each year, half of which are main season shows in addition to a summer TheatreFest repertory season, diversity plays and student
“It’s why I didn’t go back to professional theatre. I’d been doing it for 20 years. This was supposed to be a two-year gig for me. But I couldn’t leave. It was too satisfying, too fulfilling here. I’m lucky.”
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WOLFPACK
TIME MACHINE By Chris Vitiello
The Gregg Museum’s ECLECTIC COLLECTION might just be its RICHEST CLASSROOM, too Two days before Thanksgiving, a sleepy gathering of students shares their holiday travel plans on a rainy morning. But first, before they scatter all over the state and country, they’ll take a trip 2000 years into the past. As part of instructor Janine Woodbridge’s “Basic Weaving” class, these eight College of Textiles juniors are touring the collection at the Gregg Museum of Art & Design, getting a first-hand, whirlwind look at the history of textiles. Despite being destined for careers in computer-aided industrial design, they’re learning fundamental structural and design lessons from centuries-old Coptic cloth preserved in Egyptian graves and bright, contemporary fine artworks. They aren’t, however, strolling through the museum peering into glass-covered cases at pristinely labeled fabric. Instead, Gregg Registrar Mary Hauser has laid out about 20 select pieces on large tables in the museum’s workrooms. Today, the collection is a classroom. After a quick training, Hauser gathers the students around the first table of tapestry pieces. Wearing white gloves, she flips the corner of each piece to show the students both sides. Hesitantly, they lean in to see the warp and weft of the weave. “So do you think this is contemporary? Or older?” Hauser asks.
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Students smile at each other, waiting for someone to speak first. “I can’t tell but I definitely think it’s contemporary. The colors are pretty bright,” one young woman manages. Hauser notes that it’s from the 1970s and the young woman nods with a sense of triumph. The Gregg’s eclectic collection of fine art and craft objects and historical artifacts tops 34,000 items and grows by about 500 objects a year—almost exclusively via unsolicited donation. Some donations are exhibition-quality work, such as the thousands of prints and negatives that North Carolina photographer John Menapace left the museum upon his death in 2010. Other donations, however, come from attics and basements. These relics of travels, inheritances and antique store rummagings, which may be damaged or too worn to put on display, comprise the education collection. “Someone might give us a 1920s flapper dress,” Gregg Director Roger Manley explains. “If it’s in perfect condition we will try to keep it that way. If it has some tears here and there, people can still use it as a study item to see how a flapper dress was put together.” The education portion of the collection is very much open for business as a hands-on learning resource. Professors work with Hauser and Gregg Curator of Education Zoe Starling to identify what parts of the collection would support their instruction. The Gregg staff develops and leads a customized, close-up and personal class visit like the one the textile students are having. “A professor can contact us and say ‘I’m teaching a class in Latin American history. Are there things in the collection that I can use to talk about that?’” Manley says. “They might look at the Al Farrow sculpture that’s made of old weapons and gun parts and talk about the history of violence in Latin America. By making all that tangible, it takes it out of the realm of being in a book or online.”
Professors from every corner of the university leverage the Gregg’s collection in this way. Recent departments that have visited include archaeology, anthropology, philosophy, religion, film studies and environmental services. Classes from Meredith College and the Governor Morehead School for the Blind come, too. To Woodbridge, this visit is as essential as her lectures. This kind of engagement with the material brings the work to life in a rare, invaluable way. “It might just be a different environment,” Woodbridge says, “but my students definitely were more engaged by the fabrics and can really understand the process and take in the magnitude of these pieces now that they’ve done some hand weaving. Before this kind of awareness of textiles, they may have just walked by and said ‘Oh that’s a cool picture of a god,’ or whatever was depicted in the tapestry, but they’re now understanding and relating to these on a maker’s level.” Each semester, Starling and Hauser also work with Arts NC State Coordinator of Arts Outreach Amy Sawyers to link upcoming Gregg exhibitions with specific courses being taught at State. This goes into a Curricular Connections Guide that covers all other ANCS programs and events. A professor can simply find his or her course listed in the guide, call up the Gregg and schedule a class visit. Hauser jokes that the Gregg’s huge collection is currently “in exile.” Displaced by the Talley Student Union renovation, the museum is in the final throes of fundraising for a new, spacious addition to the Historic Chancellor’s Residence. In the meantime, they’re a “museum without walls,” squatting in an anonymous-looking warehouse building near the J.C. Raulston Arboretum. Exhibitions have continued in several campus locations such as the Chancellor’s Residence, D.H. Hill Library and the African-American Cultural Center in the Witherspoon Student Center, as well as at Meredith College.
Ground is slated to be broken on the Gregg’s new addition in April 2015. Piece by piece, Hauser asks the students how each object was made, where it might come from, when it might date to. By the time they’re ten pieces into the tour, students are listing those characteristics without prompting, deducing what the weaving might have been used for. Students lean in close to examine the faded red, orange and yellow diamonds of a Turkish kilim fragment from the beginning of the 20th century; a Peruvian fragment from the 1400s, regrettably cut with scissors to be fit into a frame; and some coarse, woolen early American coverlets. They cringe and laugh over the coverlets, imagining them on their dorm beds. “They can see living with those pieces,” Woodbridge notes. “The other pieces might have been fine art pieces or pieces for burial or some ceremony. But they’re really able to relate to a coverlet, and that connects them more to the idea that people didn’t always have these 700 thread count sheets. This is what people lived with and they made it at home. Through an object, you can engage with its history and use on a different level. “Everything is so mass-produced today, so I want them to be able to appreciate that this took somebody maybe a year and a half’s worth of time to make.” This historical perspective enhances a student’s ability as a designer, too. The cultural inheritance of the collection’s many donors becomes an educational inheritance as these students transition into the industry after they graduate. “An understanding of older techniques really helps you down the line,” Woodbridge says. “I worked in the industrial textile world in contract fabrics for a long time. It helped me, as a designer, to know different techniques and structures, to understand why X structure won’t work with loom Y. Knowing how to read the fabrics is a building block of design.” ncsu.edu/arts
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CROSSING THE FINISH LINE AT THE
new
GREGG MUSEUM OF ART & DESIGN
THANK YOU
FUND-RAISING PROGRESS
so very much for your support of the Gregg Museum of Art & Design! Our success is due to:
$5.7 MILLION in student and university support
• MAJOR GIFTS
+ $3.8 MILLION raised privately so far
More than 30 generous individuals and foundations have chosen to make a major commitment of $25,000 or more to the Gregg Museum Campaign
• FOUNDING FRIENDS
More than 100 individuals have chosen to become members of our Founding Friends, which recognizes donors of $5,000 or more. We hope to reach a total of 200 Founding Friends and would be thrilled to include you among these visionary supporters!
• All told, more than 300 generous alumni and friends have helped us achieve this goal. EVERY gift made an impact!
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+ $100,000 more to be given by supporters like you = $9.6 MILLION and a new Gregg Museum! IF YOU WOULD LIKE TO BE A PART OF THE GREGG MUSEUM OF ART & DESIGN CAMPAIGN Contact Christina Menges, Director of Development, ARTS NC STATE 919.513.4101 or clmenges@ncsu.edu
FOR EXCITING NEWS ABOUT THE GROUND BREAKING CEREMONY IN SPRING '15!
TICKET CENTRAL 919.515.1100 NCSU.EDU/ARTS
Show Your Colors Order your specialty ARTS license plate today! Your plate purchase benefits the work of ArtsNC, our statewide organization uniting North Carolinians for the arts.
TheCreativeState.org
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University Theatre presents
THAT KIND OF PLAY by Christian O’Neal*
Winner of ARTS NC STATE’s 2013-2014 Creative Artist Award – Theatre FRIDAY-SATURDAY, FEBRUARY 27-28, 2015 • 7:30 PM Kennedy-McIlwee Studio Theatre, Thompson Hall DIRECTED BY John C. McIlwee* Lighting Design by Kenny Hertling* Technical Direction by David Jensen Stage Managed by Alec Haklar*
cast and crew
THAT KIND OF PLAY
CAST SAM........................................................................................................... John Gupton BECK........................................................................................................Niccolo Roditti GIRL...................................................................................................Kristen Manchette
PRODUCTION CREW Assistant Stage Manager..................................................................... Yamila Monge* House Manager and Ushers...................................... University Theatre House Crew *Member of Alpha Psi Omega Honorary Theatre Fraternity
PROFESSIONAL STAFF Costume Shop Manager Laura J. Parker Costume Technician Adrienne McKenzie Assistant Technical Director Stephen Frausto Marketing, Graphics & Photography Ronald A. Foreman*
This play is yet another realization of the many talents Christian has displayed during his years at NC State and University Theatre. His contributions are many… from fine performances to backstage work, execution of designs, and his fine direction of a student studio. This work is a delight and it has been a privilege to watch his talents grow. He will be missed at University Theatre. – John McIlwee
AUDIENCE TALK BACK • FRIDAY, FEBRUARY 27 Join us for a discussion with the director and the playwright immediately following the production.
please
DURING THE PERFORMANCE:
• Silence your cell phone • No photography • No texting
thank you SPRING 2015 • ISSUE 2 •
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cast bios
THAT KIND OF PLAY
John Gupton, Sam, is a sophomore in chemical engineering with a minor in theatre. John’s previous credits at UT include the student studio production, All in the Timing. “I would like to thank UT for this opportunity and very proud to be in a play written by an NCSU alum. Thanks to everyone for coming out and I hope you enjoy the show!” Kristen Machette, Girl, is a freshman in science, technology and society. Kristen was born in Wellington, Florida and raised in Charlotte, North Carolina. She is Rocky River High School alum where she actively participated in its theatre program, both on stage and back stage. She is very excited to continue her theatrical work with University Theatre while majoring in STS and looks forward to working with the cast and crew of That Kind of Play. Niccolo Roditti, Beck, is a freshman in psychology and international studies (intended) with a minor in French. Niccolo has been acting since his sophomore year of high school. This will be his first production with University Theatre. Niccolo‘s most memorable credits include Micheal The Archangel, and Detective McSmogg. Niccolo has won an award for best cameo performance in the regional North Carolina Theater Conference. He is excited to be part of a cast again and looks forward to performing once again on the stage.
PRODUCTION BIOS John C. McIlwee, Director, has been with NCSU’s University Theatre for more than 29 years. He has worked extensively throughout the United States as an actor, director, costume designer, scenic designer, makeup artist, and playwright. He holds a master in theatre and a master of fine arts in theatre design. John is a national award-winning fashion designer and a two-time winner of the National Arts and Letters Council Award for children’s playwriting. He was also honored with the Raleigh Medal of Arts. Recently, John directed Little Shop of Horrors, You Can’t Take It With You, Death By Design, Chicago, The Game’s Afoot, Garden District, Rent, Twelfth Night, Inspecting Carol, Black Coffee, and The Spyglass Seven. His combined directing and costume credits include Amadeus, Into the Woods, and Murder on the Nile; acted in Re:Design; directed and designed the sets for TheatreFest and the costumes for Death By Design, The Dixie Swim Club, Dirty Rotten Scoundrels and Arcadia. He continues to lecture extensively on the history of couture and costume and enjoys working with this extremely creative University Theatre staff to create a varied and exciting theatrical experience that is available to ALL university students. “Much love to Nancy and Genevieve for unconditional love, fun, and refuge throughout rehearsals!” Alec Haklar, Stage Manager, is a sophomore in design studies with a minor in theatre. Alec is extremely excited to be a part of his 10th show at University Theatre! Previous backstage roles include spotlight operator, assistant stage manager, and scenic
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carpenter. He is ready for the big move from backstage to back of house in order to take on his role as stage manager for this production. “A big thank you to everyone who has supported me both at UT and at home, the cast and crew, and Mom and Dad.” As always, he is extremely happy to be here! Yamila Monge, Assistant Stage Manager, is a senior in psychology with a minor in theatre. This is Yamila’s 13th show at University Theatre. “I’m excited to work with such a great cast and crew! Thanks to my family and friends for all their support.”
THE PLAYWRIGHT Christian O’Neal graduated summa cum laude December 2014 in mechanical engineering with minors in theatre and art+design. His love for the theatre began at Lee County High School in Sanford, NC where he started writing plays under the direction and encouragement of Ron Coley. “When I moved to NC State, I immediately sought the theatre program and found a home,” Christian said. “During my time here I continued writing sketches and plays for the stage, improving as I learned the many aspects of theatrical production. I ultimately hope That Kind of Play properly reflects the high quality of education that the University Theatre staff provides to its students.” Christian’s admiration for University Theatre is reciprocated by its director, John McIlwee. He describes That Kind of Play as a “oneact play that explores a ‘particular’ genre in a satirical, witty and imaginatively entertaining fashion. His characters are fascinating in their reaction to the dramatic situation they find themselves in and are completely believable in their very ‘human’ dialogue. Christian has written quite a lot of dramatic dialogue and I feel his natural wit really informed this special piece. He had to know a genre of play very well in order to satirize it so effectively. His research for his writing is excellent and he managed to make his points in a way that the audience can understand everything he is working to get across to them. It is a very ‘playable’ work from a very insightful young theatre devotee.” Inspired by Samuel Beckett’s Waiting for Godot, Christian challenged himself to write a simple play with a simple premise. On paper, the setup for Beckett’s play is simple: Vladimir and Estragon wait by a tree for someone named Godot. Their situation is so bizarre and their dialogue varies so much (from the philosophical to the inane) that the play can be (and has been) interpreted in many, many ways. Beckett’s style later inspired many other existentialist plays like Tom Stoppard’s Rosencrantz and Guildenstern Are Dead and Harold Pinter’s The Dumb Waiter. That Kind of Play asks the question, “What if all the scholars are wrong? What if this play doesn’t mean anything?” The two main characters – appropriately named Sam and Beck – find themselves trapped in “that kind of play” and try to find a way out. But the real question is – how? “This is the first time professionals in the industry are producing a piece that I wrote. I’m interested to see how a veteran director like John McIlwee interprets the script (even when the play claims to have no interpretation) and I’m especially excited to have the chance to develop the script based on artist and audience feedback.”
NCSU Center Stage presents
AQUILA THEATRE THE TEMPEST by William Shakespeare FRIDAY, FEBRUARY 27, 2015 • 8 PM Titmus Theatre, Thompson Hall Pre-show discussion with a member of Aquila Theatre, 7 PM, The Crafts Center
cast
Aquila Theatre is the Professional Company-in-Residence at the Center for Ancient Studies, New York University
Prospero...............................................................................................James Lavender Miranda....................................................................................................... Tara Crabbe Ariel/Gonzalo............................................................................................... Carys Lewis Caliban/Ferdinand........................................................................... Joseph Cappellazzi Alonso/Trinculo..................................................................................... Rupert Baldwin Antonio/Stephano..................................................................................... Michael Ring ALL OTHER ROLES ARE PLAYED BY THE COMPANY.
Aquila Theatre 100 Washington Square East Silver Center Room 503 New York, NY 10003 aquila@aquilatheatre.com www.aquilatheatre.com
Director/Adaptor..................................................................................Desiree Sanchez Lighting Designer....................................................................................Peter Meineck Costume Designer.................................................................... Deanna Berg MacLean Composer/Musical Director....................................................................... Ralph Farris Sound Engineer/Company Stage Manager..................................... Christopher Marc Technical Director........................................................................................Bob Rogers Prop Designer/Scenic Carpenter............................................................. Sara Morgan Lighting Assistant...................................................................................Ellie Engstrom There will be one fifteen-minute intermission. The taking of photographs or the use of any kind of recording device is strictly prohibited.
This performance of The Tempest is part of Wherefore: Shakespeare in Raleigh, a convergence of arts organizations presenting work by and inspired by William Shakespeare, January-June 2015. Learn more at visitraleigh.com/wherefore.
Aquila Theatre’s production is part of Shakespeare in American Communities, a national program of the National Endowment for the Arts in cooperation with Arts Midwest.
please
DURING THE PERFORMANCE:
• Silence your cell phone • No photography • No texting
thank you SPRING 2015 • ISSUE 2 •
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THE TEMPEST
ACT 1 • A terrible storm tosses a ship, carrying King Alonso, Ferdinand, Antonio, Gonzalo, Stefano, and Trinculo, at sea. Miranda watches the storm with horror and pleads with her father, Prospero, who is causing the storm to stop the destruction. He promises no harm will come to the sailors. He tells his daughter the tale of how her uncle, Antonio, stole his Dukedom from him and left them as exiles on the Island. Ariel then appears before Prospero to report on the storm, which she created on his behalf, and presses Prospero for her freedom. Prospero reminds Ariel what she owes him and threatens to harm her if she does not help him further by creating diversions for the shipwrecked travelers. Prospero and Miranda go to seek out Caliban for firewood, though Miranda is reluctant. Viewed as a monster, Caliban is Sycorax’s son and the Island’s only living native. Prospero had taken Caliban in as a child and raised him. When Prospero witnessed Caliban’s sexual advances on Miranda, he turned him out but kept him as his servant. Meanwhile, Ariel entrances Ferdinand with a song, luring him inland where he spies Miranda and immediately falls in love with the young woman. Prospero, pleased with Ariel’s work, intimidates Ferdinand with his magical powers and tests the young man’s willpower and the honesty of his intentions towards his daughter. All goes according to plan. Elsewhere on the island, the courtiers find themselves stranded as well. Gonzalo tries to console King Alonso who believes his son is dead. Hidden to them all, Prospero lulls Alonso and Gonzalo to sleep with solemn song. Antonio keeps guard while they rest and envisions himself as King, plotting to kill Alonso so he can take the crown of Naples for himself. An invisible Prospero keeps Antonio from using his sword against the sleeping King and wakes the sleepers. Meanwhile, on another part of the island, Caliban is cursing his servitude; he detests Prospero. Trinculo and an inebriated Stephano happen upon Caliban. Stephano gives Caliban some of his libations, loosening the slave’s tongue. He joins up with Trinculo and Stephano.
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Photo: Richard Termine
synopsis
ACT II • Prospero has set Ferdinand to hard labor, lugging firewood. Miranda and Ferdinand profess their love for each other and plan their marriage while a hidden Prospero watches on with pleasure. On a different part of the island, Caliban explains to Stephano, his new master, how Prospero stole the island, suggesting Stephano murder Prospero to gain control of the island, promising himself as servant and Miranda as wife to sweeten the deal. Ariel causes Stephano and Gonzalo to argue. Meanwhile, a weary King Alonso, Gonzalo, and Antonio continue to traverse the island. They happen upon a banquet, conjured by an invisible Prospero and Ariel, accompanied by spirits of the island. The merrymakers invite them to eat and strangely disappear. Ariel appears as a harpy and reminds them of the terrible things done towards Prospero and tells them of their fate. Alonso and Antonio run off in fear for their lives as their past evil deeds are coming back to haunt them. Prospero is pleased with the young lovers’ behavior and agrees to their marriage. Prospero calls on Ariel to bring the island spirits, Iris, Ceres, and Juno, to bless Miranda and Ferdinand with a gift of his art. Miranda and Ferdinand are enchanted. He releases the spirits to go on their way and retires to his cell with Ariel following. He asks Ariel to report on the others. Ariel tells Prospero that she has dealt with the wayward Caliban and his drunken accomplices, and also informs him of the King’s and his brother, Antonio’s, penitence and that he should take pity on them and find forgiveness. Prospero has Ariel bring them to him and tells them his story and reveals to the distraught King that his son is indeed alive and well and not drowned. Prospero then reveals Ferdinand and Miranda together, playing a game of chess. Alonso is relieved to see his son and Miranda is amazed to see so many people. Prospero frees everyone and promises to return them safely to their ship on the upcoming day. He asks that Ariel see each reach their native shore without harm, after which he will free her. Prospero remains on the island.
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Rupert Baldwin (Tempest: Alonso/Trinculo; Wuthering Heights: Edgar Linton/Mill Foreman) trained at Mountview Academy of Theatre Arts, London. Theatre includes: Julius Caesar, Titus Andronicus (Shakespeare’s Globe); Veronica’s Room (Provence Tour, France) The Bald Prima Donna, The Blind, The Intruder (Old Red Lion Theatre); Days of Hope (Rose and Crown Theatre); Besame Mucho (Charing Cross Theatre). Film: Heart Maker. Television: Hey Diddly Dee (Sky Arts: Playhouse Presents.) Joseph Cappellazzi (Tempest: Caliban/Ferdinand; Wuthering Heights: Heathcliff/Mill Worker #5) trained at The Guildhall School of Music & Drama, London. Theatre includes: Titus Andronicus (Shakespeare’s Globe); A Midsummer Night’s Dream (Sell A Door); Prayer Meeting (Strip Theatre); Sherlock Holmes (Erasmus International). Film & Television: Ape (Rogue Films); Let The Show Begin (Gorgeous); Liminal States (Digital Distortion); Thyme (AUCB); Aki Nabalu (Filmscape); Missed Connections (Paper Sun Films); Sofia’s Diary (Sony TV). Tara Crabbe (Tempest: Miranda; Wuthering Heights: Cathy Earnshaw/Mill Worker #4) graduated from The Poor School, London a year ago. Her theatre credits include: Mina in Dracula (The Workhouse Theatre) and Young Woman in Comedy: A Tragedy in One Act (Sadler’s Wells) earlier this year. TV/Film credits include Billionaire Lifestyles (SkyLiving), Al Bayda: Anatomy of a Warcrime (Channel4 News), The Shopping List (SonderMedia), and Office Release (KashKahn Productions) which was shortlisted for the Let’s All Be Free Film Festival. Last October she founded her own London-based theatre company, The Canting Crew. Acting as Executive Producer she has produced and acted in three major productions in its first year alone, and is very much looking forward to her debut outing with Aquila! James Lavender (Tempest: Prospero; Wuthering Heights: Old Earnshaw/Joseph/Dr. Kenneth/Mill Worker #2) has appeared in many Aquila performances including A Female Philoctetes (BAM Fisher’s Hillman Studio, NY), Twelfth Night and Fahrenheit 451 (National Tour & New York), The Importance of Being Earnest and Macbeth (National Tour & New York), As You Like It and An Enemy of the People (National Tour & New York). Other theatre credits include: The Comedy of Errors & The Importance of Being Earnest (Oxford Shakespeare Company), Headlines (BAC), Jack & The Beanstalk (Sheringham Little Theatre), Adventures in Wonderland (Teatro Vivo), Twelfth Night (Oxford Shakespeare Company), Aladdin (Hazlitt Theatre Maidstone), The Comedy of Errors (Greenwich Playhouse), Sleeping Beauty and Goldilocks & the Three Bears (Georgian Theatre Royal, Richmond), Supermarket Shakespeare (Teatro Vivo), The Jungle Book (Birmingham Stage Company), Jack & the Beanstalk (Millfield Theatre), Hamlet and The Taming of the Shrew (Groundlings Theatre Company), Plebians Rehearse the Uprising (Arcola Theatre), Macbeth and The Taming of the Shrew (British Shakespeare Company), Scar Tissue (Man In The Moon Theatre), On the Razzle (Westminster Theatre), Jumping the Gun (Blackheath Halls). TV & Film: The Golden Hour, Lights, The Ice Cream Man. James trained at Rose Bruford.
Carys Lewis (Tempest: Ariel/Gonzalo; Wuthering Heights: Nelly/Francis/Mill Worker #1) trained at The Oxford School of Drama and is delighted to be working on these productions for her first tour with Aquila Theatre. Theatre credits: Moments Designed for Leaving a City (West Yorkshire Playhouse), Helianthus (Squat Collective) A Midsummer Night’s Dream (Out of Cocoon, Rajasthan, India) and The Changes (Risking Enchantment). Other work includes readings With Norm (The National Theatre), The Ovid Project (The Old Vic) and Watford Calling (Watford Palace Theatre). TV and Film: The Forgotten, The Present Day, and award-winning short film Washdays. Radio: The Comedy Spinner (Channel 4 Radio) Death in Genoa (The Independent Podcast). Carys is a singer/ songwriter singing folk and playing mandolin and guitar. She also plays ukulele and sings in the musical comedy duo “The Ukeladeez.” Michael Ring (Tempest: Antonio/Stephano; Wuthering Heights: Hindley/Isabella/Tom/Mill Worker #3) recently graduated from NYU’s Tisch School of the Arts – Classical and Meisner extensions. Recent credits include Neoptolemus in A Female Philoctetes dir. Desiree Sanchez, Dromio in Beware the Ides of Monday dir. Joseph Hendel, Zeus in Good Breeding dir. Robert O’Hara, Nick Angelo in Eat the Chicken dir. Shanga Parker, and Josef Mengele in Playing for Time dir. Victoria Hart, among many dance performances and installations with the magnificent Julia Crockett. He is wholeheartedly thrilled to be in this fantastic production, a member of an intensely incredible cast, and here in the first place. A hundred thousand thank yous to everyone involved from start to finish. Desiree Sanchez (Artistic Director; Director; Wuthering Heights: Adaptor) directed this season’s productions of The Tempest and Wuthering Heights and past productions including: Twelfth Night and Fahrenheit 451 for the 2013/2014 season, A Female Philoctetes at BAM Fisher’s Hillman Studio, The Taming of the Shrew and Cyrano de Bergerac for the 2012/13 season, Herakles at BAM in March 2012 and the Festival of the Aegean in Syros, Greece and the Michael Cacoyannis Foundation in Athens in July, 2012, Macbeth and The Importance of Being Earnest for the 2011/12 season, and Six Characters in Search of an Author for the 2010/11 season; created movement for Aquila’s A Very Naughty Greek Play (Aristophanes’ Wasps), Catch-22, Julius Caesar, The Iliad: Book One and The Comedy of Errors; performed in The Iliad: Book One at The Festival of the Aegean in Syros, Greece; and was the lead teaching artist for Aquila’s Shakespeare Leaders program in Harlem. Desiree had a twentyyear dancing career including working as a principal dancer for the Metropolitan Opera Ballet where she worked under the direction of numerous directors and choreographers that included Francesca Zambello, Mark Lamos, Doug Varone, John Dexter, Franco Zeffirelli, Julie Taymor, and Andrei Konchalovsky. Other companies and choreographers she has worked with include the Boston Ballet, Neo Labos Dancetheatre, Donald Bryd/The Group, Sean Curran, Gelsey Kirkland, Bill T. Jones, Heidy Latsky, Eun Me Ahn in Korea, and Robert La Fosse. She
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performed for the Papermill Playhouse as a featured dancer in the musicals, Carousel and The King and I. She has also taught at Long Island University, as a visiting associate professor of dance, Elliot Feld’s Ballet Tech and has a Certificate of Movement Therapy from The New School and is a graduate of Walnut Hill School of the Arts. Peter Meineck (Founder/Lighting Designer) founded Aquila Theatre in 1991 and has worked extensively in Theatre in London and New York. He is an associate professor of Classics at New York University where he specializes in ancient performance and the application of the cognitive sciences to the study of the ancient world. He is also Honorary Professor of Classics at the University of Nottingham and has held fellowships at Harvard, Princeton, the University of California and the Onassis Foundation. He received his PhD in Greek Literature from the University of Nottingham and his BA (Hons) from University College London. Peter has published numerous translations of Greek plays with Hackett and has published widely on ancient drama. He has produced and/or directed more than 50 professional productions of classic drama and directed the National Endowment for the Humanities’ YouStories, Ancient Greeks/Modern Lives and Page and Stage public programs. He is also a firefighter with the Bedford NY Fire Department and a New York State EMT. Ralph Farris (Tempest: Composer and Musical Director), multi-instrumentalist, composer-arranger, producer and conductor, Ralph Farris is a connecting force on the frontlines of new music. An award-winning graduate of The Juilliard School and Walnut Hill School of the Arts, and 3-time Tanglewood Fellow, Ralph is a founding member and Artistic Director of the genre-bending string quartet, ETHEL. Onetime Music Director and Solo Fiddle of the Roger Daltrey Band, Ralph was an original company member of Disney’s The Lion King on Broadway. He has performed in concert with such luminaries as Paul Simon, Pete Townsend, Leonard Bernstein, Yo-Yo Ma and the Silk Road project, Joe Jackson and Lou Reed. His composition commissions include the Jerome Foundation; dance evangelists Monkeyhouse; Las Vegas darlings Jarrett & Raja; Walnut Hill School for the Arts; and the NEA. His scoring credits include Noelle Brower’s Everything is Ordinary; Anika Burt’s Begin Again; and Jehane Noujaim’s Pangea Day industrial. Christopher Marc (Company Stage Manager) comes from Minneapolis, MN where he has been working as a Stage Manager, Sound Designer, Set Designer and Technician for 5 years. Christopher graduated with a B.F.A Theatre and Communications with an emphasis in Stage Management and Sound Design. Stage Management Credits include The Fantasticks with Skylark Opera; ART with Bloomington Civic Theatre; Death of a Salesman, Cabaret, Leading Ladies, Arsenic and Old Lace, Almost Maine, As You Like It, Mousetrap, Little Shop of Horrors, Meet Me In St. Louis with Lyric Arts. Sound credits include Becky’s New Car, Over the Tavern, Sherlock Holmes, The Boxcar Children
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with Lyric Arts as well as 4 months with the Idaho Shakespeare Festival as a soundboard op and technician. Set Design credits include Little Shop of Horrors, Pirates of Penzance, and Beauty and the Beast with Anoka High School. He has also worked as a sound and lighting technician around the Minneapolis area with Mixed Blood Theatre, Yellow Tree Theatre, Theatre in the Round, Lyric Arts, I.A.T.S.E Local #13 Over hire, and EMI Audio. Bob Rogers (Technical Director) is very excited to be back as a part of Aquila Theatre’s 2014-2015 tour of The Tempest and Wuthering Heights. Bob was the Assistant Technical Director for Aquila’s 2014 Spring tour of Twelfth Night and Fahrenheit 451. He has been involved in Technical Theatre for almost 9 years; his most recent endeavors include Technical Director for Gretna Theatre and their productions of Camelot! and Little Shop of Horrors. He has also been involved with everything from Assistant Tent Boss for the Zerbini Circus to Chief Pilot of Maintenance of a $2.5 million dollar helium balloon in Tennessee. Bob just returned from China where he was the Technical Director for an international cooperation project for the theme park show, Snow White’s Birthday Adventure! Bob would like to thank his very patient and understanding wife for her unconditional love and support for his crazy antics. Deanna Berg MacLean (Costume Designer) Deanna’s costumes have appeared in: John Jasperse’s Truth, Revised Histories, Wishful Thinking, and Flat Out Lies, which premiered at Festspielhaus Hellerau; Alexei Ratmansky’s Valse Fantasie, for Mikhail Baryshnikov; Karole Armitage’s 3T’s; & Liz Gerring’s Lichtung (Baryshnikov Dance Foundation). She created the costumes for Sarah Michelson’s evening length Dogs at BAM. Her collaborations with Aszure Barton include: Lamentation Variations (Martha Graham Co, and Lascilo Perdere. Deanna designed the operas Maa and The Oresteia for Luca Vegetti. Her work with Thresh Company includes: Waiting for the Fifth Arrow, The Absent Lover & Savitri (nominated for a 2013 Mehta award for costume design in a new theatrical production in India). Deanna’s work has appeared on the stages of the Vail International Dance Festival, Brooklyn Academy of Music, Jacob’s Pillow, Sadler’s Wells, Walker Arts Center, Edinburgh Festival, Bockenheimer Depot, Romaeuropa Festival & The Venice Biennalle. Sara Morgan (Wuthering Heights: Prop Designer/Scenic Carpenter) is delighted to be working with the Aquila Theatre Company. Only a recent addition to the NYC theatre community, Sara has designed and propped shows in Chicago, New York, and elsewhere for such companies as St. Fortune Collective and Fringe NYC, the Noble Fool Theatre, Writers Theatre, Light Opera Works, Chicago Dramatists, Rivendell Theatre Ensemble, Metropolis Performing Arts Centre, the Arkansas Repertory Theatre, and many others. In addition to scenic and properties work, Sara also works as a writer, researcher, lighting designer and master electrician, and she is indescribably grateful to all those whose love and support have helped finally bring her home to NYC.
Ellie Engstrom (Tempest: Lighting Assistant; Wuthering Heights: Projection Designer/Lighting Assistant) is a freelance scenic, lighting, props and projections designer from Hoboken, NJ who works primarily in the NYC area. This is her 2nd season with Aquila, having worked as the Projections Apprentice with Imaginary Media Artists on last year’s tour of Twelfth Night and Fahrenheit 451. Past NYC design credits include: Props and Projections Design for The Anthem at the Lynn Redgrave Theater, Props Design for the Drama League Directorfest 2013 at the Borrow Group Theater, and Set and Props Design for American Games with the Araca Group at the American Theater of Actors. She has also been a Props Artisan and Carpenter at the Bard Summerscape Theater Festival since 2011. She would like to thank Aquila Theatre for letting her come play with them again this year, and her wonderfully retired parents (as always) for their love and support in all her theatrical endeavors.
INTERNATIONAL PERFORMANCES: Aquila has appeared in numerous festivals and at venues around the world including performances in London, Holland, Germany, Greece, Scotland, Canada, Bermuda and at the Festival of the Aegean in Syros, Greece and the Michael Cacoyannis Foundation in Athens. Most recently Aquila performed Shakespeare’s The Tempest at New York University’s campus, La Pietra, in Florence, Italy as part of their event series The Season.
AQUILA THEATRE
YOUSTORIES: Aquila’s new YouStories program is presented in partnership with the National Endowment for the Humanities. www.YouStories.com
Aquila Theatre’s mission is to make classical works accessible to the greatest number. A play becomes “classical” because we recognize that after a time it transcends the original culture it was created for. It retains the power to provoke the central question of what it means to be human. As a company dedicated to the classics, we feel a responsibility to acknowledge and explore newfound classical works. Founded in London in 1991 by Peter Meineck, Aquila is now based in New York City. Aquila’s programs include: PRODUCTIONS IN NEW YORK CITY: Aquila is a major part of New York’s theatrical landscape, producing a regular season of plays. Aquila recently produced a staged workshop production of A Female Philoctetes at BAM Fisher’s Hillman Studio as part of their YouStories program, Euripides’ Herakles at BAM, Shakespeare’s Macbeth at the GYM at Judson, Shakespeare’s A Midsummer Night’s Dream, Pirandello’s Six Characters in Search of an Author, Shakespeare’s As You Like It and Ibsen’s An Enemy of the People at the Skirball Center for the Performing Arts at New York University, and Joseph Heller’s Catch-22 and Homer’s The Iliad: Book One Off-Broadway at the Lucille Lortel Theatre. A MAJOR ANNUAL NATIONAL TOUR: Aquila is the foremost producer of touring classical theatre in the United States, visiting 50-60 American cities per year. Aquila’s 2013/2014 Season was Shakespeare’s Twelfth Night and Bradbury’s Fahrenheit 451. The 2012/2013 Season was Shakespeare’s Taming of the Shrew and Rostand’s Cyrano de Bergerac. The 2011/2012 Season was Shakespeare’s Macbeth and Oscar Wilde’s The Importance of Being Earnest, and the 2010/2011 Season was Shakespeare’s A Midsummer Night’s Dream and Pirandello’s Six Characters in Search of an Author. Aquila’s 2009/2010 Season of Shakespeare’s As You Like It and Ibsen’s An Enemy of the People began with the Festival of the Aegean on Syros, Greece and the Shakespeare Festival/LA. 2015/2016 Season will be Shakespeare’s Romeo & Juliet and The Adventures of Sherlock Holmes.
EDUCATION PROGRAMS: Aquila is dedicated to theatre arts education and produces three major initiatives: Workshop America, a nationwide program that provides an opportunity for people to share in the art of Aquila; Theatre Breakthrough, which brings America’s schools to the stage; and Shakespeare Leaders, an after-school program that enables inner-city students to perform the classics at Frederick Douglas Academy in Harlem, NYC.
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More information at www.aquilatheatre.com AQUILA STAFF: Founder, Peter Meineck Artistic Director, Desiree Sanchez Arts Administrator, Erika Pierce Office Administrator, Genevieve de Botton Accountants, Lutz & Carr, Martin Berkowitz Lawyers, Jacob Medinger & Finnegan, LLP, Don Farber, Allen B. Breslow, Esq.
BAYLIN ARTISTS MANAGEMENT 721 Hyde Park Doylestown, PA 18902 p. 267.880.3750 • f. 267-880.3757 www.baylinartists.com
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NCSU Center Stage presents
AQUILA THEATRE WUTHERING HEIGHTS by Emily Brontë
Photo: Richard Termine
Adapted from the novel by Desiree Sanchez SATURDAY, FEBRUARY 28, 2015 • 8 PM SUNDAY, MARCH 1, 2015 • 3 PM Titmus Theatre Pre-show discussion with a member of Aquila Theatre, one hour prior to each show, The Crafts Center
cast Aquila Theatre’s production is funded in part by the National Endowment for the Arts (NEA) Artworks.
Edgar Linton/Mill Foreman.................................................................. Rupert Baldwin Heathcliff/Mill Worker #5................................................................ Joseph Cappellazzi Cathy Earnshaw/Mill Worker #4................................................................. Tara Crabbe Old Earnshaw/Joseph/Dr. Kenneth/Mill Worker #2...........................James Lavender Nelly/Frances/Mill Worker #1..................................................................... Carys Lewis Hindley/Isabella/Tom/Mill Worker #3....................................................... Michael Ring ALL OTHER ROLES ARE PLAYED BY THE COMPANY.
Aquila Theatre is the Professional Company-in-Residence at the Center for Ancient Studies, New York University
Aquila Theatre 100 Washington Square East Silver Center Room 503 New York, NY 10003 aquila@aquilatheatre.com www.aquilatheatre.com
Director/Adaptor..................................................................................Desiree Sanchez Lighting Designer....................................................................................Peter Meineck Costume Designer.................................................................... Deanna Berg MacLean Sound Designer/Company Stage Manager..................... Christopher MarcTechnical Director.........................................................................................................Bob Rogers Prop Designer/Scenic Carpenter............................................................. Sara Morgan Projection Designer/Lighting Assistant.................................................Ellie Engstrom There will be one fifteen-minute intermission. The taking of photographs or the use of any kind of recording device is strictly prohibited. Song VI: Songs and Poems for Solo Cello by Philip Glass ©2007 Dunvagen Music Publishers Inc. Used by Permission.
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DURING THE PERFORMANCE:
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synopsis
WUTHERING HEIGHTS
ACT I SCENE 1 • Nelly tells the story of how Heathcliff, an orphaned gypsy, came to be at Wuthering Heights. Heathcliff is adored by Old Earnshaw and Cathy, and hated by Hindley, the eldest of the Earnshaw children.
ACT II SCENE 1 • Heathcliff returns to Wuthering Heights after amassing a fortune to seek his revenge. He first visits with Hindley and learns of Cathy’s marriage. He decides to visit her at Thrushcross Grange.
ACT I SCENE 2 • Hindley is angered by his father’s affection for Heathcliff and beats him. Hindley is sent abroad to school.
ACT II SCENE 2 • Cathy is overjoyed to see Heathcliff. Edgar is far less amused. Heathcliff reveals he is staying at Wuthering Heights. He calls on Cathy again. His visits earn him admiration from Isabella, which exhumes jealousy from Cathy.
ACT I SCENE 3 • Three years pass. Old Earnshaw dies and Hindley returns to Wuthering Heights with his bride, Frances. As master of Wuthering Heights, he confines Joseph and Nelly to the servants’ quarters and turns on Heathcliff and Cathy. On a rainy evening, after being whipped by Hindley, Heathcliff and Cathy escape to the moors. While spying on their closest neighbors, the Lintons, they are discovered and Cathy is attacked and bitten by the Lintons’ dog. Heathcliff recounts the tale to Nelly, explaining that Cathy remains at Thrushcross Grange while she heals. ACT I SCENE 4 • Cathy has fully recovered from the dog’s bite and returns to Wuthering Heights, accompanied by Edgar Linton and his sister Isabella. Hindley remarks on the positive influence Edgar’s sister has had on Cathy. Cathy greets Heathcliff and comments on how filthy he seems compared to her generous hosts. Heathcliff is humiliated by the comments and runs off. Later that day, he asks Nelly to make him presentable. He vows to be good. ACT I SCENE 5 • Nelly presents a cleaned and groomed Heathcliff to the household and their guests in the dining room. Hindley attempts to throw Heathcliff out. Edgar remarks on Heathcliff’s clothing and embarrasses him. Heathcliff throws hot applesauce in Edgar’s face, scalding him. Joseph and Hindley take Heathcliff outside to be whipped. ACT I SCENE 6 • Heathcliff vows his revenge on Hindley. ACT I SCENE 7 • Frances passes away after giving birth to Hareton, the young heir to Wuthering Heights. ACT I SCENE 8 • Cathy prepares for a visit from Edgar and Isabella. She attempts to dissuade Heathcliff from keeping her company. Frustrated, Cathy insults Heathcliff. Edgar arrives without Isabella. The now enraged Cathy yells at Nelly. Edgar makes way to leave. He has never seen her behave in such a feral manner. ACT I SCENE 9 • Hindley enters the room in a drunken rage, brutalizing Nelly and threatening to harm Hareton. He drops the infant to the ground. Heathcliff emerges from the shadows, catching the baby just in time. Hindley retreats into his room. ACT I SCENE 10 • Cathy appears while Nelly is comforting the crying Hareton. She confesses to accepting Edgar’s marriage proposal. Cathy reveals that she truly loves Heathcliff but cannot marry him, as he has no wealth or status. Heathcliff overhears them talking and flees. He is not seen or heard from for three years.
ACT II SCENE 3 • Heathcliff calls on Cathy while Edgar goes to town. Cathy discloses Isabella’s intimate feelings for Heathcliff. Humiliated, Isabella manages to escape the room from under Cathy’s tight grip. Cathy casually relays that Isabella will be heir to Edgar Linton’s fortune, should Cathy not conceive a son. ACT II SCENE 4 • Heathcliff finds Isabella in the garden. He kisses her. This enrages Cathy. She and Heathcliff quarrel passionately. Edgar overhears the argument and demands that Heathcliff depart immediately or he will use force. Cathy emasculates Edgar in an argument. Edgar strikes Heathcliff and demands that Cathy choose between himself and Heathcliff. Cathy refuses to engage further and flies into a fit, locking herself in her room. ACT II SCENE 5 • Three days later Cathy emerges. She seems to go in and out of lucidity. Nelly becomes fearful for her fragile state and beckons Edgar into the room. Edgar quarrels with Nelly over not informing him of Cathy’s illness earlier and sends her to seek out Dr. Kenneth. ACT II SCENE 6 • On going to see Dr. Kenneth, Nelly discovers Isabella’s dog tied to a fence post. She manages to free him from imminent death. ACT II SCENE 7 • Cathy recovers briefly. A letter arrives from Isabella, asking Edgar to forgive her for marrying Heathcliff. Edgar gives Nelly permission to visit Isabella, but refuses to do so himself. ACT II SCENE 8 • Nelly visits Wuthering Heights where she finds a disheveled household and a distraught Isabella, who is suffering under Heathcliff’s maniacal reign. Heathcliff demands that Nelly let him see Cathy. ACT II SCENE 9 • Heathcliff visits Cathy while Edgar attends church. He finds her completely altered, nearing death’s door. The encounter is fraught with pain and abuses – each placing the blame on the other while also making passionate declarations of love. Cathy faints in Heathcliff’s arms as Edgar enters. Heathcliff demands that Edgar help Cathy before he deals with him. ACT II SCENE 10 • Cathy dies giving birth to a daughter. Nelly finds Heathcliff outside Thrushcross Grange beating his head and fists against a tree. Grieving over the loss of Cathy, he puts a curse on her and demands that her soul haunt him to the end of his days. Please see page A5 for cast and company biographies. SPRING 2015 • ISSUE 2 •
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NC State Music Department presents
JAZZ ENSEMBLE I AND NC STATE JAZZ COMBO with guest artist Jiggs Whigham, trombone SATURDAY, FEBRUARY 28, 2015 • 7 PM State Ballroom, Talley Student Union Prof. Jiggs Whigham’s participation at this event is made possible in part by a grant from the Conn-Selmer company, maker of the King ‘Jiggs Whigham’ model trombone and mouthpiece, and worldwide distributor of the ‘Jiggs P-bone’. Prof. Whigham plays King trombones and is ‘Artist in Residence’ at Conn-Selmer.
Dr. Wes Parker, conductor
program Friday Night at the Cadillac Club.............................................. Bob Berg/arr. Mike Crotty Quietude............................................................................................................. Thad Jones Roman Notes............................................................................................. John La Barbera Running Free....................................................................................................... Rick Hirsch Moment’s Notice..............................................................John Coltrane/arr. Alan Baylock I Can’t Stop Loving You...................................................... Don Gibson/arr. Quincy Jones Cellar Dweller................................................................................................John Fedchock Featuring Jiggs Whigham A Time For Love........................................................ Johnny Mandel/arr. Sammy Nestico To John......................................................................................................... Slide Hampton Rough Ridin’................................................................Ella Fitzgerald/arr. Frode Thingnaes Come Rain of Come Shine........................................... Harold Arlen and Johnny Mercer/ ....................................................................................................................arr. Joe Gallardo
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JAZZ ENSEMBLE I ROSTER Saxes
Carly Abney (bari) Will Campbell (lead alto) James Cross (tenor) Carter Harris (lead tenor) Anisa Traish (alto)
Trumpets
Julie Bernstorf Elora Forgie Gary Martin Daniel Miller Kyle Santos (lead)
Trombones
Ben Hamm Spencer Monaco (Bass) Austin Peterson (lead) Mikayla Slomski Cory Temple
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Rhythm Section
Brandon Felts (bass) Collin Frank (drums) Julia Khatibzadeh (drums) Steven Ray (guitar) David Scanlan (piano)
NC STATE JAZZ COMBO ROSTER
Will Archer (bass) Carter Harris (tenor) Wes Parker (trombone) Steven Ray (guitar) Jared Robertson (drums) Kyle Santos (trumpet)
NC State Music Department presents
WIND ENSEMBLE TUESDAY, MARCH 3, 2015 • 7 PM Titmus Theatre, Thompson Hall
Dr. Paul Garcia, conductor
program Selections announced from stage
ROSTER Flutes
Rebecca Burton, piccolo Lora Cretella Caroline Heathcoat Megan Isabelle Kristi Kusibab
Flute Choir
Chris Lagaly Madison Lanphear Amanda Young
Clarinets
Marianna Berry Travis Cothran Megan Dunton Elizabeth Goins Ryan Hardison Jason Looney Steven Nugent Rachel Shalloway
Saxes
Graham Briggs, Tenor Zachary Foster, Bari Chad Griffin, Bari Nathan Misenheimer, Alto (co-principal) Anisa Traish, Alto (co-principal)
Oboes
Autumn Lyell Brianna Regan
Bassoon
Megan Broad
Horns
April Blye Matt Jenkins Michael Scanlan Nash Stallings Ali Vanvorst
Trumpets
Benjamin Adams Michael Giggard Daniel Miller Troy Miller Grant Shoaf Caleb Upchurch
Trombones
Spencer Monaco, Bass Erick Sanchez Cory Temple
Euphoniums
Josh DeJoya Ben Duncan Danielle Fuhrman Kelley Wheeler
Tubas
John Inness Charles Jennings
String Bass Kevin Quick
Percussion
Megan Daughtridge Christine Gusman Steven Hamilton Eli Mills Evan Petty Amber Robinson Michaela Settle Charlie Tait
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DURING THE PERFORMANCE: • Silence your cell phone • No photography • No texting
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NCSU Center Stage presents Photo: David Katzenstein
REGINA CARTER FRIDAY, MARCH 20, 2015 • 8 PM SATURDAY, MARCH 21, 2015 • 5 PM & 8 PM Titmus Theatre, Thompson Hall Pre-show discussion with violinist Gabriel Pelli. Saturday only, one hour prior to each show, Upchurch Rehearsal Hall.
Promotional Sponsor
THE SOUTHERN COMFORT BAND Regina Carter, violin Will Holshouser, accordion Marvin Sewell, guitar Jesse Murphy, bass Alvester Garnett, drums
about
REGINA CARTER
Violin virtuoso Regina Carter is considered the foremost jazz violinist of her generation. Winner of a coveted 2006 MacArthur Foundation “Genius” Fellowship, she is also a Resident Artistic Director at SFJAZZ. In December 2001, she traveled to Genoa, Italy, and made musical history by being the first jazz musician and the first African American to play the legendary Guarneri Del Gesu violin, made in 1743 and owned by classical music virtuoso and composer Niccolo Paganini. This encounter inspired her 2003 album, Paganini: After a Dream, which featured works by Maurice Ravel, Claude Debussy and Italian film composer Ennio Morricone. She recorded I’ll Be Seeing You: A Sentimental Journey in 2006 as a tribute to her late mother. That same year Carter was awarded the MacArthur Fellowship, given to a highly select group who “show exceptional merit and promise for continued and enhanced creative work.”
Reverse Thread, released in May 2010, was a celebration of traditional African music via a contemporary perspective. Carter also took her pioneering spirit on the road in the late summer and fall of 2012 for a two-month world tour with rock icon Joe Jackson’s stellar ensemble in support of his release The Duke, a collection of interpretations of Duke Ellington’s work. Carter continues her musical quest for beauty and history with her SONY Music Masterworks debut Southern Comfort, in which she investigates her family history and explores the folk tunes her paternal grandfather, a coalminer, would have heard as he toiled in Alabama. The expanded project includes a blend of folk songs and spirituals, serving as Carter’s interpretation of her roots through a modern lens. For Regina Carter, the violin isn’t merely an improvisational vehicle. It’s a passport to unexpected realms, a Rosetta stone that unlocks the door to a myriad of cultures and worlds.
share and connect ON TWITTER @NCSUCenterStage • @Regina_Carter ON FACEBOOK facebook.com/NCSUCenterStage facebook.com/pages/Regina-Carter/269977394285 ON SOUNDCLOUD soundcloud.com/regina-carter reginacarter.com
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please
DURING THE PERFORMANCE:
• Silence your cell phone • No photography • No texting
thank you
e v i t a e r c ARTIST AWARD
DETAILS ncsu.edu/arts/students DEADLINE Monday, March 23, 2015
THE CREATIVE ARTIST AWARD recognizes original work in dance, music, or theatre, created by NC State students. Winners receive a $500 cash prize, and the selected works are professionally produced by ARTS NC STATE the following academic year. This award is open to any currently enrolled, full-time NC State student.
2013-2014 Creative Artist Award Winner, Theatre CHRISTIAN O’NEAL, MECHANICAL ENGINEERING, CLASS OF 2014 Original play That Kind of Play To be performed by University Theatre under the direction of John McIlwee Feb. 26, 27, 28 at 7:30 PM in Thompson Hall, Kennedy-McIlwee Studio Theatre.
ONE-ACT PLAY BY A MAN OF MANY ACTS by Christy Rain Christian O’Neal, who graduated summa cum laude in December 2014 with a Bachelor of Science in Mechanical Engineering and minors in Theatre and Art+Design, said that his love for the theatre began at Lee County High School in Sanford, NC. “I started writing plays in high school under the direction and encouragement of Ron Coley. I was active in high school theatre productions, and when I moved to NC State, I immediately sought the theatre program and found a home,” he said.
the situation the characters find themselves in throughout the play. It is a very ‘playable’ work from a very insightful young theatre devotee.” Christian said that he challenged himself to write a simple play with a simple premise. “I was inspired by Samuel Beckett’s Waiting for Godot, a play that can be (and has been) interpreted in many, many ways.”
Christian’s admiration for University Theatre is reciprocated by John McIlwee, Director of University Theatre.
“Beckett’s style later inspired many other existentialist plays like Tom Stoppard’s Rosencrantz and Guildenstern Are Dead and Harold Pinter’s The Dumb Waiter. That Kind of Play is another work inspired by Godot, but asks the question, “What if all the scholars are wrong? What if this play doesn’t mean anything?” The two main characters – appropriately named “Sam” and “Beck” – find themselves trapped in “that kind of play” and try to find a way out. But the real question is – how?”
“Christian has written quite a lot of dramatic dialogue and I feel his natural wit really informed this special piece. He had to know a genre of play very well in order to satirize it so effectively. His research for his writing is excellent and he managed to make his points in a way that the audience can understand everything he is working to get across to them...from the title to every part of
“This is the first time professionals in the industry are producing a piece that I wrote. I’m interested to see how a veteran director like John McIlwee interprets the script (even when the play claims to have no interpretation) and I’m especially excited to have the chance to develop the script based on artist and audience feedback.”
“During my time here I continued writing sketches and plays for the stage, improving as I learned the many aspects of theatrical production. I ultimately hope That Kind of Play properly reflects the high quality of education that the University Theatre staff provides to its students.”
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TICKET CENTRAL 919.515.1100 NCSU.EDU/ARTS
In partnership with the Gregg Museum of Art & Design, Cody Ellington was invited to select artwork from artist Herb Jackson’s 25-year series, Veronica’s Veil, to illustrate this story. The Gregg is currently planning a Jackson exhibition for the museum’s new location once it opens. Cody said, “I looked through the art and tried to search for one that conveyed a feeling of beauty with bright colors. I wanted ones…that could be seen as a representation of the veil tearing since that was the whole apex of The Veil: God saying that he is now accessible for all directly through Jesus Christ.” Herb Jackson, Veronica’s Veil CCXX, acrylic on canvas, 60 x 48 inches, 2013. Courtesy of the artist.
2013-2014 Creative Artist Award Winner, Music CODY ELLINGTON, ELECTRICAL ENGINEERING Music Composition The Veil for Wind Ensemble To be performed by the NC State Wind Ensemble under the direction of Dr. Paul Garcia during Spring 2015.
FAITH INSPIRES COMPOSITION by Christy Rain Cody Ellington, recipient of the 2013-14 ARTS NC STATE Creative Artist Award in Music, started writing his winning composition, The Veil, during a time of reflection in high school. “I was a senior in high school and I did not really know very much about writing music at that point. It was the fall semester and I felt that God was leading me to compose a piece that reflected a theme from the Bible. So not really knowing what I was going to do, I set out to compose what ended up being The Veil. I decided to tell the story of Jesus because it had the most meaning to me, and I wanted to communicate the story of his life through music, so that I could share his story with others in a different way.”
the Temple at Jerusalem during the Crucifixion. The 22 themes that shape the work have been inspired by specific imagery surrounding the life of Jesus as described in the biblical books of Isaiah, Luke, and Acts. Not only are these melodies rich in their variety of rhythms, contours, and character, but their orchestration demonstrates an artistic handling of instrumental timbre and texture.” Cody, who started playing the trumpet in middle school and then moved to the French horn during high school, also dabbles with the piano, electric guitar and bass guitar. He is teaching himself to play the cello now and plans to learn other instruments in the future.
“I spent a lot of time praying and asking God for guidance on the emotion and stances to take on portraying certain elements of the story and then just wrote down what I heard in my head. I started in October of 2012 and finished by late February of 2013,” Cody said.
In addition to his musical pursuits, Cody is a sophomore in the College of Engineering and a member of the University Scholars Program. He is also currently working with a local nonprofit called JesusThoughts and produces all the audio content on its website.
Tom Koch, Interim Director of the Music Department, describes the piece, “The Veil is a symphonic poem for wind band that portrays events prior to and following the tearing of the veil in
Cody would someday like to combine his passion for music with his electrical engineering education to launch a side business producing guitar effects pedals. ncsu.edu/arts
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1-800-458-6756 W W W. C A R O L I N A M E A D O W S . O R G
t n e d u t s ART SALE
APRIL 7, 2015 from 3-7 PM TALLEY STUDENT UNION
open
TO THE PUBLIC
For the first time, ARTS NC STATE will host a student art purchase that is open to the public. ARTS NC STATE will also carry on the tradition of purchasing student artwork to display in Talley Student Union and other locations around campus.
submit your own artwork: Any currently enrolled, full-time NC State student is eligible to submit artwork for the sale. Bring your work(s) to the 3rd Floor of Talley on Tuesday, April 7, 2015 between 9 am-12 noon. Complete details at go.ncsu.edu/studentartsale
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CRAFTS
CENTER
change materials by working them
DO THEY CHANGE US?
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TICKET CENTRAL 919.515.1100 NCSU.EDU/ARTS
The Crafts Center is a place where wood is cut, clay is molded, glass is melted, and metal is hammered. It’s also a place where NC State students and the campus community come together to learn, share and express their stories through the working of materials. The Center can only open the eyes and guide hands; the actual making remains a venture built on individual vision and creativity. The Crafts Center has always been more than a perpetuation of the classical traditions in craft – we strive to honor all ways in which ideas come to life through making.
“I WISH MY STUDENTS WERE IN HERE! MUCH OF WHAT THEY LEARN IN MY CLASS IS RIGHT HERE IN THIS PIECE OF SPINNING WOOD.” NC STATE PROFESSOR OF PLANT SCIENCES
Though it’s very true that new technologies are changing the way we look at things, the virtual nature of today’s learning often distances students from the real “hows” and “whys.” Rapidly advancing technology is moving us quickly beyond manual processes, to a world modeled and manipulated through new tools driven new ways by computers. “I wish my students were in here! Much of what they learn in my class is right here in this piece of spinning wood,” remarked recent Crafts Center woodturning student and NC State professor of plant sciences. It doesn’t get more exciting than seeing science unfold practically, and in real time. The energy created through such experiences inspires our students to learn even more. This is the addictive pull of craft. We continue to make craft the old way because as humans, we’re simply wired to use our hands. It’s who we are. Whatever the source of one’s passion may be, this desire to understand and transform material is fulfilled daily in Crafts Center classes and studios. There’s something here that draws us all to the making of objects.
SAM MAYES First Year Computer & Electrical Engineering
The Crafts Center is one of the few places on campus, if not the only place, where you can fully explore your creativity in so many mediums using so many resources.
ADRIENNE WOOTTEN Ph.D. student in Marine, Earth, and Atmospheric Sciences
I might not be where I am now had it not been for the opportunity to bring my creativity to life in a way that matches the rigor of a Scientist.
WAH TRAN Senior majoring in Economics and Nuclear Engineering, minoring in Mathematics and International Studies
The beauty of learning a craft and the facilities here is that you can step away from all that, slow down, and watch whatever it is you want to create take shape right in front of you.
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donors
■ Gregg Museum Campaign ■ 2013/14 Friends of ARTS NC STATE Board of Advisors member ■ 2014/15 Friends of ARTS NC STATE NC Board of Advisors member ■ State Faculty/Staff
ARTS NC STATE is grateful to our FRIENDS of ARTS NC STATE for their generous support. Donors listed below have contributed cash gifts of $50 or more between July 1, 2013 and June 30, 2014. Donors who have pledged will be listed when their gifts are received. The Honor Roll is one way ARTS NC STATE chooses to recognize those who have contributed to and invested in the future of the arts at NC State University.
LEADER
CONNOISSEUR
Robert & Judy Abee Anonymous Estate of Nancy Gregg Jerry & Nina Jackson Randall & Susan Ward Douglas S. Witcher/Smart Choice
Hoyt Bailey/Dover Foundation Charles & Marian Dowesett Roy Cromartie & Paul Fomberg/ NC Cancer Center of Raleigh Robert & Michelyn Masini, In memory of Toni Christine Masini Bing & Carol Sizemore Tom & Judy Stafford State Employees Combined Campaign Chancellor W. Randolph Woodson & Susan Woodson
($20,000 & ABOVE)
VISIONARY
($10,000-$19,999) BB&T Richard & Suzy Bryant/ Capital Investment Group, Inc Michael & Joan Mills Busko/ Mills Family Foundation Thomas Cabaniss Jim Clark, Jr. Susan Frazier/Triangle Community Foundation Elizabeth Gregg John & Bessie Gregg Bernard & Patricia Hyman K and Keith Keener Philip Langford, II Estate of Sheila Lund Jerry & Mary Cynthia Monday/ Triangle Community Foundation Christopher Leazer & Heath Ramsey Wade & Kathy Reece David S. Thompson Rebecca Thompson
BENEFACTOR ($5,000-$9,999)
Anonymous William & Ruth Barnett Peaches Gunter Blank Marc & Susan Brandeis Bruce & Wanda Brown Ray & Jo Ann Bryan/ R.A. Bryan Foundation Coastal Federal Credit Union Frank & Julia Daniels/Triangle Community Foundation William & Jeanette Dove Fox Family Foundation Margaret Galbraith/George Poyner Smedes Foundation Thomas & Sara Graves Fred Kirby, III Anderson & "E" Marlowe/ Marlowe Builders Incorporated Michael & Mary Patterson/ Triangle Community Foundation Edythe Poyner/George Poyner Smedes Foundation James Poyner, III/George Poyner Smedes Foundation Michael Stoskopf & Suzanne Kennedy-Stoskopf Ann Walker
($2,500-$4,999)
PATRON
($1,000-$2,499) Tom & Dolores Banks Kim & Roselyn Batcheller Diane Boone Henry & Sory Bowers Robert & Mary Charles Boyette Bruce & Kelly Branson John Carr & Kathryn Kaiser Peter & Patricia Celestini Marvin & Mary Chaney Marion Johnson Church Thomas & Virgilia Church Derick & Sallie Close/TSC Foundation William Ellenson & Kathleen Brown Ronald Ellis, Jr. Lynn & Faye Eury William & Melinda Fleming Zach Galifianakis & Quinn Lundberg Gary & Julie Greene Robert & Linda Grew Abie Harris & Susan Arrendell Jim & Ann Horner Merril & Marilyn Hunter Louise Johanson Bobby & Claudia Kadis Robert & Donna Kanich John & Jane Kanipe Frank Konhaus & Ellen Cassilly Eugene & Vicky Langley Robert & Amy Lark Christopher & Margaret LaPlante Duncan Laurie Lexis Nexis University John & Lucinda Mackethan Jim & Marshall Marchman Charlotte Martin Elizabeth Matheson Mimi McKinney Gianna Menapace-Drew Carlton & Catherine Midyette Family Charles Millard N. Alexander Miller III John & Lynette Parker Emily Mann Peck James & Anne Peden
Robert Cooper & Sharon Perry David & Adrian Quattlebaum Thomas & Lauren Ryan Chandler & Meredith Rose/ Provantage Corporate Solutions Roby & Amber Sawyers Robert & Katherine Schoellhorn William & Catherine Singer Jennette Skinner John & Barbara Lee Smith Lee & Margaret Smither William & LaRose Spooner Randy & Susan Stallings Robert & Tina Tallaksen James & Cathy Ward Helen White Mason & Catherine Williams Paul & Tiffany Woodard Smedes & Rosemary York
SPONSOR ($500-$999)
Anonymous Clarence & Barbara Beaver Jennie Bireline Wade & Brenda Brickhouse Johnny Burleson & Walter Clark Leonard & Amy Bush Herb & Kathryn Council Terry Cox & Nancy McDuffie Cox Charles Davies Janice Christensen Joan DeBruin Elizabeth Fentress Chris & Odile Gould David Harvey Earl Pulliam & Susan Holt Louis Hunt Charles & Margaret Jackson William Jounson, IV Nigel & Christy Long Frank & Jo Ann Madren John & Alice Margeson Robert & Luann McCain Daniel McLawhorn & Robert Hazelgrove Brian & Konni McMurray Stephen Reynolds & Susan Osborne Mary Rivers Surry Roberts Daniel & Carolyn Solomon Brad & Anna Sullivan Janice Swab Eunice Toussaint Triangle Potters Guild Thomas & Cynthia Trowbridge John & Connie Turlington Marilyn VanderLugt Jennifer Viets Edward & Jane Youngblood
While we make every effort to be accurate and thorough, it is possible to accidentally omit or misspell a name. Please contact us at 919.515.6160 with any additions or corrections.
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TICKET CENTRAL 919.515.1100 NCSU.EDU/ARTS
FRIEND
($250-$499) Dorothy Adams Jeff Aldridge Richard & Elizabeth Axtell McNair & Laura Bell/ The Bell Family Foundation Bart & Sue Bielawski Jeremy & Alexandria Black Wanda Borrelli Richard & Pamela Bostic Wilfred & Barbara Buffaloe Ernest & Isabella Burniston Daniel Cook & Fairley Bell Cook/ The Bell Family Foundation Stanley Crews Bill & Betty Daniel Paul & Karon Davis Alexander & Linda De Grand Greg & Julie Florin Jesse & Amie Fulton Thomas & Betty Gilmore Jeffrey LaRiche & Sharon Goldenberg Louis Cherry & Marsha Gordon Matt Grzebien Allan Gurganus Kerry Hayner Angela Hodge Mark & Sheila Holman Ron & Herta Kirk Tom & Donna Lambeth Charles & Wanda Leffler Sam & Judy Lovelace Katherine Mauney Douglas & Victoria McCrea Paul & Martha Michaels Anne Packer Daniel & Elizabeth Page Jonathan & Lingyun Parati Knowles & Phyllis Parker Larry & Susan Pegram Charles & Vicki Phaneuf Lillie Bell Ragan Carol Rahmani Ofer Plotnik & Laurie Reinhardt-Plotnik Meredith & Cynthia Rose Bill & Mary Losik Thomas Sayre Nicholas Cariello & Sarah Schroth Paul & Holly Tesar Stuart & Mary Smith Joseph & Rebekah Thompson Frank & Karen Todd William & Marian Troxler Lawrence & Frances Twisdale Richard & Cynthia Urquhart Jerry Vaughan John & Terry Wall Lane & Linda Wharton
Named Scholarships & Endowments
■ 2013/14 additions
Endowments may be established with a minimum commitment of $25,000 and may honor or memorialize an individual or family member while supporting arts initiatives such as student scholarships, programmatic support, and collections. ABB Inc. Arts Outreach Endowment Judy C. Abee Marching Band Endowment Patricia H. Adams Scholarship Donald and Maryann Bitzer Theater Achievement Awards Endowment Brenda E. and W. Wade Brickhouse/ Fine Craft Collection Endowment ■ Carey & Neita Bostian Music Endowment Henry & Sory Bowers Arts Endowment Bruce T. Brown Marching Band Endowment Charlotte V. Brown Museum Endowment Raymond A. Bryan, Jr. Jazz Endowment Curtis R. Craver Clarinet Scholarship Dr. Eloise A. Cofer Arts Endowment Margaret Price Corcoran Marching Band Scholarship Mildred J. Davis Museum Endowment Ronald G. Ellis & Earl Lynn Roberson Scholarship Annabelle Lundy Fetterman Symphony Concertmaster Endowment Fox Family Foundation Crafts Center Endowment John N. & Nancy C. Gregg Museum Endowment Dewey M. Griffith Marching Band Endowment Dr. Frank M. Hammond Endowment
Deborah White Kenneth & June Winston Richard & Amy Woynicz Louise Wurst
CONTRIBUTOR ($100-$249)
Ellen Adelman Lynn & Mary Aiken Barry & Lynn Alexander Paul Allred Jeffery & Kristine Alpi Jay Althouse & Sally Albrecht Dudley & Lisa Anderson Andrew & Elizabeth Arrowood Charlie & Sissy Ashby Donald & Linda Barker Robert & Shirley Barnhardt Simon & Stori Bartle Graydon Bashioum Jeffery Beam & Stanley Finch Clarence & Carol Beaver Elizabeth Bell Richard & Julie Benson Roger & Rhoda Berkowitz Anna Bigelow Tom Birk Mark & Dawn Boettiger Albert Borden Scott Shore & Rebecca Boston Mohamed Bourham Jeffery & Jill Braden Vester & Mary Brantley David & Shawn Brewster Keith Brown Raymond & Kymbra Bryan Christian & Ann Casper Byeong-Hyeon Kim & Jung-Hee Choi Gordon & Rebecca Christian Carol Clark Chris Cline Thomas & Frances Coggin Joseph & Sharon Colson
for Musicianship & Outstanding Leadership Glenn S. Harman & Miriam Bailey Gardner Choral Accompanist Scholarship Endowment Glenn S. Harman & Kay Crawford Johnson Double-Reed Scholarship Endowment Frederick & Ginger Horton/ Horton Fellowship Endowment Fund ■ Amelia E. Hunter Choral Leadership Endowment ITG Norma Ausley Memorial Endowment The Lattice Endowment for the Performing Arts James and Eileen Lecce Ethnic Art Collection Endowment Sheila Margaret Lund Endowment Jim Marchman Marching Band Endowment Toni Christine Masini Memorial Scholarship John C. McIlwee Theatre Endowment John Menapace Photography Endowment N. Alexander Miller III Arts Endowment Sharon Herr Moore Center Stage Endowment NCSU Pipes and Drums Scholarship Barbara G. & Hayne Palmour III Museum Endowment James M. Poyner Visiting Artist Endowment Kimberly Titmus Przybyl Music Endowment
John Coman, Jr/ Coman Publishing Company Thomas & Mary Cunningham Thomas & Debra Curran Phyllis Danby Ralph Daniel Lucy Daniels James Trotter & Jaye Day-Trotter James & Kathryn Deal Robert & Elizabeth Dean Stephen Dean & Patricia Amend Dean Holly Durham Robert Ebendorf & Aleta Braun William & Kathleen Egan Risa Ellovich Michael Faggart Everette James & Nancy Farmer Patrick & Amy FitzGerald Curtis & Barbara Freeze John & Jennifer Fuller Jimmy & Doris Garlich Robert & Brenda Garner Steven & Brenda Gatton Ladnor & Shirley Geissinger James & Kathryn Gemmer Forrest & Evangeline Getzen Roy & Carole Goforth Matthew & Betty Goodman Raymond & Susan Goodmon William & Erica Grantmyre Shelton & Courtenay Griffin Patrick Gurgel & Gisele Passador-Gurgel Charles & Cheryl Hall James & Carolyn Hammerle Alan Harer Robert & Beverly Hartgrove Edgar & Brenda Hedgecock Anderson Hensley Mary Herr Joe & Anna Ball Hodge Willias & Elizabeth Holding Charles & Judith Holland Lee & Mitzi Holmes
Lew & Billie Rentel ARTS NC STATE Scholarship Lew & Billie Rentel Museum Enhancement Endowment Lew & Billie Rentel Thompson Building Endowment Reynolds Music Performance Scholarship Alby Rose Marching Band Scholarship Stafford Endowment for ARTS NC STATE Student Travel Banks & Louise Talley Arts Endowment Banks C. Talley Jr. Arts Endowment for the Frank Thompson Building Brita M. Tate Memorial Endowment Martha Emerson Upchurch Performing Arts Endowment Wachovia Endowment for the Visual & Performing Arts Randall & Susan Ward ARTS NC STATE Scholarship Randall & Susan Ward Museum Endowment Dr. Elmer R. White Trumpet Scholarship Mary Lib Wood Endowment for the Visual & Performing Arts
Frank & Elizabeth Holt Gregory & Carol Hoover Frederick & Ginger Horton Robert & Carolyn House James & Bianca Howard Barbara Jackson Adrian & Avis Jones Lori Jones William & Mildred Jones Thomas Karches & Kerry Mead Martha Keravuori James & Deborah Kessler Haig Khachatoorian Robert & Crystal Knight Thomas Koch & Wei Wei Ye Katherine Krawczyk Gary & Suzanne Krill John & Linda Lapp Joe Layton & Sarah Roholt William & Colleen Lee
Geroge & Betty Lennon Calvin & Jaquelyn Lewis William & Deanna Lineback Randall Love David & Suzanne Lucey Donald & Norma Lundy James & Debbie Maness Susan Manning David Mansfield & Liz McFarlane Mansfield Jack & Marty Martin Donald McCrary & Blase Masini Bob & Carol Mattocks John & Ginger McGlamery Spencer & Ashley McKinstry Ashley & Christina Menges Lorraine Mercer Michael Merritt & Jayne Fleener David & Renee Metsch Burley & Lou Mitchell
R. Stanhope Pullen Society
*deceased
The R. Stanhope Pullen Society was created in 1993 and recognizes alumni and friends who invest in the future of the university through any type of deferred gifts. ARTS NC STATE would like to recognize Pullen Society members who have designated support for our arts programs: Wade & Brenda Brickhouse Ronald G. Ellis Nancy C. Gregg* Norman & Gilda Greenberg Glenn S. Harman Michael J. Holland Frederick & Ginger Horton Jack M. Hunter Bernard & Patricia Hyman
Martha N. Keravuori James* & Eileen Lecce Sheila Lund* N. Alexander Miller III Mac & Lindsay Newsom Lew & Billie Rentel Banks & Louise Talley Caroline Hickman Vaughan David & Judi Wilkinson
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donors Betty Mittag Robert & Patricia Mohnal Matthew Moore Paul & Rebecca Nagy Willard & Joan Neel John & Lori Nugent Thomas O'Brien Ol' North State Knitting Guild Barry & Sara Olson Michael & Mary Overcash James & Shirley Overcash Barbara Parramore Maurice Partin, Jr. Richard & Nell Patty Irvin & Ann Pearce Kenneth Peters & Michael Dawson Eric & Linda Peterson Larry Peterson Michael Poterala & Heidi Bulich Matt Peterson Nicole Peterson William & Teresa Pownall Barbara Prillaman Anna Rains Katharine Reid Karen Rhem Timothy & Donna Rhyne Charles & Lynn Riedell Amber Robinson Frank & Andrea Roediger Kimberly Rogers Deborah Ross Michael & Elizabeth Ross Ronald & Gail Runyan Richard Saleeby & Jackie Newlin-Saleeby Bruce & Miriam Sauls Robert Sawyer Don & Rebecca Scarboro Stephen & Nancy Schecter Gene & Maryann Schroeder Steven Schuster & Mary Anne Howard Philip Shelton Munindar & Mona Singh Anthony & Marie Slater Dana Smith James Smith & Pamela Troutman Randolph & Helen Snyder John Starbuck Scotty Steele Anita Stejskal Warren & Debbie Stephenson Michael Stevenson & Kimberly Thrower John & Marcella Stewart Phillip & Elise Stiles David Hopp & Susan Straw James & Catherine Stuart Mary Surratt Suresh & Phoola Sus Rodney Swink & Juanita Shearer-Swink George & Christina Thomas Julie Tomlin Scott & Roslyn Troutman Kimberly Tully
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continued
Harry & Delores Tune Twisted Threads Fiber Arts Guild Shelby Underwood Margaret Valyou Ross Varin George & Mary Wahl George & Patricia Wallace Eleania Ward Steve & Jane Warren Jeffrey & Elizabeth Weingarten Chistopher Wilkerson & Jennifer West Gregory & Jo Ellen Westmoreland Harold & Kathryn Wiebusch Peter Rumsey & Barbara Wishy Troy & Leigh Wojcik The Woman's Club of Raleigh Frederick Wood & Elaine Wooten Wood
SUPPORTER ($50-$99)
Frank & Judy Abrams Virginia Adkins Mary Love Albert Donald & Stephanie Alm Andrew & Jeanette Ammons Thomas & Deborah Atkinson George Auman & Kathryn Browne Auman Steven Backer Donald Ellison & Martha Baird Marc Sherman & Anita Baker Angela Barefoot Dean & Donna Barnes Heart of Carolinas Needle Point Guild Kathleen Barrett James & Sue Bayne Jerry Bennett George & Karen Brannan Dawn Bruckman & Jessica Vondy Bruckman Amy Bryant Jeffrey & Nancy Burgess Hubert & Mary Carr Crystal Carter Robert & Janice Cashion Sean Cassidy Curtis & Maria Chi Adam Compton John Connors & Mary Beth Tobin Dale Cousins Berry & Jennifer Credle Michael & Terry Davis Jeremy & Lauren Deese Henry & Karen Dickerson Allen & Martha Dobson Thomas & Mary Douglas William Dunlap James Denney & Daniel Ellison Larry & Cindy English William & Christine Forman Tom & Janet Foster Bradley & Cheryl Francis Paul & Margaret Fyfe Harold Garrison Jeffery & Susan Garrity
TICKET CENTRAL 919.515.1100 NCSU.EDU/ARTS
■ Gregg Museum Campaign ■ 2013/14 Friends of ARTS NC STATE Board of Advisors member ■ 2014/15 Friends of ARTS NC STATE NC Board of Advisors member ■ State Faculty/Staff Maurice & Karen Gifford Noel Griffin Donald & Joyce Gunter Mary Guyett Elizabeth Hansen Jennifer Harris Thomas Cashwell & Mary Hashagen Sharon Hazouri Howard Helvey Joseph & Margaret Herget Dennis & Susan Hight Richard & Rosemary Hill Eric Smith & Cynthia Holding-Smith James Judgins Maria Hunter John & Amy Huss Martin & Sarah Hyatt Susan Inglis Gary Jacobsohn & Elizabeth Mary Michaels David Jensen Anton & Maria Jetten Jonathan & Lisa Johnson David & Jeri Johnson Paul Johnson Douglas Johnston & Marjorie Salzman Merritt & Susan Jones Gary King & Joyce Watkins King Joyce Watkins King Consulting Jesse Jur & Paige Presler-Jur John & Laura Kent Charles Kleeberg & Susan Jensen Rachel Klem Laura LaDesso John & Lisa Lafratta Edgar & Lori Ann Levy Michael & Jackie Lewis William & Laura Lindsay Lynn & Angela Lippard Dorothy Love Keny Lyle Scott & Sarah Madry Sara Jo Manning Todd & Patty Mathes Donald Palmer & Leila May Thomas Spleth & Jean McLaughlin Joseph Meadows, Jr. Herbert & Jeanne Miller John & Lorraine Miller Kim & Wendy Minor Kenneth Moore & Mary Ammons Edwin Moore/Sandy Feat Robert & Debbie Moore James & Barbara Mulkey Peter & Angelyn Murgas Joel & Susan Nance Juliana Makuchi Nfah-Abbenyi Kern Ormond Laura-Nelle Parnell Robert & Julie Pfund Greg Hallam & Madonna Phillips Monroe Phillips, Jr. David Pittman David & Sarah Polston David & Shreita Powers John & Karen Price Christy Rain
Richard & Marie Reed Angela Rhoe David Rockefeller Henry Rogers & Mary Sox Joyce Rothchild Betty Sager Robert Sanders Kathryn Scarabelli Charles & Mary Scarantino Mary Ann Scherr Nancy Scheunemann Ronald & Melody Scott Betty Seidner Leon & Lois Semke Brian Shawcroft Scott & Elizabeth Showalter William & Elizabeth Simmons Max & Dorothy Sink Ryan & Kathryn Snead Eric Sparks & Keith Worley Ronald & Heather Spivey Stanley & Doris Stager Irwin Stern Amy Strickland Jim & Mary Ann Sullivan Earl & Mary Taylor Anne Wall Thomas Chris & Lisa Thompson Philip & Barbara Thompson Carol Toomajian Patricia Troyer William & Jane Tucker Paul & Karen Turinsky Robert Upchurch Martin & Marianne Wachtel Robert & Marilyn Warner Thomas & Bettie West William & Suzanne Wicker/ Plant City Animal Hospital Deborah Wilson Mark & Robyn Wilson Carrol & Martha Wilson Charles Zug, III
gifts in kind VISIONARY
($10,000-$19,999) Elizabeth Matheson Max Allen
BENEFACTOR ($5,000-$9,999)
John & Jane Kanipe Roger Manley & Theadora Brack Bernard & Patricia Hyman Daniel & Carolyn Solomon Harriet Herring
CONNOISSEUR ($2,500-$4,999)
Christine Machemer Harry & Rebeccah Neff Juanita Bryant
friends of
Michael & Linda Keefe William & Jeanette Dove Loren Reiss Lynn Ligon Fisher Folk Art Society of America
SUPPORTER ($50-$99)
Scott & Sarah Madry Mary Beth Kurz Kim & Roseyln Batcheller
ARTS NC STATE 2014/2015 BOARD OF ADVISORS
PATRON
($1,000-$2,499) Raymond & Betty Madry Jessica Smith Margaret Robson Danielle Greene Richard Manley Savvi Formal Wear Roger & Rhoda Berkowitz William & Sally Creech James Davis
SPONSOR ($500-$999)
Tom & Carol Gardiner Victoria Nessel Thomas & Shirley Lester Debra Walter The Family of Bernice C. Leftwich Eric Ennis Kevin Coleman Dorothy Harte Norman & Gilda Greenberg
FRIEND
($250-$499) K & Keith Keener Nancy Byrd Francis & Patricia Koppeis Lie-Nielsen Toolworks, Inc Arthur & Jean Cooper Scotty Steele Mohamed Abdel-Hady & Jessica Watson Keith Kleber
CONTRIBUTOR ($100-$249)
David White & Janine LeBlanc ď Ž David & Mary Rendleman Thomas & Donna Wolcott Robert & Donna Kanich Matthew Nudi Picosin Arts Center
OFFICERS
foundations and corporations BB&T The Boeing Company R.A. Bryan Foundation Capital Investment Group Coastal Federal Credit Union Coman Publishing Company Duke Energy Ecolab Folk Art Society of America Fox Family Foundation GE Foundation Genworth Financial IBM Corporation Intel Foundation Lexis Nexis University Lie-Nielsen Toolworks, Inc Marlowe Builders Incorporated MassMutual Financial Group Microsoft Corporation Mills Family Foundation NC Cancer Center of Raleigh Norfolk Southern Corporation Ol North State Knitting Guild Picosin Arts Center Plant City Animal Hospital Provantage Corporate Solutions George Smedes Poyner Foundation Sandy Feat Savvi Formal Wear The Bell Family Foundation Triangle Community Foundation Triangle Potters Guild TSC Foundation The Turner Corporation Verizon Foundation Joyce Watkins King Consulting Wells Fargo Foundation Xerox Corporation
Bing Sizemore, Chair Gary Greene, Chair Elect
MEMBERS
Ann-Cabell Baum Andersen Tom Cabaniss Jim Clark John Coggin JoAnne Dickinson Paul Fomberg Allin Foulkrod Kyle Held Donna Kanich Sharon Perry Kimberly Przybyl Meredith Rose Hiller Spires Tom Stafford Nicole Tyra Cathy Ward Helen White Linda Wharton Doug Witcher
EX-OFFICIO
Bernie Hyman, President, Friends of the Gregg Christina Menges, Development Director, ARTS NC STATE
While we make every effort to be accurate and thorough, it is possible to accidentally omit or misspell a name. Please contact us at 919.515.6160 with any additions or corrections.
advertising INDEX ARTS NC STATE | www.ncsu.edu/arts.................................................................. 16 Carolina Meadows | www.carolinameadows.org.............................................. 18 The Creative State | www.thecreativestate.org.................................................. 13 Edible Art | www.edibleartnc.com........................................................................ 14 Insomnia Cookies | www.insomniacookies.com ............................................... 14 Irregardless Cafe | www.irregardless.com.......................................................... 27
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important INFORMATION EXCHANGES
ELECTRONIC DEVICES
Exchanges are available as a special benefit to Center Stage Create Your Own Series subscribers and University Theatre full season subscribers only. Exchanges must be handled in person at the Ticket Central office during normal business hours, no later than 48 hours in advance of the performance date printed on your ticket. Tickets must be exchanged for a performance within the same series.
Cameras and recorders of any kind are not allowed. Cell phones and mobile devices must be silenced or turned off. No text messaging please, as it is distracting to fellow audience members.
DISCOUNTS All ticket discounts must be taken at the time of purchase. Discounts cannot be combined. When ID is required to qualify for a discount, the ID must be presented at the time of purchase. Discount categories requiring ID: • NC State students must present a valid current campus ID. • NC State faculty/staff and OLLI members must present a current campus ID.
A NOTE TO PARENTS Parents should exercise discretion in deciding which events are appropriate for their children. Regardless of age, everyone must have a ticket. Please, no babes-in-arms. Music Department concerts are free to children 12 and under, but tickets are required.
ACKNOWLEDGEMENTS Our primary financial support comes from the students of NC State University. Additional support is provided by grants and our generous donors.
TICKET CENTRAL
• NC State Alumni Association members must present a current membership card.
919.515.1100 / Thompson Hall, Main Lobby Fall & Spring semesters: Mon-Fri, 12-6 PM Summer & University breaks: Mon-Fri, 1-5 PM
• Parents & Families Association members must present a VIP (Very Important Parent) card. If you need a replacement VIP card, call the Parents’ Helpline at 877.568.5733 or send an e-mail to ncsuparents@ncsu.edu.
For weekday shows, the box office remains open until the show begins. On weekends, the box office opens one hour before the show.
REFUNDS Refunds are not offered, except in the case of a cancelled performance. All events are subject to change.
SEATING POLICY Doors open approximately one-half hour before curtain time. As a courtesy to performers and audience members, latecomers will not be seated until a suitable pause in the performance. Please note that due to the configuration of the theatres in Thompson Hall, there will be no late seating for theatrical performances.
ACCESSIBILITY ARTS NC STATE performances, exhibitions and classes are accessible to people of all abilities. Wheelchair seating is available in all theatres. The location of accessible parking spaces is noted on the map printed on the inside back cover of this brochure. Large print programs, recorded playbill notes and sign-language interpreters are available on request (please provide Ticket Central with two weeks’ notice to allow time for an ASL interpreter to prepare). The Thompson Hall theatres are equipped with an infrared assistive listening system. An on-site wheelchair, courtesy of Arts Access, is also available. With advance notice, we are eager to provide any other assistance needed.
friends of
ARTS NC STATE
become a friend! YOUR gift will… INTRODUCE the arts to thousands of NC State students
ENRICH the cultural landscape of your community
SUPPORT all six visual and performing arts programs OR the program(s) of your choice
give today! Call 919.515.6160 or visit go.ncsu.edu/artsncstate
TTY RELAY 800.735.2962 or 711
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TICKET CENTRAL 919.515.1100 NCSU.EDU/ARTS