Antigone Program

Thebes, Greece. The year 2322. 250 years after the water wars and the destruction of the contemporary industrial and technological world order. Outside the gates of the courtyard.

cast and crew cast

Antigone

Jessie Skonesey Ismene

Claire Bromley Creon

Carly Flemming Teiresias Nat Silvera Haemon

Chorus

Mitchell Clark

Lily Lourigan Chorus/Guard

Chorus Leader

Ally Kline Chorus/Messenger

Katie Layendecker Chorus/Eurydice

Lily Anderson Chorus/Attendant

Owen Weaver Chorus/Guide

Paige Hebbring

Taylor May Bulanek Chorus/Understudy

production team

Director..................................................................................................... Herschel Kruger

Stage Manager............................................................................................ Kurt Meinhardt

Scenic Designer

Maureen Chavez-Kruger

Kim Instenes Technical & Lighting Director

Costume Designer

William Newcomb Choreographer

Sound Designer

Fangyiduo Wang

Gabi Tifft

Scenic Charge....................................................................................... Martin McClendon

Dramaturg

Assistant Director

Assistant Stage Manager

Dr. Paul Kirkland

Regina Zhu

Cecelia Parkes

Assistant Costume Designer................................................................... Lane Breimhorst

Crew

Costume Crew Head

Lane Breimhorst Sound Board Operator Avery Morris

Light Board Operator

Caitlin Preuss Costume Crew

Brecka Michelson, Katie Wilde, Theresa Kalb Run Crew

Cesealia Delgado

note

When we selected to produce ANTIGONE as part of the 2022-2023 theatre season, and I knew I was going to direct, I felt extremely secure about staging another classical Greek play. This lasted about a week. The last classical Greek production I directed was LYSISTRATA in 2009, and I remember the challenges I had at the time finding the right translation. The same task presented itself again, and I started to read several versions of the play. Dr. Kirkland our Dramaturg suggested a couple of versions as well, and I settled on the translation we are using tonight from the text The Theban Plays collection. The language was heightened and poetic, and it did not come across as too archaic or difficult to follow. After I shared the translation with the production team we got started right away with production meetings. We had a brief meeting at the end of the school year and met twice a month during the summer. From the outset I planned to stage this as a traditional classical Greek drama, and set it in the period. I imagined a large sand pit and a pair of oversized gates that made up the playing space. This was short lived as both of my designers started making suggestions about staging it in the future. They deny any collusion on this matter, but I am thankful for their gentle nudging. After some initial discussions and production meetings we decided to move the play into the future, and imagined this along the lines of Mad Max or other stories conceptualized in the post-apocalyptic wasteland. In the version we constructed, the remaining citizens of the world have endured climate change and the water wars, and now inhabit a landscape that might more closely resemble the ancient world, with vestiges of the industrial and technological world. What exists is this iconic play, the characters, and the framework of the tragedy. In its tragic structure this play asks many questions; what is justice, who is right, and who decides? It carefully constructs the arguments from both sides, and doesn’t allow for easy answers or simple solutions. It is because of this that Antigone is such an important and inspirational character. She inspires us as a heroine not only because she defies and confronts authority, but to a larger degree she inspires us because she remains adamant in her convictions when faced with doubt and uncertainty.

dramaturgical notes

Sophocles’ Antigone was first performed in about 441 BC in Athens on the stage of the Theatre of Dionysus. It was the age of Pericles, the building of the Acropolis, of Athenian cultural flourishing and political power. In the middle of a great city at the height of its capacity, a public performance of the tragedy questions the sufficiency of political order, leaving citizens and audiences for millennia to wonder about the tractability of some of the deepest human problems. One of the great Attic tragedies, Antigone offers a taste of ancient theatre, including a Chorus of Theban elders. The chorus both separates the audience from the action and brings us in, participating in the action as well as offering interludes that are some of the most famous choral odes in all of Greek tragedy.

The play opens after the double deaths of Polyneices and Eteocles, and Antigone plans to bury her brother in open defiance of Creon’s decree. As Polyneices has made war on the city of Thebes, Creon has decreed that his body must be left unburied. As Antigone insists that she will bury him nonetheless as a matter of piety and

dramaturgical notes (continued)

familial loyalty, she appears to insist on the supremacy of loyalty to one’s family above that to the city. She establishes one pole of an opposition between competing and irreconcilable principles of justice. Creon, by contrast, insists on the absolute supremacy of the city demanding that the unburied body, left for birds and dogs, remain as a warning to all other traitors. Only with such complete rule can the city remain safe from destruction and protect the lives of its people, he insists. The good of familial loyalty and the good of political stability face off in a tragic conflict in which all goods cannot be attained. The play asks us to weigh these difficult questions about justice, piety, family, and political obligation. As Antigone elicits our sympathies especially in light of Creon’s harsh punishments, we may be tempted to simply side with Antigone and to see Creon’s reversal and the play’s finale as a vindication of Antigone and of her principle. Yet, the Chorus offers reason to consider the difficulties of the debate and to reflect on the conflicting claims of justice and the entanglements of family and politics that make the conflict tragic.

While the questions of piety, family, the state, and justice remain unresolved, Antigone stands as a singular tragic heroine. She comes to question whether even the gods support her actions, and, forgetting her sister, defiantly stands alone. With the Choral odes, Sophocles gives us a speech on the wonders of humanity and our capacity to conquer with skill and art the natural forces that leave us vulnerable, to protect us with law from all that threatens to destroy civilized human order. Yet, they call on Dionysus to manifest himself and make the untamed forces of life sing and dance. Is that frenzy in the end more powerful than Creon’s decrees and Antigone’s defiant will? Sophocles’ play gives form to its terror and joy.

This performance lets us ask the questions about family, justice, piety, and political authority anew and provides an opportunity to wonder what the future of life in those conflicts might look like.

biographies

Jessica Skonesey (Antigone) is a theatre performance major, and she is beyond stoked to play her first college lead as a freshman. Previous roles Jessica has played in high-school (Lincoln-Way Central) have been Velma Kelly in the musical CHICA GO, and Claire Ganz in Neil Simon’s play RUMORS. She is very involved in music, such as playing the clarinet, bass clarinet, and tuba. She also enjoys singing in choir as an alto. She would like to thank the outstanding professionals behind the scenes that made Antigone possible for her and her talented cast mates. But most of all, she would like to thank Brian and Michelle Skonesey for their endless love and support in all that she does.

Claire Bromley (Ismene) is a senior majoring in Art History and minoring in French. ANTIGONE is her first Carthage production! She is thankful to return to the stage after 3 years away with such a lovely cast and production team. Special thanks to Neil Scharnick, Grace Chapa, and K.J. De Jesus for their kind words of encouragement. Bisous à tout le monde!

Carly Flemming (Creon) is a junior, a history major and theater minor. She has

previously been casted as the Father in THE YELLOW BOAT, and Robert in BETRAYAL. As a transgender woman, Carly focuses on the performance of masculinity, in a feminist lens, in order to enhance her performances. Carly would like to encourage the audience to think about how her lived experiences as a trans woman impact her acting in a male role. Carly would also like to note that although the character of Creon is addressed as male in the text of the show, she does not approve of the use of male gendered language to describe her outside of the context of the show. She would like to give a special thanks to her mother who inspires her every day. She also hopes you enjoy the show!

Nat Silvera (Teiresias) is in their fourth year at Carthage majoring in General Theater with a minor in Business Administration. While at Carthage they have worked on Directing scenes projects like CRY IT OUT (Jessie), THE CHRISTIANS (Elizabeth, Pastor’s wife), and the main stage production of ROMEO AND JULIET WALK INTO A BAR (Raven Kalypso). They have also enjoyed working on the technical side of things as the assistant stage manager during the mainstage production of SOME THING ROTTEN. Outside of Carthage, a few of their favorite productions include PEER GYNT (Trumperstrale), M*CBETH (Macduff), and EVERYONE VS. EVERY ONE (Mother). Nat would also like to remind you that transgender rights are human rights and Black Lives Matter. Ig @natsilvera

Mitchell Clark (Haemon) is a freshman with an undeclared major but is minoring in theatre. He hopes to make a fine first impression in his first theatrical performance at Carthage. His past credits at Oak Creek High School include Motel in FIDDLER ON THE ROOF, Bela Zangler in CRAZY FOR YOU, and several parts in THE DINING ROOM. He would like to thank his two sisters for their unending kindness and sup port.

Lily Lourigan (Chorus Leader) is a sophomore majoring in Chinese with a minor in Music and Theatre. She is very thrilled to be a part of ANTIGONE this fall, as she has never participated in a production like this before. Lily would like to thank her parents, Tom and Jinny, for always allowing her to follow her dreams.

Ally Kline (Guard/Chorus) is a senior Vocal Music Education major and Theater minor. Previous roles at Carthage include Stones U/S in EURYDICE on the main stage, as well as Benjamin in THE YELLOW BOAT for One Acts. Ally has also played Amanda in THE GLASS MENAGERIE and Sue in PHOENIX for directing scenes. Ally would like to thank her family, friends, and the cast and crew of ANTIGONE for always being the most supportive, and is very excited for her last year at Carthage!

Katie Layendecker (Chorus/Messenger) is a sophomore Double Major in Theatre Performance and English with an emphasis in Creative Writing and a History minor at Carthage. Previous roles at Carthage include THE GLASS MENAGERIE for Direct ing Scenes. She would like to thank everyone involved in the show for helping put together such an amazing production. She is grateful for her family, who has always supported her in her dreams.

Lily Anderson (Chorus/Eurydice) is a sophomore with a Computer Science major

(and maybe secretly another one) and a Theater minor. Lily is ecstatic to be in this show and perform for family and friends. Last semester Lily was in one other Car thage show: BIG GUNS, and is glad for every moment spent on that production. Further, Lily would like to express kudos to everyone involved in ANTIGONE.

Owen Weaver (Chorus Ensemble) is so thrilled to be performing in his first college production. Owen has previously been a part of the Rouse High School theater pro gram whilst performing in HUNCHBACK OF NOTRE DAME as Clopin, GOVERN MENT INSPECTOR as Osip, and SHERWOOD: ROBIN HOOD as Friar Tuck. Owen would like to thank his mom, dad, and sister for being so supportive through this change of scenery and setting. Enjoy the show!

Taylor May Bulanek (Chorus Ensemble/Guide for Terisius) is a double Major in Musical Theatre and Music Education Vocal with a Minor in Dance. Previous productions Taylor May has been in are the Fall Dance Recitals SHIFT, FLYING & FALLING, and NOTHING TOO SMALL of Carthage College since she was a fresh man. As well as the Spring Dance Recitals AWAY FROM THE MIRROR being a dancer her freshman and junior years, as well as a choreographer as a sophomore and a junior for the pieces WAVING THROUGH A WINDOW from DEAR EVAN HANSEN, and FLASHBACKS with the sound composed by Taylor May Bulanek. Other roles include the musical theatre workshop as ENSEMBLE from ON MY WAY, WOODSTOCK from YOU’RE A GOOD MAN CHARLIE BROWN, ENSEMBLE from SHE LOVES ME, ENSEMBLE from LIFE IS A HIGHWAY. Taylor May has also done a performance for the Directing Scenes as “Katie” from NEITHER HERE NOR THERE. Taylor May has gotten jobs teaching voice & dance lessons over zoom, and doing professional voice acting jobs for many different YouTube channels for years as specific characters. Past and current roles Taylor May voices as KAREN REUTER from SHANE VS JAH written & directed by Shane Reuter, EVE DURKIS & LINA ANTEMAN from I’M A D RANK ADVENTURER directed by Isekai Audio Tales, MARY DIAMOND from STAR BOY written & directed by Pearl Sripoirung, MARIA, MARY TOYOTA, KATE FORD, REI, BACKGROUND CHARACTERS, & etc. from ROM COM MANGA COMIC DUB (ORIGINAL ANIME & MANGA).

Paige “PJ” Hebbring (Chorus) is a freshman Theatre Performance Major and double minor in Education and English. She is excited to be a part of her first college production. She would like to thank her family and bulldog Lucy for always being her sup port team, her boyfriend Colin for suffering through her busy schedule, the Carthage theatre program for this amazing opportunity, and her Carthage friends who put up with her shenanigans.

production team biographies

Herschel Kruger (Director) Department Chair and Professor of Theatre. Professor Herschel Kruger joined the Carthage faculty in 2005. He is the current Region III Chair of the Kennedy Center, American College Theatre Festival (KCACTF). During the 2008-2009 school year Professor Kruger established the New Play Initiative commissioning original works each year for the Carthage Theatre Program. Professor

Kruger has directed four of the new plays from this series including UP AND AWAY, written by Eric Simonson (KCACTF Citizen Artist Award, Distinguished Costume Design, and eight commendations for Distinguished Achievement, 2019 Edinburgh Festival Fringe participant) NO NAME, written by Jeffrey Hatcher (2014 Edinburgh Festival Fringe participant), GHOST BIKE, written by Laura Jacqmin (2013, five KCACTF national awards including; Distinguished New Play, Directing, Lighting Design, Sound Design, and Outstanding Scenic Design) HONEST, written by Eric Simonson (2010, winner of four KCACTF national awards including Distinguished Curricular Development, Playwriting, and two Distinguished Performance awards). Additionally, Herschel directed the staged reading of Mikaley Osley’s One-Act play MATILDA’S CHARACTER which was named a KCACTF Region 3 winner. Other directing credits at Carthage include: BETRAYAL, WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, A DOLL’S HOUSE, PART 2, MARIE ANTOINETTE, SILENT SKY, STAGE KISS, MAN OF LA MANCHA, DAY AFTER NIGHT, SPRING AWAKENING, CABARET, INSPECTING CAROL, SUNDAY IN THE PARK WITH GEORGE, LYSISTRATA, MOON OVER BUFFALO, BLOOD BROTHERS, PICASSO AT THE LAPIN AGILE, POSTMORTEM, INDEPENDENCE, and the OVER THE TAVERN trilogy including OVER THE TAVERN, KING O’ THE MOON, and LAST MASS AT ST. CASMIR’S. Professor Kruger teaches both acting and directing classes, and a variety of other theatre classes. He has led seven separate J-term study tours to Greece, New York City (5), and Germany to study theatre. He has worked as an actor and director in New York, Illinois, Michigan and Wisconsin. Professor Kruger earned his MFA in acting from the University of Illinois, is a graduate of the National Shakespeare Conservatory Professional Actors Training program in New York City, and holds a BA in Theatre Communication from Cardinal Stritch University.

Kurt Meinhardt (Stage Manager) is a senior Technical-Direction Theatre Major. He is excited to be completing his final year as a student at Carthage College. He was most recently a part of the mainstage production THE REVOLUTIONISTS as the sound designer. He has also been a sound board operator for BETRAYAL as well as projec tion designer for PATIENCE AND FORTITUDE while at Carthage. He would like to thank his supportive family, his friends of Carthage, and the production team for allowing him to be a part of this exciting production.

Maureen Chavez-Kruger (Scenic Designer and Adjunct Assistant Professor of Theatre) is delighted to be a part of the 2022-23 season and celebrating the return of in-person theatre to the Kenosha community. Her regional design work includes productions at the Milwaukee Repertory Theatre, First Stage, Next Act Theatre, Milwau kee Chamber Theatre, Lawrence University, and UW-Milwaukee: Peck School of the Arts. Most recent scenic design: Beehive: The 60’s Musical , My Way at the Milwaukee Repertory Theatre; Patience and Fortitude, Women on the Verge of a Nervous Breakdown, and Romeo and Juliet Walk into a Bar at Carthage College; and Bonnie & Clyde, Twelfth Night at UW-Milwaukee: Peck School of the Arts. Maureen holds an MFA in Scene Design from Boston University and served as a board member for Milwaukee Chamber Theatre (2014-2020).

Kim Instenes (Costume Designer, Associate Professor of Theatre) holds an MFA

production team biographies

in Costume Design and Technology from Ohio University, and a BA in Theatre from UW-Whitewater. Kim continues to work as a freelance costume and make-up designer in the Milwaukee/Chicago area. Professional design credits include THE SNOW and BEST CHRISTMAS PAGEANT EVER, as well as the musical BIG at Milwaukee’s First Stage Children’s Theatre, the JEEVES Trilogy and INDECENT at Milwaukee Chamber Theatre, and numerous shows at the Milwaukee Repertory Theater, Renaissance Theatre Works, Utah Shakespearean Festival and the Racine Theatre Guild. Design work at Carthage includes SOMETHING ROTTEN and cos tumes for the world premieres of NO NAME by Jeffrey Hatcher and GHOST BIKE by Laura Jacqmin, to name a few. GHOST BIKE won her a Certificate of Merit from the Kennedy Center American College Theatre Festival for costume and makeup design and an invitation to show her work at the Festival. Kim is excited to be a part of the Theatre Department here at Carthage as it strengthens and strives to create theatre artists of the highest quality. She enjoys the thrill of watching a student understand what a costume does for their character and watching that character come to life as a result. She would also like to thank her family, husband Doug, and children, Lauren and Dalen, for their continued support of her creative endeavors.

Prof. William Newcomb (Technical Director/Lighting Designer, Assistant Profes sor of Theatre) holds a B.F.A. in Technical Theatre from Tarleton State University, Stephenville, Texas, and an M.F.A. in Arts Administration from Southern Utah University. He was assistant manager of the Milwaukee Repertory Theatre for two years before coming to Carthage. William also served as production Manager for the Optimist Theatre’s Shakespeare in the Park. William is a national member of USITT. Other credits include technical director of the Wells Fine Arts Center at Tarleton State University, assistant technical director at Oberlin College, scene shop foreman at Ohio Light Opera, and assistant to the production manager of the Utah Shakespearean Festival.

Fangyiduo Wang (Flower)(Choreographer) graduated with a degree in music theatre from the prestigious Beijing Dance Academy, where she performed roles such as Olive in “ Bullets over Broadway” and Heidi in “ Dear Evan Hansen.” She has per formed professionally in the Chinese original musicals “ Welcome” and “ Romance of the Western Chamber” and earned the excellence in singing prize at the 5th Asia International Vocal Festival in 2019. An accomplished artist and choreographer, she choreographed “Little women” and taught music theatre vocal pedagogy. During her master’s study, she has performed in various cabarets and has been featured in “She Loves Me” and “Something in Rotten”. Flower earned a KCACTF Region III award for outstanding performance in device theatre. She loves to try new things that require body awareness such as Pilates, Yoga, and street dance. When Flower performs she strives to connect with her audience in such a way that they might be healed through the power of art. Her goal is not to showcase her own talents, but rather to show how the arts have the ability to help people look into their own humanity. Flower will earn her M.M in music theatre vocal pedagogy in May 2023.

Gabrielle Tifft (Sound Designer) is a senior Technical-Direction Theatre Major, with two Minors in Costume Design and Dance. This summer she worked at Starlight

team biographies

Theatre in Rockford, Illinois as the light designer for THE LITTLE MERMAID, DISASTER, DREAM GIRLS, and HELLO DOLLY. Her mainstage credits at Carthage include SOMETHING ROTTEN (stage manager), PATIENCE & FORTITUDE (sound designer), BETRAYAL (light designer), EURYDICE (assistant light designer), ROMEO AND JULIET WALK INTO A BAR (sound designer), as well as the studio production of SMOKEFALL (light designer). She would like to thank her friends and family for their continued support as well as Herschel Kruger and William Newcomb for this opportunity.

Dr. Paul Kirkland (Dramaturg) Professor Paul Kirkland specializes in the study of political philosophy. He earned a B.A. in politics from Ursinus College in 1994, a master’s in political science from Fordham University in 1997, and a Ph.D. in politi cal science from Fordham in 2002. His book, Nietzsche’s Noble Aims: Affirming Life, Confronting Modernity was published in 2009 by Lexington Press. He has published several articles on Nietzsche and political philosophy and politics and literature. His current book project is on Nietzsche and tragic political philosophy. Professor Kirkland came to Carthage in 2007.

Ruiqing ZHU (Regina)(Assistant Director) is a senior double major in Musical Theater and Directing. She is enjoying participating in this wonderful artwork. Previous roles at Carthage include the musical theater workshop productions of SISTER ACT and FUN HOME. She also participated in the Chinese original musical THE BELIF as a music director assistant. She is a planner and lecturer of a musical theater work shop in China (Beijing Jinge Tiema Vocal Art Co.,Ltd, Beijing,China). Ruiqing would love to thank her family and whole musical theater and theater department faculty for always supporting her to pursue her dream. Enjoy the show! Cecilia Parkes (Assistant Stage Manager) is a freshman Stage Management major. This is their first production with Carthage and they are ecstatic to have been asked to be ANTIGONE’s Assistant Stage Manager and are thrilled to be a part of such an incredible cast and crew. Cecilia would like to thank their parents Monica and Joshua Parkes for giving them the opportunity to love and experience theater throughout high school and now college.

Lane Breimhorst (Assistant Costume Designer)(He/Him) is a senior Music Theatre Major and Costume Design Minor. He was most recently in Hope Repertory The atre’s world premiere of LULU AND THE LONG WALK (Steve the Lion) and their production of Shakespeare’s MUCH ADO ABOUT NOTHING (Boy/Watch 1). His credits at Carthage include PATIENCE AND FORTITUDE (Oro) and SOMETHING ROTTEN (Snug/Bottom Troupe). This is his first time costume designing for a show, and he would like to thank Kim Instenes for all of her guidance and patience during the process. Check him out on Instagram @musical.lane!

Caitlin Preuss (Light Board Operator) is a senior Music Theatre and Directing double major. Carthage mainstage credits: SOMETHING ROTTEN, THE REVOLUTION ISTS, WOMEN ON THE VERGE…FIGHTING FOR HOME. Workshop credits: SHE LOVES ME, LITTLE WOMEN, SONGS FOR A NEW WORLD. Carthage directing credits: co-director of BETRAYAL, director of THE YELLOW BOAT.

Upcoming: ORDINARY DAYS. Enjoy the show!

carthage faculty and staff

Theatre Faculty

Breannin Beelow................................................................

Adjunct Instructor of Theatre

Jessica Berlin ....................................................... Adjunct Assistant Professor of Theatre

Maureen Chavez-Kruger..................................... Adjunct Assistant Professor of Theatre

Kim Instenes......... Associate Professor of Theatre, Costume Designer Adrianna Jones

.................................................... Adjunct Assistant Professor of Theatre

Herschel Kruger...........

Martin McClendon..............

Department Chair, Professor of Theatre

Professor of Theatre

............... Assistant Professor of Theatre, Technical Director Emily Ritger................. Adjunct Instructor of Theatre

William Newcomb............

Dr. Neil Scharnick.............

Zachary Simonini

Musical Theatre Faculty and Staff

Dr. Corinne Ness..............................

Associate Professor of Theatre

Adjunct Instructor of Theatre

Professor of Music, Dean of Arts and Humanities, Director of Music Theatre Studies

Melissa Kelly Cardamone..........

Adjunct Instructor of Music Theatre

........................................................... Staff Accompanist Matthew Hougland ................ Assistant Professor of Music & Music Theatre Specialist Thomas Novak............

Dance Faculty

Rich Ashworth

......................................................................

Stacy Pottinger..............

special thanks

Dr. Dimitri Shapovalov, Dr. Paul Kirklnd

Instructor of Dance

Adjunct Instructor of Dance Jennifer Barreca

Adjunct Assistant Professor of Theatre Director of Dance Minor

The Kennedy Center American College Theater Festival, part of the Rubenstein Arts Access Program, is generously funded by David M. Rubenstein.

Special thanks to The Harold and Mimi Steinberg Charitable Trust for supporting the John F. Kennedy Center for the Performing Arts’ Kennedy Center American College Theater Festival.

Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein; and the Dr. Gerald and Paula McNichols Foundation.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts. This production is entered in the Kennedy Center American College Theater Festival (KCACTF). The aims of this national theater education program are to identify and promote quality in college-level theater production. To this end, each production entered is eligible for a response by a regional KCACTF representative, and select ed students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, dramaturgs, playwrights, designers, stage managers and critics at both the regional and national levels.

Productions entered on the Participating level are eligible for invitation to the KCACTF regional festival and may also be considered for national awards recogniz ing outstanding achievement in production, design, direction and performance.

Last year more than 1,500 productions were entered in the KCACTF involving more than 200,000 students nationwide. By entering this production, our theater department is sharing in the KCACTF goals to recognize, reward, and celebrate the exem plary work produced in college and university theaters across the nation.

upcoming events

Student Recital: Becca Robertson

Tuesday, Oct. 4 • 7:30 p.m. Campbell Student Union Auditorium

Fall Choral Concert

Sunday, Oct. 9 • 2 p.m.

A. F. Siebert Chapel

PAS: Joanne Polk

Tuesday, Oct. 11 • 7:30 p.m.

A. F. Siebert Chapel • Tickets required

Student Recital: Taylor May Bulanek

Thursday, Oct. 13 • 7:30 p.m. Recital Hall

Frontline Oct. 13-15 • 7:30 p.m. Studio Theatre • Tickets required

Student Recital: Nicky Caldwell

Saturday, Oct. 15 • 2 p.m. Recital Hall

Student Recital: Austin Zepeda

Sunday, Oct. 16 • 2 p.m. Recital Hall

Fine Arts at Carthage acknowledges that the land on which our building stands is part of the traditional Potawatomi, Sioux, Peoria, Kickapoo, and Miami peoples past, present, and future. These homelands reside along the southwest shores of Michigami, North America’s largest system of freshwater lakes. We honor with gratitude the land itself, and the people who have stewarded it throughout the generations. Many Indigenous peoples thrive in this place—alive and strong, and this calls us to commit to continuing to learn how to be better stewards of the land we inhabit as well.

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