Sunday, October 11, 2015
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Sunday, October 11, 2015
COURIER FILE PHOTO
Gallagher Bluedorn Performing Arts Center.
GBPAC provides world-class venue for Cedar Valley community and beyond CJ HINES newsroom@wcfcourier.com
CEDAR FALLS — When the Gallagher Bluedorn Performing Arts Center opened in 2000, it mean different things to different people. It meant a home with stateof-the-art acoustics for the Waterloo-Cedar Falls Symphony Orchestra, now the wcfsymphony. It meant a larger facility to rehearse and perform for University of Northern Iowa School of Music students. For the public, it meant an outstanding venue in the Cedar Valley where they could enjoy Broadway shows, touring bands, orchestras, dance and performance troupes and other entertainment in a worldclass facility. For Robert Koob, former UNI president, the facility meant all those things and more. “On
opening night a longtime Waterloo citizen told me it was the first time he felt welcome in Cedar Falls,” Koob recalls. “The excellent programming assured it was not only a place where one could be entertained, but educated as well,” says Koob, who now lives in California. “It was — and remains — a major asset for UNI, the Cedar Valley and Iowa. Its success was a major lesson for me in the power of a facility as a symbol,” he says. UNI President Bill Ruud says, “The Gallagher Bluedorn is the place in the Cedar Valley to attend, enjoy and participate in the arts. “After 15 years, nationally known performers, lecturers and Broadway productions continue to be seen and heard in a big way at UNI. Each year, students, families, alumni and community members are sure to find something that fits their taste.”
A long time coming
Support for a performing arts center at the university began to swell after World War II, according to documents archived at UNI’s Rod Library. There was hope that a center would be completed in time for the university’s centennial in 1976. Lack of funding delayed the project. A 1988 planning committee lead to a 1990 feasibility study. The UNI Foundation launched a 1992 fundraising campaign. State funding provided less than half the $23 million goal. Private contributions were given by more than 500 donors from throughout the Midwest, including a $1 million-plus contribution from the late Edward Gallagher Jr. and his wife Cathy and the late Carl and Peggy Bluedorn. Groundbreaking began in 1997 for the 115,000-square feet building. A gala opening took
place in April 2000. It was the first major center to open in Iowa in 20 years and the only major performing arts center opening in the Midwest. GBPAC Executive Director Steve Carignan estimates that the center has hosted nearly 1.6 million people since that gala performance. “Gallagher hosts about 80,000 a year with our Artist Series and Kaleidoscope. The symphony and School of Music bring in about 15,000 to 20,000 people,” he said. The Great Hall seats over 1,600 people offering flexibility in hosting a wide rage of entertainment. Davis Recital Hall seats 300, and Jebe Organ Hall seats 125.
whelming, Koob says. “We all believed quite sincerely the community would support the programming, as long as it continued to meet its needs and preferences. From the beginning, management was given the responsibility to be sensitive to those needs and preferences.” Over these 15 years, Carignan believes programming has evolved to cater to a broader audience. “We started centering in high art, classical music, ballet, opera and jazz. Now we still have those elements, but also have more comedy, popular music acts, Broadway and more stars and familiar names,” he notes. Most patrons have their favorite performances over the years, Programming for success but a few stand out to Lois WishAlthough there was uncer- meyer, who has seen hundreds of tainty when the project began, GBPAC shows. “Mannheim Steamroller is a community support was over-
Sunday, October 11, 2015
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big one for me as well as STOMP. The Capitol Steps are always good and ‘Mamma Mia’ was a great show. The Texas Tenors are always huge whenever they come,” said Wishmeyer, who has ushered since the facility opened. Juanita Williams has her favorites, too, including Bruce Hornsby, Bonnie Raitt and Bela Fleck and the Flecktones. “But I’ve got to say, I discovered The Wailin’ Jennies through a show at the GBPAC years ago, and they are among my top favorite groups I’ve seen in concert, ever. I will never forget that show,” she says. Among Carignan’s favorites are the concerts marking the first and 10th anniversaries of the 9/11 attacks. “They were good examples of how art can be used to mark and better understand an event that is beyond human comprehension. Both shows engaged the Waterloo symphony, the Metropolitan Chorale, UNI’s theater department and area artists and support groups to put together an event none of us could have done on The late Cathy and Ed Gallagher. our own. Both shows reminded allowed us to expand our proand raised us up,” he recalls. gramming, and our quality has Finding a home The performing arts cen- improved so much. The technical ter is the permanent home for capabilities are tremendous,” says the wcfsymphony. Symphony Jason Weinberger, artistic direcpatrons previously attended tor, conductor and chief execuperformances at Waterloo West tive officer. “One of the things that High School’s Kersenbrock Audiimpressed me when I came here torium. “We’re thrilled to have the as a candidate, I thought, ‘this Gallagher Bluedorn, not only as could be the best performing arts a performance venue, but our center in the region.’ It just blows offices are here, too. That really me away.” does make it our home. It’s For years, UNI School of Music
GBPAC facts
The late Carl and Peggy Bluedorn
COURIER FILE PHOTO
students and faculty experienced overcrowding at Russell Hall. Moving offices, classrooms and rehearsal/performance places to the center solved that problem and has expanded programming. For example, Associate Professor of Music Randy Hogancamp expanded the West African and Taiko drum ensembles. “The only concern now is that, as we continue to grow, space is once again becoming precious.” Students have more opportu-
from the stage or more than 30 degrees off center. Designed to handle high-tech, Broadway-style Concept: This three-component performing touring shows as well as symphony orchestras, arts facility on the campus of the University of the hall also features 376 stage lighting dimmers Northern Iowa is comprised of classrooms and and 72 concert lighting dimmers. rehearsal studios, administrative offices and three Main floor: 800 seats; mezzanine, 400; state-of-the-art performance venues designed for second balcony, 400 seats, boxed seating on simultaneous use with total seating for 2,000. three levels Square footage: 115,000 Stage: 85-feet wide by 37-feet deep; Performance spaces: The Great Hall is a Proscenium, 55-feet wide by 40-feet high three-tiered, oval-shaped, 1,620-seat theater/ Amenities: Excellent acoustics (state-of-the-art concert hall with ten “concert towers” — hydrau- sound system update took place several years lic on-stage and orchestra pit lifts that can be ago) deployed in various configurations to accommo Steinway 9-foot concert grand piano date theater productions or concerts. Four four-person star dressing rooms, two 20-person chorus dressing rooms, with full No audience member is more than 100 feet
nities to excel, says UNI School of Music Director John Vallentine. “From the Northern Iowa Orchestra to the growing opera program, our students grow and develop because of being taught in the facility. This year alone, our band, opera and choir ensembles will perform in Costa Rica, Italy, Norway and Ireland. Recently School of Music student ensembles have led concert tours to England, Brazil and Estonia.”
Hosting community events
Each November, the annual Sartori Festival of Trees transforms the GBPAC lobby into a holiday wonderland. In addition to the Gallery of Trees, the event includes a gala luncheon, auction, fashion show, Teddy Bear Tea and Santa’s Workshop. Area tree decorators, sponsored
facilities and green room Hydraulic system to lift apron to stage level, audience or orchestra pit level Underground passageway between main concert hall and recital hall Color scheme: Italian-influenced, included muted rich shades on seat cushions, terra cotta floors and railings. The Davis Recital Hall is a 300-seat hall with excellent acoustics and a new Steinway concert grand piano. Jebe Organ Hall is a 125-seat flexible-seating hall with a $500,000 hand-crafted pipe organ and excellent acoustics. This soaring, cathedral-like space has been designed to handle dozens of configurations
COURTESY PHOTO
by local groups and businesses, are judged with many trees sold during the event’s auction. The Sartori Foundation fundraiser began in 1989, co-sponsored by Sartori Memorial Hospital Auxiliary and the WaterlooCedar Falls Symphony Guild. Earlier venues included the former Cedar Falls Holiday Inn, Cedar Falls Senior Center and Waterloo’s Five Sullivan Brothers Convention Center. Sartori is now the sole sponsor. Community organizations have used the facilities for such events as bridal shows, the Midwest Piano Competition, concerts by the Metropolitan Chorale, UNI New Horizons band, the UNI Varsity Men’s Glee Club, and Orchard Hill Church’s annual Gathering.
Engineering: Since the building must serve numerous groups simultaneously, the design of sound and vibration isolation technology was of critical importance. Extra-thick walls, separate flooring and “isolation” gaps between performance spaces all contribute to acoustic integrity. This facility represents state-of-the-art design and engineering. Architects & engineers: Hammel, Green and Abrahamson, Inc., Minneapolis Theater consultants: Fisher Dachs Associates, Inc., New York, N.Y. Acoustic consultants: Acoustic Dimensions, Larchmont, N.Y. Construction firm: Story Construction
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Fast-forward 15 years Gallagher Bluedorn building on strengths to reach new levels STEVE CARIGNAN Executive Director Gallagher Bluedorn
Fifteen years. Our performing arts center is old enough to drive. The Gallagher Bluedorn is an ambitious place,and thanks to a long line of committed drivers, the Gallagher Bluedorn has gone fast. Unprecedented as a public private partnership and cultural facility, the Gallagher set out to grant the wishes of three anchors of our community. For UNI’s School of Music, it was the performance space that allowed their s t u d e n ts to rise to regional and national prominence. Fo r t h e Wa t e r l o o Ce d a r Fa l l s Carignan Symphony Orchestra, it provided a venue and home that was as good as their playing. For the UNI Artists Series, it provided a venue capable of hosting world-class talent and cuttingedge shows. Fifteen years down the road, the symphony has grown to serve both their traditional audience and growing new audience; the School of Music has grown in size, quality and reputation; and the artist series has brought world-famous performers from genres ranging from modern dance to top 10 country. Fast driving, indeed. Of course, the Gallagher didn’t spring into existence from nowhere: it was built on the shoulders of giants. Ed Gallagher and Carl Bluedorn are, of course, the most obvious of the Gallagher’s patrons with their generosity in leading the way, and guiding the Gallagher’s design.
BLAKE ARGOTSINGER PHOTO
A dramatic 30-foot glass curtain wall forms the backdrop for a “main street” corridor that allows visitors access to all three peformance venues. A grand staircase, graced by chandeliers, leads to an open mezzanine level of the main hall and the space can accommodate parties and receptions for up to 400 people. There were also quieter heroes without whom the Gallagher would not be what it is. Howard Jones — the conscience of classical music comes to mind. Jim Robertson and Lorraine Hallberg joined him to build a bridge of support between Howard’s Artists series and the brand new Gallagher. Leroy Redfern, Bill Calhoun and Dino Curris brought together a quilt of donors that followed Ed and Carl and built the Great Hall. And then there were the folks that constructed this one-ofa-kind structure. Masons, electrician, carpenters, architects, acousticians — all of them building one of the most complicated buildings in their career, some of them negotiating the unique construction of a performance venue for the first time. Story Construction, Voltmer Electric and Young Plumbing and Heating all rose to the challenge of the Gallagher Bluedorn. The University likewise embraced challenge. A new building with new function, new partnerships and no new money was a rare event on campus. Leaders like Bob Koob, Aaron Podolefsky and Jim Lubker took on the challenge of defining the work, finding the first staff, and then finding a way to support the new building. Jim Lubker, then Dean and now
retired Provost, directly supervised the start of the Gallagher. He described the challenge thus, “When they asked me to supervise the Gallagher-Bluedorn we had nothing, no equipment, no staff and no plan. If you turned the building on its side and shook it, nothing would have come out.” Despite the dual economic down turns of 2001 and 2007, they and other campus leaders kept the Gallagher in motion, providing the support it needed and giving it the freedom to grow. Of course, the staff of the Gallagher has consistently been made up of remarkable people. Though only a few of us “originals” are still in the building, all of the staff have demonstrated a level of commitment, work ethic and innovation that have allowed the Gallagher to succeed. Now we embark on our next 15 years: New logo, new mix of programming, and a mission that builds on the Gallagher’s strengths and takes us to new levels. The truth is that people are mistaken when they think of the Gallagher-Bluedorn as a building. The Gallagher is and will be a place where things happen — a place where: Artists and audiences, symphonies and educators, communities and creativity come together to grow.
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Volunteer ushers get an inside view to big shows Volunteer to be an usher at the Gallagher Bluedorn Performing Arts Center, and you can see exciting shows by major artists, orchestras and performers, hang with kid at the Kaleidoscope series, even learn a few new tricks from the Dog Whisperer himself, Cesar Millan. “The best part is being able to see the shows, but also to help people be happy— to help them when they come, to find the right seat and enjoy the whole thing,” said Lois Wishmeyer, who has ushered since the center opened. She shared a newspaper article with her husband Dean about volunteer training. “I told my husband, ‘We can do this.’ We didn’t know what we were getting into. We had to know each floor’s seating arrangements, the box seats and all that and how to handle wheelchairs. We had to know the layout in case of a fire or a tornado. The first few years, it was the responsibility of all ushers to watch the crowd. We’ve had
people having heart attacks, and one person had a seizure. At first, my husband was the only one knew CPR. “All the paid people now know CPR, and we have a defibrillator.” Juanita Williams was encouraged to volunteer by a friend. “A friend had a really positive experience and she encouraged me. Volunteering is one of my favorite activities,” she said. She has volunteered for more than four years. Ushers receive an event list prior to the fall season and in December for the following season, then select shows they want to work. “We ask ushers to sign up for at least 12 events; a mix of our Artist Series and then everything else. The volunteer usher corps covers all events at the GBPAC from sold-out shows of more than 1,600 to small concerts that draw a few hundred,” said Chris Kremer, GBPAC event management director. To learn more about volunteering, call 273-3660.
A standing ovation to the Gallagher Bluedorn for 16 years of fun and inspiration. Congratulations and many more to come!
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Hard-working performing arts center achieves complete success and acoustic perfection CJ HINES newsroom@wcfcourier.com
CEDAR FALLS — There’s a saying in the building business: “We want something to be multi-use, but not multi-useless.” Without a doubt, the Gallagher Bluedorn achieved the former beautifully. “There are halls that are multi-useless, but Gallagher is a complete success. This is a really hard-working building. It has an enormous amount of usage,” said Gary Reetz, vice president of HGA Architects and Engineers of Minneapolis, who led the architectural team. The major requirement for the $23 million project, which included state money and private contributions, was serving both the university and the community. “We spent a lot of time planning for the town and gown — the community and campus. They were equally important but with different needs,” Reetz said.
School of Music
Prior to moving into Gallagher from Russell Hall, the UNI School of Music faculty and staff spent more time lugging unwieldy instruments rather than playing them. “We moved everything to the auditorium from the main
rehearsal room in the basement and back down again. Sometimes we used the elevator but it wasn’t always working. We’re talking all kinds and sizes of drums; marimbas, vibraphones, xylophones, chimes — tons of instruments,” recalled Randy Hogancamp, associate professor of music. “It’s much easier now on one level rather than two or three; our percussion groups use Davis Hall for both rehearsals and performances.” This layout allows students to concentrate on music and not lose time by setting up instruments, chairs or stands. Music School Director John Vallentine believes the facility helps create better musicians. “Students have excelled because they perform in a stateof-the art facility. The Great Hall is known for incredible acoustics so our students are heard by audiences at their very best. Plus, the recordings we make are of the highest quality,” he said.
Acoustic design
David Kahn, president of Acoustic Distinctions, New York, was given the task of designing an “acoustically perfect building.” “It was clear from everyone involved they were focused on acoustics. We needed a solution that was on budget and didn’t
Courier File Photo
The Great Hall, shown here in April 2000, offers unobstructed views of the stage and perfect acoustics.
compromise acoustics. That vision was clear from the outset, and we all worked together to achieve it,” Kahn said. His design included curtains and a portable ceiling and stage enclosure to create reverberation. Poured concrete rather than concrete blocks create sound-resistant barriers to keep noise from penetrating into the lobby. Project superintendent Jim Sodders of Story Construction recalled Kahn testing the acoustics. “I would laugh. He would run from one of the end of the hall clapping his hands and listening to the echoes. That was how he judged the sound,” Sodders said. “The sound was the biggest obstacle, to ensure it was right. You run into few projects that are that meticulous about the sound.”
Opera house design
At the time the center was built, it was described as reminiscent of a grand European 19th century opera house. “We created a place with a sense of intimacy. The lobby is bright and white, but in the hall, we wanted a feeling of being enveloped by the experience; having balconies that bring the audience closer to the stage, creating great acoustics and improving sight lines,” said Reetz. Patrons are never more than 100 feet from the stage, with nothing hindering the view. Kahn worked with a theater consultant to determine the best seat rate, which means how quickly seats rise from the stage. “The seat rate needs to be shallow. In a theater, the seats tend to rise very steeply, which creates better sight lines. But if they do, you can lose reverberation and acoustics. You don’t want to raise too quickly so as not to compromise acoustics,” he explained. Reetz is also proud of the building’s success. But for him,
it comes down to the exterior. “At night, Gallagher shines like a beacon. We consciously designed a building that capitalized on that glowing beacon. When you arrive, you see it,
you walk up to it, that’s part of the experience. It’s intended to be a bridging building between the campus and the community. That was intentional to create an identity.”
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With help from Friends, New branding reflected in programming center offers big acts BLAKE ARGOTSINGER
at events around town (have you seen our 360 photobooth?!?). We’ll continue to roll out some changes. In the meantime, come A year ago we were working to a show and experience it youron “rebranding” the Gallagher self! Bluedorn. To many this term may have little meaning. To put it in other words, we took a look at who we are at Gallagher Bluedorn, where we’ve been and who we’d like to be moving forward. CHEVROLET This all, of course, guides the Your Bottom Line Dealer! staff internally, but perhaps more importantly it helps guide us on how we serve the community. It prompts the question, “How can Gallagher Bluedorn fit the community’s needs for the next 15 years?” To help find the answer, we conducted a community-wide survey, hosted numerous focus groups and coordinated several internal exercises. The result? We found things that we knew, things that reaffirmed what we’re doing and things that will guide new interactions with the community. So what does that look like? You can see it in our programming (bigger names), our preshow events and our presence Associate Marketing Manager Gallagher Bluedorn
Ever wonder how the Gallagher Bluedorn Performing Arts Center attracts big-name acts such as Jay Leno, Garrison Keillor, the Russian National Ballet, or Broadway touring shows like “West Side Story” and “Dreamgirls”? Or offers “Buck-a-Kid” educational programming? With a little help from its Friends of the Gallagher Bluedorn. Friends exists to raise money for programming for salary assistance, special projects, selected show funding, and the educational Kaleidoscope programs. The UNI Civic Arts Association was formed in 1974 by the late Howard V. Jones, former UNI professor emeritus, and it provided support for the UNI Artist Series. “I was the first president in 1974. When Gallagher Bluedorn opened in 2000, I again served as president, and we changed the name to Friends of the Gallagher Bluedorn,” said Lorraine Hallberg, Friends News managing editor. One of the area’s most beloved event, the annual Crème de la Crème fundraiser, was founded by C. Hugh Pettersen. Pettersen died in October, 2014. The final Crème event took place in April. “Without Hugh, we felt it was a good time to make a change. Crème it morphed into what we are now calling ‘Friends Presents’, which is what the Texas Tenors show was. It felt appropriate because Hugh had the idea of bringing the Texas Tenors, so he planted that seed. We think he would have liked this change,” said Friends President Margaret Empie. The next Friends Presents program will be Dec. 19, with the Bill Shepherd Big Band, featuring Shepherd’s daughter, Nola Rose, a professional singer/songwriter. Beers to You and Gourmet Too is Feb. 28, 2016.
Sponsorship levels All levels include Friends News subscription, invitation to preview party and name listed in program. Donor/Under $125 Patron/$125, also includes early ticket ordering Contributor/$250, also includes season parking pass in Contributor’s lot (second closest to building) and invitation to select shows to share with a friend Supporter/$500, also includes season parking pass in Producers’ Lot (closest) Director/$1,000, also includes many benefits, including earliest ticket ordering, invitations and moreProducer/$2,500, Opportunities to meet artist; four complimentary tickets to the show of your choice Seat Sponsorships are also available; benefits include first to order Artists Series tickets each season and name recognition on sponsored seat plaque. Once sponsored, the seat displays a plaque with your name for the life of the seat. SEAT SPONSORSHIP LEVELS Gallery: $250 per seat Mezzanine: $350 Dress Circle: $500 Orchestra: $750
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Sound quality leaves audiences, professionals and performers ‘awestruck’ says tech director Sandy Nordal MELODY PARKER melody.parker@wcfcourier.com
Sandy Nordahl was in awe the first time he heard the acoustics in the Great Hall. “It was fantastic — such a great sounding hall. Everybody was so excited, and I couldn’t wait to hear the first concert on that stage,” recalls Nordahl, technical director for the Gallagher Bluedorn Performing Arts Center. And he’s still awestruck. Nordahl, a sound and recording authority and musician, started at the center in 2000 just as the finishing touches were put on the new $23 million building. David Kahn, president of Acoustic Distinctions in New York designed what has been described as “acoustically perfect building.” The center also boasted a stateof-the-art sound system. But
technology evolves, and sound system technology is even better. Three years ago, the GBPAC obtained a grant from the Mansfield Foundation to upgrade the sound system with new state-ofart equipment. “It was like having Christmas and getting to open all the presents and play with all the toys. It’s a sophisticated and complicated system. Now we have performers who come through carrying their own PA systems, who walk in the hall, hear the sound system and leave their systems on the truck to use ours,” Nordahl says. Although most of the bigname artists, ranging from musical groups and comedians to touring Broadway shows, dance shows and even circus-type performers, travel with their own audio engineers, Nordahl has mixed some major shows over
MATTHEW PUTNEY / Courier Photo Editor
Technical Services Director Sandy Nordahl surrounded by sound equipment at the GBPAC.
the years, including “Tango Buenos Aires.” It’s also been his job to show other sound engineers the ropes at the center. Great Hall acoustics were designed for classical music, as the home for the wcfsymphony. “There’s a nice reverberation for orchestra, so anything that’s heavily amplified can cause problems. They have to hear the hall and judge it, and we show them how it’s going to change with an audience. It’s different from a sound check in an empty hall. People absorb sound, so the difference can be dramatic.” The sound system also connects to GBPAC’s Davis and Jebe halls, and allows Nordahl to record performers in those halls from the console in the Great Hall. Sound in one space does not transfer into walls or floors of any other space in the facility, he points out. Nordahl grew up in Waterloo, and has played in bands since he was 14 years old. He earned his music degree from the University of Northern Iowa, and played acoustic double bass with the Waterloo-Cedar Falls Symphony Orchestra in the 1980s. After several years at Catamount Recording in Cedar Falls, he moved to Oklahoma and earned his master’s degree at the University of Oklahoma. When the GBPAC job was offered, he took it. Along the way Nordahl got hooked on electronic music. He was a member of Data Stream with Peter Hamlin and Scot Schwestka, and continues to collaborate with Hamlin. “Electronic music has been around for a while, but it’s still a new frontier for music because of the power of the personal computer. I like to explore sound and what you can do with it, how it can be manipulated into something new and different,” he explains. Nordahl also teaches music technology classes at the UNI School of Music.
The GBPAC and Great Hall have had significant impact on the Cedar Valley, Nordahl maintains. “Most people have a hard time now imagining what it was like before it existed. It’s made a huge difference as far as bringing high-quality performers to the
area, and the quality of life. “At the same time, many of the students who have worked for me over the years have gone on to successful professional careers. So, it’s offered students some great experiences and opportunities, too.”
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Kaleidoscope Series for Youth entertains thousands of schoolchildren each year CJ HINES newsroom@wcfcourier.com
The Kaleidoscope Series for Youth educational program has hosted thousands of schoolchildren from throughout the Cedar Valley and Iowa. From Dickinson County in the northwest and Crawford County in the west to Jefferson and Wapello counties in the south, students have come from all corners of the state to enjoy GBPAC performances. Amy Hunzelman, director of education and special projects, says the most popular shows in the past decade have been “anything Dr. Seuss-related� or literature-based, as well as historical shows. When the program began in 2000, cost was $4 per ticket and every 16th ticket was complementary. In 2003, Buck-A-
Kid was implemented, providing more access to students. Since 2004, the program’s attendance has surpassed 440,000. Friends of the Gallagher Bluedorn also provided financial support for launching Buck-A-Kid, as well as grants from Target and the Iowa Arts Council. Buck-A-Kid programming is available for students in all grade levels; however shows are geared toward specific age ranges. In addition to live performances using drama, music and dance, students and faculty from the UNI College of Education offer additional classroom experiences. Education students develop, apply and evaluate lesson plans used as enrichment for the Kaleidoscope performances. Prior to each performance, UNI students visit area schools to
teach a lesson that will expand the students’ understanding. “There are a select number of performances each year in which Kaleidoscope Connections is offered, due to the UNI student schedule,� Hunzelman said. This year’s five performances with a lesson are “Hiawatha,� “The Cat in the Hat,� “I am Jack,� “Walk On: The Rosa Parks Story,� “Elephant and Piggie� and “The Little Red Hen.� Sponsorships include RJ McElroy, Guernsey Foundation, All Smile Dentistry and numerous individual donors. Patrons may also contribute $1 to the fund when attending functions at GBPAC, or sponsor a Kaleidoscope Connections class. This season’s Kaleidoscope programming includes: “Hiawatha�—Early Native
American history and culture,� Oct. 13; “I Am Jack,� about an 11-year-old boy being bullied at school, Oct. 26; “The Shape of a Girl,� a teenage girl who stands by while her best friend bullies another girl, Nov. 6; “Peter Rabbit Tales,� bringing Beatrix Potter’s beloved characters to life, Nov. 12; “Walk On: The Rosa Parks Story,� Jan. 28-29; “Three Little Birds,� based on the Cedilla Marley book, Feb. 18; “The Little Red Hen� at New Hampton, April 1; “My Heart in a Suitcase� at Oelwein, Anne Lehmann and her family’s life in Germany during World War II, 10 a.m. show April 4; and Shakespeare’s “A Midsummer Night’s Dream,� April 14. Some shows and performances are sold out. Call 1-877549-7469 for availability.