RETIRING FACULTY er had only seen one play he had directed before the trip, but still chose Wainscott to lead the production in Japan. “I was very happy he gave me the opportunity to do it,” he said. “He had really worked very hard to make the whole thing happen, and it was the highlight of my time at UNL.” Miller said the trip was especially memorable for him because Sheila Griffin, then director of the Lied Center, had connections to Japan’s empress, and the group was invited to visit the palace and perform for the Japanese royal family. Better yet, Miller said, his 12-year-old son, Dane, was able to join them on the trip. “I have a great photo of Dane shaking hands with the emperor,” he said. Today, 29-year-old Dane lives in Oakland, Calif., and works for a Web-based company called Greatschools.com. Miller’s younger son, 24-year-old Graeme, lives and works in Chicago. Miller said he and his wife will continue to visit their boys on a regular basis, especially now that they will have more time. “They really are good boys,” he said. “We like them.” Many of Miller’s students have said their teacher has always treated them like they were his own children. Susie Baer-Collins, a former student of Miller’s who is now the director of the Omaha Community Playhouse, said he would often invite them over to chat after class. “He seemed to make a significant effort to bridge the gap between the faculty and the students, creating opportunities for them to socialize outside of the classroom or the rehearsal hall, often in his own home,” she said. “I can only imagine that there were many more students to follow who benefited greatly from such expertise, encouragement and guidance.” Becky Key, another of Miller’s former students, agreed and said her mentor always encouraged her to do more than just act. “I had never felt so inspired to write, and the honesty he taught me on paper has benefited me in every way as an artist,” she said. Julie Hagemeier, the manager of the Johnny Carson School of Theatre and Film and a former student of Miller’s, said his
Tice Miller (back row, far right) as a sophomore at Riverdale Public School in 1954. He was voted the all-around student of the 1953-1954 school year and was president of his class. The yearbook also notes that he received a Superior in his original oratory.
own writing is an impressive example for his students to follow. “He was the toughest grader I’ve ever had on papers because he’s such a good writer that he expects that out of his students,” she said. “He will continue to give you notes until you’ve written and re-written it the best you can.” Robert Schanke, one of Miller’s first graduate students and a current member of the College of Fellows of the American Theater, also credited his teacher with improving students’ writing skills. “From working with Tice, I certainly learned how to be concise and clear in my writing,” he said. “Avoid theatre jargon, make reading accessible, cut out unnecessary verbiage.” Schanke said he also caught onto Miller’s love for history. When Schanke took Miller’s History of American Theater course, he said, he fell in love with the 20th century opera and the detective work the class required of him. “I learned then and still believe that a historian is something of a Sherlock Holmes,” he said. “Tice opened doors and allowed me to see that. Soon after I received the Ph.D., my interests turned from directing to re-
Hixson-Lied College of Fine and Performing Arts
Photo courtesy of Julie Hagemeier.
Tice Miller and his students scout Nebraska opera houses in this circa 1980-81 photo.
search and writing because of Tice.” Megan Black, a current student of Miller’s, said he found ways to make lectures more interesting for his students. “Tice encouraged us to get the hell out of the classroom,” she said. “He lived the philosophy that life isn’t experienced be
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