Cabaret by John Kander with lyrics by Fred Ebb. Book by Joe Masteroff
SC HO O L O F M USI C , T HE AT RE , AND DANCE
C SU T HE ATR E | State o f Im ag ination
The School of Music, Theatre, and Dance empowers students to create, collaborate, innovate, and inspire. Through teaching, creative artistry, research, advocacy, and service, we elevate arts education.
THEATRE AT COLORADO STATE UNIVERSITY Storytelling; this is our passion at Colorado State University. Storytelling is the flame that burns from within our souls. We are actors, technicians, designers, playwrights, and patrons of the theatre. We are stewards of social interaction and catalysts for meaningful cultural colloquy. President John F. Kennedy, a lifelong advocate for the arts, once said “The only reason to give a speech is to change the world.” The performing arts can do just that through story and song, words and action. It is our goal to keep storytelling at the forefront of our minds as we push the performing arts into the coming times. It is our passion to empower students with the skills, training, and drive to carry the “torch of theatre” into the future. Come join us and our vision for theatre in the modern age. Tell the stories of the lives around you and make a difference. Enter a “State of Imagination” at Colorado State University.
PRICE JOHNSTON Director of Theatre
School of Music, Theatre, and Dance
THEATRE TRAINING FOR THE UNDERGRADUATE BY EXPERIENCED PROFESSIONALS The faculty and annual professional guest artists—all currently working on and off-Broadway, in regional theatre, and worldwide—provide students an experienced lens through which to study both the theory and practice of acting, theatrical design, stage management, technical theatre, dramaturgy, dramatic criticism, storytelling, and playwriting. Upon admission to CSU and declaration of Theatre as their major, students choose one of three concentrations: General Theatre, Performance, or Design and Technology. No matter which concentration is selected, students are equally prepared for graduate school or potential entry-level positions in the creative industries. Comprehensive training occurs in classrooms, labs, shops, rehearsal studios, and on annual productions of plays, musicals operas, dance concerts, and special events, produced by a company of student actors, directors, designers, and technicians.
At CSU, creative teams are empowered to collaborate on a shared theatrical vision.
Tartuffe by Molière
One Man, Two Guvnors by Richard Bean
Urinetown: The Musical by Mark Hollman and Greg Kotis
Three Sisters by Anton Chekhov
THE PERFORMANCE CONCENTRATION Students entering the Performance Concentration will have the ability, aptitude, and stamina to pursue a program of study intended to provide rigorous training as a performing artist within the context of a liberal arts curriculum. Either as an actor or a creative collaborator with strong interpersonal communication and group problem-solving skills, the concentration provides a path for success in the public and private sectors of the creative industries. This course of study provides student actors with core physical and vocal technique, and a variety of approaches to the acting process from which they may glean their own approach to character building. The concentration emphasizes both theoretical and practical aspects of theatre as an art formâ&#x20AC;&#x201D;as well as a commercial industryâ&#x20AC;&#x201D;and trains well-rounded, responsible theatre artists who value ensemble and collaboration within an artistic community. Course descriptions are available online at theatre.colostate.edu.
TH 255 DIRECTING WORKSHOP Practical directing workshop, short directing exercises, short scenes, techniques, theories, readings, staging prompts.
SCHOLARSHIPS Apply for CSU scholarships at: libarts.colostate.edu/students/scholarships and financialaid.colostate.edu/scholarships CSU Theatre scholarships are awarded by audition and/or portfolio review conducted at annual high school visit and audition days or via video and document upload to our scholarship application site. Visit theatre.colostate.edu/visit-day for details.
The Night of the Iguana by Tennessee Williams
“Nothing unifies like a musical because it
brings the theatre, dance, and music areas together and sets the students up for seeing how it’s done in the real world. It’s like where I came from on Broadway, and I’m really excited to see it here. Everyone is doing an amazing job and showing why CSU is such a great school with its interconnected, interdisciplinary, and interdepartmental coordination.
— NOAH RACEY, ASSISTANT PROFESSOR OF MUSICAL THEATRE
TH 153 SINGING FOR ACTORS I A fusion of acting technique and singing technique for credible performance in the musical genre.
From the Sound of Music to Hamilton, musical theatre is a leading genre in performing arts and entertainment. An innately American art form, it was developed out of the Music Halls of England, the ceremonies and rituals of immigrant cultures, the structure of the American Songbook, and the ordered chaos of Jazz. Musical theatre blends the creative disciplines of singing, acting, and dancing, harnessing the power of all three storytelling mediums to move the story forward. Mastering this art form takes skill, courage, and intense dedication. To that end, students at CSU receive supportive, one-to-one studio and classroom training that results in authentic and exciting productions. Numerous performance opportunities include mainstage musicals, plays, and operas, as well as dance concerts. With a combined 30 years of Broadway experience, as well as countless appearances on television and in film, CSUâ&#x20AC;&#x2122;s seasoned faculty convey first-hand insight about life as a professional artist.
CSU Theatre produces one full-scale musical each season.
A Man of No Importance by Stephen Flaherty, Lynn Ahrens, and Terrence McNally
THE DESIGN & TECHNOLOGY C O N C ENT R AT I O N Students entering the Design and Technology Concentration are exposed to multiple disciplines and design areas within the performing arts, including scenic design and stage management, courses chosen from theatrical construction, lighting design and electrics, costume design and construction, and digital media design. This program is geared towards creative, imaginative, and open-minded individuals with a drive for excellence. Students in this concentration explore creative concepts on a theoretical level, both in the classroom and studio, while reinforcing their training through practical application in main stage productions of theatre, musicals, opera-theatre, and dance. In addition to coursework, as they travel through the program, students take on roles as production technicians and assistants, stepping into leadership roles as designers or production stage managers. This fully collaborative and interdisciplinary program supports pre-professional development. Design and Technology students have a multitude of facilities available for their use, including a design lab with 28 drafting and rendering stations, CAD Lab with 22 student workstations, scene shop, paint shop, costume shop, sound/video editing lab, lighting lab, and acting labs. World class venues include the University Theatre, the Studio Theatre, the University Dance Theatre, and Griffin Concert Hall. Course descriptions are available online at theatre.colostate.edu
TH 366 DIGITAL MEDIA DESIGN FOR LIVE PERFORMANCE II
Advanced sound and projection design techniques (including sound control, microphone arrays, animation and mapping) in live performance settings.
Evil Dead the Musical by George Reinblatt
COURSEWORK IN: LIGHTING DESIGN & PRODUCTION Students studying Lighting Design and Production receive training in theatrical, operatic, concert, film, and dance lighting. Students have opportunities for hands-on applications of lighting technology, including automated lighting and moving light console training. A broad-based curriculum of theory, design, and practical application trains students to compete in the aggressive world of lighting design and production.
RELATED FACILITIES AND EQUIPMENT: ⊲ CAD Lab with 22 student workstations ⊲ Lighting Lab
CAD LAB SOFTWARE TRAINING INCLUDES: ⊲ Vectorworks Spotlight ⊲ Lightwright ⊲ WYSIWYG ⊲ MakerWare 3D printing software
LIGHTING CONTROL SYSTEMS INCLUDE TRAINING WITH: ⊲ ETC Ion; ETC Emphasis/Express, ETC GI0 ⊲ Flying Pig: Hog 3 iPC ⊲ GrandMA dot-2
LIGHTING EQUIPMENT/MOVING LIGHT INVENTORY INCLUDES: ⊲ ETC Source-4 Based Conventional Lighting Systems ⊲ Vari*lite Automation ⊲ Martin Automation ⊲ High End Systems Automation ⊲ Clay Paky Automation
TH 264 LIGHTING DESIGN I ROCK BAND PROJECT This class culminates in the best-attended final on campus, using Harmonix’s video game, Rock Band, to showcase student bands competing in a simulated rock show featuring student lighting design, projections, sound design. See the article in Live Design Magazine, “How I Did That: Rock and Load with Rock Band,” to learn more about how this CSU original event is now taught in scores of universities across the country.
Digital Media Design and Production exposes students to current and relevant technologies and techniques emerging directly from the field. Curriculum includes core elements of theory, content cre-
COURSEWORK IN: DIGITAL MEDIA DESIGN & PRODUCTION
ation, and implementation in the ground-breaking, developing world of sound and digital media design for the stage. Students have the opportunity to explore digital show control systems, media creation technologies, current projection systems, and their application in live performance environments.
TH 260 CAD FOR THEATRE Computer-aided drafting and conceptual articulation for theatrical design and production using entertainment industry standard: Vectorworks.
The Hobbit by Patricia Gray
DIGITAL MEDIA & SOUND CONTROL SYSTEMS INCLUDE TRAINING WITH: • Dataton Watchout • Q-Lab 4 Pro-Sound/Pro-Video • Isadora SOUND AND PROJECTION EQUIPMENT INCLUDES: • Yamaha LS-9 Digital Audio Consoles • Barco RLM-W8 Projectors • High End Systems DL-3 Digital LIght Projector
RELATED FACILITIES AND EQUIPMENT: • CAD Lab with 22 student workstations • Lighting Lab; Sound/Video Editing Lab LAB SOFTWARE & TRAINING INCLUDES: • Adobe Creative Cloud Suite • Google Sketchup Pro • Final Cut Studio • Ableton Live • Avid Pro Tools
COURSEWORK IN: COSTUME DESIGN & PRODUCTION Costume Design and Production explores the complex world of costuming for the stage and screen. With a curriculum based in the dual-environment of design and construction, a student will operate in a “hands-on” setting with immediate career-based application.
RELATED FACILITIES AND EQUIPMENT: ⊲ Costume shop outfitted with Berninas and industrial Juki sewing machines ⊲ Dye and craft area ⊲ Makeup station with airbrush ⊲ Computer lab and iPads for digital rendering
TH 269 THEATRICAL MAKEUP
Stage makeup. Individual skill in character
CAD LAB SOFTWARE TRAINING INCLUDES: ⊲ Adobe Photoshop ⊲ Procreate ⊲ Sketchbook ⊲ Poser
analysis, application in pigment, plastic, hair, makeup, and selection and use of theatrical makeup
The Set Design curriculum teaches students to communicate their ideas effectively through collaboration, building on skills learned in design courses, and culminates in fully realized set design projects. Set Design students draw, draft, paint, build models, 3D print, and laser cut, all in an effort to realize their vision, both in design courses and on fully-produced plays, musicals, operas, and dance concerts in six venues within the University Center for the Arts (UCA). Set Design students collaborate with each production’s creative team, consisting of highly qualified faculty and staff members working within the UCA’s many production support facilities, including welding and CNC (Computer Numerical Control), a paint shop, and a prop shop. RELATED FACILITIES AND EQUIPMENT: ⊲ CAD Lab with 22 student workstations ⊲ Design Lab with 28 drafting and rendering stations ⊲ Scenic Shop ⊲ Paint Shop ⊲ Color printers, plotters, and Makerbot 3D Printers CAD LAB SOFTWARE TRAINING INCLUDES: ⊲ Vectorworks ⊲ Google Sketchup Pro ⊲ Adobe Creative Suite: Production Premium ⊲ MakerWare 3D printing software writers.
Appropriate by Branden Jacobs-Jenkins
TH 265 SET DESIGN I
Theory and techniques for designing scenery for the stage.
COURSEWORK IN: STAGE MANAGEMENT & PRODUCTION Stage Management and Production curriculum is based on developing the organizational skills required to run every aspect of a production, from auditions to striking or touring a show. Students apply their knowledge in realized productions of theatre, concerts, opera, and dance, leaving the program with a comprehensive portfolio of managerial experience. Instruction includes developing leadership skills, a familiarity with styles of conflict resolution, knowledge of the documents and forms required for every step of managing a major production, and an understanding for the procedure and logistics behind touring a major show. Students cultivate the professional demeanor and skill sets allowing for optimal success in the field. Specialized courses include Commercial Theatre, Not-for-profit Theatre, Floor Management (Television), and Second Assistant Directing (Film).
TH 262 STAGE MANAGEMENT I Explores duties and responsibilities of stage managers: communication, rehearsal, and performance techniques, alongside conceptual approaches to theatre.
A COLLABORATIVE EDUCATION
Collaborative opportunities across the School of Music, The including lighting, scenic, costuming, performance, and st dance concerts and operas each season, the annual Holida Organ Extravaganza concerts, and guest musicians and ar
Fall Dance Concert
One Flew Over the Cuckooâ&#x20AC;&#x2122;s Nest by Dale Wasserman
eatre, and Dance are abundant, tage management for multiple ay Spectacular and Halloween rtists.
tate.edu for more details
Every Good Boy Deserves Favor by Tom Stoppard with CSU Symphony Orchestra
GENERAL THEATRE Students entering the General Theatre Concentration receive a broad spectrum of theatrical experiences in a liberal arts environment, from which they emerge as well-rounded, renaissance artists and technicians upon graduation. Students learn practical industry skills and conceptual techniques as they begin to develop an artistâ&#x20AC;&#x2122;s aesthetic and world-view. Through real-time production experiences, they learn to think on their feet, adapting to the rapid-paced, high-energy world of the performing arts. Along with their diploma, students graduate with the confidence, skills, portfolios, and industry connections needed to pursue a broad base of careers in the performing arts and other disciplines, or pursue further study at the graduate level. General Theatre Concentration students take a selection of courses from each concentration.Â Course descriptions are available online at theatre.colostate.edu
The Resistible Rise of Arturo Ui by Bertolt Brecht
Endgame by Samuel Beckett
CENTER FOR STUDIES IN BECKETT AND PERFORMANCE Samuel Beckett, an Irishman born in Dublin in 1906 who later made Paris his adopted home, died in his eighty-fourth year in 1989. He produced an enormous body of critically acclaimed work, novels, short stories, criticism, poetry, and drama - written in two languages (English and French). In his later years, Beckett came quite unexpectedly to be regarded as the most influential and unconventional playwright of the twentieth century, and in 1969, he was awarded the Nobel Prize in Literature. The Center for Studies in Beckett and Performance serves to promote the creation and documentation of practice and performance of the theatre of Samuel Beckett and of new work that, similarly to Beckett, seeks to challenge the boundaries of contemporary theatre practice. The Center encourages interdisciplinary partnerships, artistic collaborations and performance opportunities, and actively works to sustain visibility and recognition of Beckettâ&#x20AC;&#x2122;s theatre, both as significant art and as living contemporary performance.
TH 243 THEATRE HISTORY II Theatre history from the English Restoration of 1660 through the postwar developments in Europe and the Americas from 1945 to 1960.
Eh Joe by Samuel Beckett
PERFORMANCE SPACES UNIVERSITY THEATRE ⊲ The 300-seat University Theatre is a trapped thrust stage theatre. ⊲ This design creates intimacy between actor and audience with its three-quarter-round arrangement of stadium seating. ⊲ The theatre is equipped with state-of-the-art lighting and audio-visual systems.
⊲ CSU Theatre produces as many as four productions in this space each year.
⊲ The University Theatre was built with funding provided by Bohemian Foundation.
visit smtd.colostate.edu/facility for a full tour Urinetown: The Musical by Mark Hollman and Greg Kotis
STUDIO THEATRE ⊲ The Studio Theatre is a flexible, experimental space where the relationship between audience and actor is constantly re-discovered. ⊲ CSU Theatre produces as many as four productions in this space each year. ⊲ Depending on the configuration, from raked to in-the round seating, the Studio Theatre seats up to 125 patrons.
L’enfant et les sortilèges by Maurice Ravel in collaboration with the Ralph Opera Program
LARGE ACTING LAB ⊲ The fully equipped theatre is available for multiple uses, including as an acting studio, classroom, mainstage rehearsal space, and as a venue for intimate productions and student-directed works.
PROFESSIONAL ARTISTS / TEACHERS PRICE JOHNSTON DIRECTOR OF CSU THEATRE ASSOCIATE PROFESSOR OF LIGHTING, SOUND AND PROJECTION DESIGN firstname.lastname@example.org Price Johnston’s career in design has spanned theatre, dance, and opera in both the U.S. and abroad. With work in New York, Chicago, Los Angeles, Moscow, Athens (Greece), London, Atlanta, St. Petersburg (Russia), and Denver, he has designed more than 250 productions. His credits include: the world premiere of Jomandi Productions’ Lavender Lizards Lilac Landmines: Layla’s Dream by Tony nominated playwright Ntozake Shange (14th Street Playhouse, Atlanta, Georgia. and the 2004 National Black Theatre Festival), the Off-Broadway production of Two Rooms (Trilogy Theatre, New York), Guys and Dolls (2000 British Tour), The Pee-Wee Herman Show (Club Nokia Theatre, Los Angeles), and the world premieres of Huckleberry Finn: The Musical, and A Southern Christmas Carol (Cotton Hall Theatre), written by awardwinning playwright/director Rob Lauer. Mr. Johnston has served as production manager for Live Design International (LDI), the LDI Conference – LDInstitute and Live Design Broadway Training and Masters Classes (Lighting, Concert Sound and Projection Design). His recent work includes the 2015 Drama Desk Award Nominated – Best Projection Design, Donogoo (The Mint Theatre, Off-Broadway – New York), Young Frankenstein The Musical (Union Colony Civic Center Theatre, Greeley, Colorado), the world premieres of Eh Joe and Beckett’s Women (2015 Happy Days Enniskillen International Beckett Festival, Enniskillen, Ireland) and The Pee-Wee Herman Show on Broadway (Stephen Sondheim Theatre, New York). Mr. Johnston holds a M.F.A in Lighting Design from the University of Florida, and a bachelor’s in Theatrical Design from Colorado Mesa University. He is a member of USITT and the iDMAA.
WALT JONES PROFESSOR OF THEATRE email@example.com Walt Jones, who joined CSU Theatre in 2006, is a graduate of The Yale School of Drama. As a teacher of acting and directing, he has served on the faculty at Yale School of Drama, and University of California, San Diego. Mr. Jones has directed twice on Broadway, six plays off-Broadway, including the American premiere of Howard Barker’s No End of Blame at Manhattan Theatre Club, and over sixty plays in more than twenty regional theatres from Cambridge to Fairbanks and productions in Soviet Russia and in Tokyo. He directed the world premiere productions of plays by Thomas Babe, Lanford Wilson, Naomi Iizuka, José Rivera, Arthur Kopit, Jim Yoshimura, Pulitzer Prize-winning playwrights Sam Shepard and David Mamet, John Pielmeier, Derek Walcott and Christopher Durang. Among the many actors Mr. Jones has directed are Meryl Streep, Roc Dutton, John Turturro, Tony Shaloub, Nathan Lane, Liev Schreiber, Angie Bassett, Christopher Walken, Jason Alexander, Peter Weller, Frances McDormand, Kate Burton, Michael Gross, Lindsay Crouse, Mariel Hemingway, John Goodman, and Tony Award-winning stage actor, Jefferson Mays. Mr. Jones was a staff director at the O’Neill National Playwrights Conference from 1980 until 1990 and directed regularly for the Yale Rep, Arena Stage, and the American Repertory Theatre. He is the author of The 1940s Radio Hour and A 1940s Radio Christmas Carol, both published by Samuel French, Inc.
NOAH RACEY ASSISTANT PROFESSOR OF MUSICAL THEATRE firstname.lastname@example.org Noah Racey is an award-winning actor, director, choreographer and educator. As an actor, his Broadway credits include Curtains, Never Gonna Dance, Thoroughly Modern Millie, and Follies. Television credits include Boardwalk Empire, Person of Interest, and Are We There Yet? As a director and choreographer, his Broadway credits include The Terms of My Surrender (movement director) and Thoroughly Modern Millie (associate choreographer, Tony Award for Best Choreography). Mr. Racey also choreographed for the 5th Avenue Theatre (Cinderella, Guys and Dolls), Seattle’s ACT (Grey Gardens), Goodspeed Opera House (Show Boat, Annie Get Your Gun – both won the Connecticut Critics Circle Award for Outstanding Choreography), and Asolo Repertory Theatre (Show Boat). He choreographed the world premieres for It Shoulda Been You (George Street Playhouse) and Turn of the Century (Goodman Theatre, starring Jeff Daniels, directed by Tommy Tune). Mr. Racey conceived, wrote, choreographed, and starred in the 2013 World Premiere of Noah Racey’s: PULSE (Asolo Repertory Theatre, directed by Jeff Calhoun). The original work won rave reviews and an extended run. As an educator, he has given lectures, masterclasses, and workshops at Yale University, University of Michigan, Boston Conservatory, New York University, Elon University, and Seattle’s 5th Avenue Theatre Conservatory. He is the founding artistic director of the New York Song & Dance Company. In addition to performances in many New York venues including Carnegie Hall, The Allen Room at Lincoln Center, and Town Hall, the NYSDC toured overseas in collaboration with the U.S. Embassy and conducted workshops in cities such as Amman, Jordan, and Jerusalem. Noah is a Boston Conservatory graduate. noahracey.com
SAFFRON HENKE, ASSISTANT PROFESSOR OF ACTING email@example.com Saffron Henke has more than twenty years’ experience as a professional actor, director, and educator, coming to CSU from Miami University in Oxford, Ohio where she established The Brink Theatre Company. She received her M.F.A. from the University of Washington, and, during that time, performed with Montana Shakespeare in the Parks, Idaho Rep, Seattle Children’s Theatre, and the Recklinghausen Ruhrfestspiele in Germany. She has been a member of Oregon Shakespeare Festival acting company and the Sacramento Theatre Company, where she was the director of STC-2, a young professionals training conservatory. Ms. Henke’s last West Coast stop was in Los Angeles where she taught at the University of Southern California, Center Theatre Group, and A Noise Within Theatre; assistant directed The Heretic Mysteries with David Bridel; and expanded her on-camera resume, including a web series for HBO’s True Blood and playing Fiona in the online series for Web Therapy. A Midwest native, Saffron has worked with Working Group Theatre and Riverside Theatre, has directed at Coe and Augustana Colleges, and taught and directed at St. Ambrose University, Cornell College, ChiARTS, and the Englert School of Performing Arts. Most recently, she assistant directed George De La Pena in Music IC’s production of Igor Stravinsky’s L’Histoire du Soldat and performed and directed with the Richmond Shakespeare Festival. A longtime member of the Actor’s Equity Association, Ms. Henke is the recipient of the 2005 Princess Grace Foundation Honorarium for Emerging Artists and is a Society of American Fight Defenders certified actor/combatant and yoga teacher. saffronhenke.com
ROGER HANNA ASSOCIATE PROFESSOR OF SET DESIGN firstname.lastname@example.org Roger Hanna has designed sets for theater, opera, and dance in Japan, Israel, and across the United States, including more than 150 productions in New York City. Before joining CSU, Mr. Hanna’s teaching experience included NYU, Rutgers, SUNY, and the University of Miami. He has designed for universities including University of Minnesota, The New School, NYU, Point Park, Ramapo, Temple, and Yale, and served as resident designer for the Mannes Opera since 2004. He has also served as resident designer for Playwrights Theater of New York (2000-2004), the Gilgamesh Theater Group (1994-2002), and four discrete NYU Programs (19912001). Projects of note include repeated collaborations with Laura Alley, Jack Allison, Jonathan Bank, Trazana Beverly, Tracy Bersley, Joseph Colaneri, Nilo Cruz, Jackson Gay, Robin Guarino, Ron Jenkins, Susan Marshall, Eleanor Reissa, Jody Sperling, and Tommy Tune, at venues including Dance Theater Workshop, Jacob’s Pillow, The Mint Theater, Provincetown Playhouse, Sarasota Opera, Tennessee Shakespeare, and Yiddishpiel (Israel). Awards include the 2009 Lucille Lortel Award for Best Scenic design, as well as three Drama Desk nominations (2006, 2012, 2015), and three Henry Hewes Design Award nominations (2011, 2012, 2015). His recent design for Donogoo at the Mint Theatre Off-Broadway received rave reviews in all 25 reviews published (as well as a guest spot on WNYC’s “Leonard Lopate Show”). Mr. Hanna is a member of United Scenic Artists Local 829 and holds a B.A. in Theater from UCLA, and an M,F,A, in Set and Lighting Design from NYU. rogerhanna.com
ERIN CARIGNAN ASSISTANT PROFESSOR OF COSTUME DESIGN email@example.com Erin Carignan is a versatile costume designer who has worked in regional theatre, opera, dance, music videos, and print in roles ranging from costume designer, stylist, textile artist, to crafts artisan. She has been a part of more than 150 professional productions with several theatre companies, most notably Old Globe Theatre, Los Angeles Opera, La Jolla Playhouse, and Pioneer Theatre. Her research centers around her most passionate subjects: costume design, textile surface modiﬁcation, and pushing the boundaries of design and technology using digital mediums and interfaces. Erin is most interested in where these subjects intersect in theatrical artistry and technical application. This research ties in with her own book The Dye Book: Dyeing and Painting for the Entertainment Industry (on contract with Focal press 2021). She is an active member of USITT and USA 829. Erin received her M.F.A. in Theatre Design and Technology, Summa Cum Laude, from San Diego State University. erincarignan.com
GARRETT AYERS INTRUCTOR OF ACTING AND DIRECTING firstname.lastname@example.org Garrett Ayers has worked as a professional actor and director with the world’s foremost theatre companies including The Wooster Group in New York City, The Workcenter of Jerzy Grotowski, and Thomas Richards in Pontedera, Italy. In 2004, Mr. Ayers founded Harlem Theater Project where he developed a community outreach program, curated
a gallery of multi-cultural Harlem-based visual artists, and directed productions for the company. In 2008, he traveled to southern France to study Traditional Vibratory Chant with Maud Robart who was a co-founder of the artist collective Saint-Soleil, and one of Jerzy Grotowski’s primary collaborators. Mr. Ayers has trained and collaborated with SITI, Tectonic Theater Project, and Roy Hart Theatre. Most recently, he was the Charles Evans Fellow at the Tony Award-winning McCarter Theatre in Princeton, New Jersey. Mr. Ayers has an M.F.A. from Naropa University, is an associate member of SDC, and a member of the 2009 Lincoln Center Theater Directors Lab.
PATTY GOBLE INSTRUCTOR OF MUSICAL THEATRE email@example.com As a professional singer and actress, Patty was last seen on Broadway as Miss Jones in How to Succeed in Business Without Really Trying starring Daniel Radcliffe and John Laroquette. She has been a member of six original Broadway companies that include the critically acclaimed Ragtime with Brian Stokes Mitchell and Audra McDonald, Curtains starring David Hyde Pierce, The Woman in White, Bye, Bye Birdie with John Stamos and the Tony Award winning Musical Revivals of La Cage aux Folles and Kiss Me, Kate. Throughout her career, she has joined the companies of Toronto, Broadway and The Music Box Tour of The Phantom of the Opera having performed the roles of both Christine and Carlotta. Ms. Goble has toured the United States and Canada in the productions of Kiss Me, Kate, Andrew Lloyd Webber’s The Music of the Night and Cats (Jellylorum/ Griddlebone). Carnegie Hall appearances have included South Pacific (PBS), Show Boat, The Sound of Music and the N.Y. premiere of the controversial hit opera Jerry Springer, the Opera. She performed with the New York Philharmonic at Avery Fisher Hall in the PBS production of Candide. Regional credits have earned her rave reviews as Anna in The King and I, Meg in Damn Yankees, Mother Abbess in The Sound of Music and Mrs. Sneed Hill in The Unsinkable Molly Brown. Original cast recordings include Kiss Me, Kate, Ragtime, Curtains and South Pacific (at Carnegie Hall). Ms. Goble had the distinct pleasure of recording Songs of Love and Life, for voice and wind ensemble by Frank Ticheli with the University of North Texas Wind Ensemble with Eugene Migliaro-Corporon conducting. She holds a Master of Music in Vocal Performance from the New England Conservatory, a Bachelor of Music Education from the University of Northern Colorado and is a distinguished alum from Casper College in Casper, Wyoming.
AMY SCHOLL INSTRUCTOR OF ACTING firstname.lastname@example.org Amy Scholl is a professional actor from Los Angeles who taught acting at the University of California, San Diego for 13 years prior to moving to Colorado. In 2006. Ms. Scholl has acted in regional theatres, Off-Broadway and in Los Angeles, where she guest starred on several sit-coms, appeared in award-winning commercials, and performed onstage at Tim Robbin’s The Actors Gang, Theatre 40, The Gascon Center, and Theatre Geo where she received two Drama-Logue Critic’s Awards for Outstanding Performance. She was a member of an awardwinning sketch comedy troupe that performed at “The Improv” in Hollywood. In San Diego, Ms. Scholl performed at the La Jolla Playhouse, Lambs Players, and for the Actors Alliance. She also acted and directed at the Carlsbad Playhouse. Ms. Scholl holds a B.F.A. in Acting from the University of Colorado and an M.F.A. in Acting from UCSD. She is a member of Actors Equity, SAG, and AFTRA.
PROFESSIONAL ARTISTS / TEACHERS DEBBIE SWANN INSTRUCTOR OF ACTING email@example.com Debbie Swann graduated from Kansas State University with a B.A. in Theatre and English in 2006. From there, she pursued her Master’s in Theatre with a Directing Emphasis from Texas State University. During her studies, she trained in England at The Shakespeare Center, Shakespeare Birthplace Trust, Royal Academy of Dramatic Art, and The Royal Shakespeare Company. From 2008 to 2013 she taught, designed, and directed theatre at Central Community College in Columbus, Nebraska. Some of Ms. Swann’s favorite directing credits include Rumors, A Funny Thing Happened on the Way to the Forum, Rosencrantz and Guildenstern are Dead, Tartuffe, and Godspell.
ZHANNA GURVICH INSTRUCTOR OF DESIGN & ARTS MANAGEMENT firstname.lastname@example.org Zhanna Gurvich is an award-winning designer and painter who has designed for theatre, dance, opera, and film at the Brooklyn Academy of Music, the Joyce Theatre, Chautauqua Opera, and the Juilliard Theatre. Ms. Gurvich received an HOLA Award for Outstanding Set Design for her work on La Llorona. She has painted for Scenic Art Studios, Goodspeed Opera House, Virginia Opera, Dallas Theatre Center, Mannes Opera, and The Mint Theatre Company, including critically acclaimed portraits for Mary Broome and a mural for Black Snow. Ms. Gurvich is a member of United Scenic Artists Local 829 and holds a B.F.A. in studio art from Clark University, as well as an M.F.A. in stage design from Southern Methodist University, with a concentration in scenery and lighting design.
ELISE KULOVANY COSTUME SHOP DIRECTOR email@example.com Elise Kulovany has a B.S. in Theatre Education from the University of Evansville where she served as hair and makeup designer for Front Page and graduated Magna Cum Laude. She also taught theatre classes at various high schools and middle schools in the Evansville Area. Ms. Kulovany earned an M.F.A in Costume Design from Southern Illinois University during which time, she worked as a draper, stitcher, and craftsperson, as well as designing for Ragtime, For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf, Radio Golf, and RENT. Following graduation, Elise served as a costume shop apprentice with the Santa Fe Opera and was the draper and costume shop manager at The Arkansas Repertory Theater before joining the faculty at Los Rios Community College where she taught scenic construction and designed sets. Selected credits include: The Little Mermaid, Macbeth, Bridges of Madison County (Regional Premiere), Mary Poppins, Elf the Musical, and Memphis the Musical. elisekulovany.com
STEVEN WORKMAN PRODUCTION MANAGER AND TECHNICAL DIRECTOR firstname.lastname@example.org Steven Workman holds an M.F.A. from Indiana University in Theatre Technology, and a B.F.A. from the University of South Dakota in Theatre Design and Technology. Before coming to CSU, he worked as technical director for the Utah Festival Opera and Musical Theatre, Brown County Playhouse, and The University of South Dakota Playhouse. Other positions include shop foreman for The Clarice Smith Performing Arts Center, as well as multiple summers with the Black Hills Playhouse.
MATT GREVAN PRODUCTION STAGE MANAGER email@example.com Matt Grevan has most recently been an Actors Equity Association (AEA) stage manager in the Dallas/Fort Worth area as well as the production manager at Dallas Children’s Theater. He has worked regionally with Encores!, at New York City Center, Casa Mañana, Dallas Theater Center, Kansas City Repertory Theater, and many more. A few of his favorite regional credits include Catch Me If You Can, The Boy From Oz, La Cage Aux Follies (Uptown Players), Fly By Night, Fly (Dallas Theater Center), A Charlie Brown Christmas, and The Very Hungry Caterpillar Show (Dallas Children’s Theater). Mr. Grevan holds a B.F.A. in Theatre Performance from the University of Texas-Arlington, and an M.F.A. in Stage Management from the University of Illinois Urbana-Champaign.
HEIDI LARSON SCENIC CHARGE ARTIST firstname.lastname@example.org Heidi Larson holds an M.F.A. in Scenic Design from Southern Illinois University Carbondale, and a B.A. in Art & Design and Theatre from from Alma College (Michigan). Before joining the staff at CSU, she served as the charge or scenic artist for the Shakespeare Theatre of New Jersey, the Colorado Springs Fine Arts Center, Theatreworks Colorado Springs, Kalamazoo Civic Theater, SIUC (while completing her M.F.A.), and Central Piedmont Community College. Ms. Larson has also toured internationally with Feld Entertainment in the props department, as well as spending multiple summers with Glimmerglass Opera. In addition, she continues to design freelance around the country. Recent design credits include: Pinkalicious, Tilly the Trickster (Colorado), Sherlock Holmes: The Final Adventure, Vintage Vegas (Mich.), Waiting to be Invited (Tennessee), The Glass Menagerie, The Tragedy of Macbeth, Alchemy of Desire, and Marriage of Figaro (Illinois).
Little Shop of Horrors by Howard Ashman and Alan Menken
The Kafka Project by Walt Jones and the Company
Colorado State University
School of Music, Theatre, and Dance UNIVERSITY CENTER FOR THE ARTS 1778 CAMPUS DELIVERY, FORT COLLINS, CO 80523-1778 Websites: theatre.colostate.edu / smtd.colostate.edu Phone: (970) 491-5529
Polaroid Stories by Naomi Iizuka