Spring 2022 Mason Gross Magazine

Page 9

N E W FA C U LT Y

T H E AT E R “Performance arts are—or should be—in an ongoing state of evolution, and stage management as an art and craft must also continue to evolve,” says Anne McPherson, head of stage management. “Engaging with students about stage management informs my own thinking. It provides an opportunity to continue examining the ‘whys’ behind the ways in which we practice professionally, grow in my own practice, and in turn, be an even stronger teacher.”

“By continuing to work as an actor and director, I have the capacity to relate to and articulate how to navigate similar experiences the students may encounter,” says Cameron Knight, head of acting. “I care as much about the person creating the work as I do ​the work they create.”

MUSIC “I have been incredibly fortunate to have very present mentors throughout my career,” says Julia Baumanis, assistant director of bands and director of pep bands. “To know that I am helping someone on some level, whether it be figuring out a musical phrase issue or getting my students their first band director job, is what is most enjoyable about teaching. I was so appreciative to my mentors when they helped me—now I am that person for my students.” Read more about Baumanis on page 14. From top: Photos by Lynne DeLade, Ian McLaren, and Nick Romanenko.

MOONLIGHTING

ON

THE WEST SIDE

By Lisa Intrabartola, excerpted from Rutgers Today Look for percussion faculty Javier Diaz performing in Steven Spielberg’s much-anticipated West Side Story remake, released in December. Diaz plays congas during the “Dance at the Gym” mambo number that relies on dance more than dialogue to foreshadow the impending bloodshed between the Jets and the Sharks. While playing West Side Story rehearsals with the New York Philharmonic (and percussion head Joe Tompkins) eight hours a day, six days a week for three months, Diaz also worked on Broadway’s Ain’t Too Proud, recorded Lin-Manuel Miranda’s In the Heights soundtrack, and taught at Mason Gross. Throughout the process, Diaz shared his experiences on set with his students. “I want my students to be better than me and dream of opportunities I never dreamed,” he says. “What I tried to communicate to them about this experience is the passion I was putting into my rehearsals. The oomph I was bringing to the process is the same as when I’m playing a batá session PHOTOS COURTESY OF RICHARD DEANE in the Bronx or with Ain’t Too Proud, or with the Orchestra of St. Luke’s at Carnegie Hall. It’s all part of the same continuum.” Read the full article at go.rutgers.edu/WestSideStory

COURTESY OF JAVIER DIAZ

09

SPRING 2022


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