OTAND newsletter issue 2

OT T ERB E IN T HEAT R E & DAN C E ALUM NI N E T WO R K

OTAND Quarterly

Issue 2 - July 2017

A Note from Randy Adams (‘76) OTAND Executive Board Member

I have to say that over the past few years it has been a joy to reconnect with Otterbein Theatre. Getting to know the current faculty and staff has been a pleasure. However, one of the greatest joys has been getting to know each current class as they come to New York City, begin their internships, and prepare for their showcase. Seeing the talent coming out of Otterbein is incredibly inspiring.

Watching them take their places in NYC and around the world as Otterbein alums is thrilling.

City know that they are here and ready to go.

Following the performance, the reception for the current students and area alumni was filled with a strong showing of a wide array of class years.

This yearly gathering generously hosted by Pete Bible, an Otterbein Board Trustee, has become one of the not-to-miss events. It is a chance for alumni to come back together to celebrate their time at Otterbein and also to celebrate the current students’ monumental achievements. It is exciting

I am excited by the outstanding work these students are doing on stage and equally proud of the important work our alumni are doing in every aspect of the arts and entertainment industry and beyond.

to meet people from so many other classes and to expand the Otterbein network of connections.

It was great once again this year to see the senior showcase performances. They let New York

As OTAND has begun to take flight, I am really excited about the possibilities. The gatherings that have begun to take place in NYC, Chicago, LA, Columbus and other hubs around the country are getting people together to network and connect across classes. We have begun to realize the potential of the Otterbein network!

With all this talk of the power of Otterbein across the country and world, I want to plant a seed about us returning to Otterbein for a very special

weekend for all theatre and dance alumni. This is truly a tease and the longest lead SAVE THE DATE you will ever receive. Make plans now to return to where all of our Otterbein stories began. August 21-23, 2020! Yes, that is a lot of 2’s!! Trust me, you will want to be there, and we want as many of you there as possible! Stay tuned for more information!

AUGUST

2020 Mark your calendars now and tell EVERYONE in your class they need to be there as well!

Thank you!

Alumni Eric Folks (‘10), Emma Brock (‘12), Amanda Huxtable (‘10), and Marie Roussel at the NYC reception.

OTAND and Otterbein Theatre & Dance extends hertfelt thanks to Randy Adams for his constant support for the reviatlization of the alumni network, all while producing Broadway’s Drama Desk and Tony Award winning “Come From Away.”

Otterbeer Meet-Up On April 18th, NYC-local BAs and DTs met up for an Otterbeer at Deacon Brodie’s bar in midtown.

We did some networking, some laughing, and swapped stories about our time at Otterbein. Join the Otterbein Theatre & Dance Alumni Network on Facebook for the date and location of the next Otterbeer!

Abbey Bay McSweeney (‘12), James McSweeney (‘12), Abby Berger (‘11), Sandy Quinn (‘10), Michael Quinn, Annie Schroeder (‘17), Katie Falter (‘13), PJ Peters (‘15), Shelly Vance (‘13), Seth Cotterman (‘11) at the April Otterbeer Meet-Up. July 2017 - OTAND Quarterly

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ALUMNI UPDATE

The Power of Forgetting Our Dreams

By Sara Kleinsmith (‘05)

Of all the cliches that exist, I find myself laying claim to many. Among them, the mom who shops at Target, the millennial freelancer who blogs, and the former actor who moved to the big city and back again. Another sad, but true, cliche is that young people think they know everything, and that regardless of the outcome, we should encourage them to follow their dreams. It’s almost insane that at 18, we expect children to know not only their projected professional path, but also their intended life’s purpose. My story isn’t unique, but it has been pretty awesome up to this point, and I wouldn’t be where I am if I hadn’t “followed my dreams.” I just didn’t know the original plan would be scrapped and replaced by a million and one new ones.

around the end of our 20’s, we had the assistance of yoga teachers, acupuncturists, therapists, parents, and people who just generally seemed to have it together. And our dream became merely that the aspiration of having it together.

Being able to breathe and smile at the same time would be a bonus, and making an impact would be the joint mission we’d never let go of.

We moved to Austin in the summer of 2013. It was scary as hell. With no jobs and no prospects or place to live, we felt like the pioneers of the Wild West. Only, rather than setting out for gold or adventure, we were in search of a dishwasher and front lawn. Zach has performed locally When Zach and I met, we were kids. We’d with a theatre company he admires, Andy, Zach (‘05), and Sara Kleinsmith (‘05) both left our home states for Otterbein’s and he works a steady job with a tech theatre program, bound for New York City thereafter, with only dreams of an startup. I’m a freelance writer and yoga teacher. We have a one-year-old son actor’s life on our minds. We’d both been warned about what a hard life it named Andy. There are days when I miss New York, and days when Zach would be, and we’d been told majoring in theatre would be risky with little misses acting professionally. But never a day goes by that we believe we or no payoff. For both of us, there was no “plan B” career. At 18, there was made the wrong decision. For us, growing up and “settling down” became as no interest in stability, or money, or the having of a yard or dogs or kids. We enticing as Netflix and sweatpants at the end of a long day. We both find ways didn’t know what a 401k was. We knew we wanted to be actors. We knew we to be artistic and creative, and we continue the search for ways to make an wanted to be on Broadway. We’d get there or die trying. It was all we ever impact. Our son is one of the clearest ways we can see this endeavor play out. wanted. Then we started dating.

We plan to teach him that it’s ok to express his emotions, and we’ll encourage him to follow his dreams. We’ve also discussed how we need to tell him that After graduation, we did “the New York thing.” We had the terrible apartments it’s ok for his dreams to change, and that it’s ok for him to change. and the terrible waiting jobs and the era of auditioning. It all stung. But it was also so fun. We had our friends to commiserate with and our families to I will tell him that when I was 18, I knew exactly what I wanted. But at 25, express concern and occasionally send money. Zach had more success than not so much. I will tell him that theatre was my life, until it wasn’t, and now I did, booking regional theatre gigs that took him out of state for months at he is. I will tell him that art can create healing that no amount of medication a time. It was hard on our relationship. I was crap at auditioning. I started can touch, and that heartbreak and grief are as much a part of life as glory taking yoga classes to deal with my stress. Before long, I signed up for a and revelry. I will tell him that the human heart’s greatest characteristic, in teacher training, stopped auditioning altogether, and never looked back. In addition to its strength and persistence, is its ability to adapt. And that like the the meantime, Zach had co-written a Drama Desk Award nominated play. He heart, we all must give in to the effort of staying alive and loving well. I will tell was hoping to be cast in the off-Broadway production of said play, and felt my son that when I was 18, I went to college and fell madly in love. I met my this would be the beginning of heightened success as an actor. He wasn’t dearest friends, a community I cherish to this day, my husband and journey cast. Professionally astray, I led him personally. Marriage, I insisted. And he partner, and most importantly, I met the woman who became his mother. followed suit, because around 28, after nine years of dating, this is what I’ll let my son know that I’ve made no sacrifices on his behalf, only my own. people do. It was about this time that we both began to fall apart. New York Exactly what I want. May he have the freedom to pursue his interests as they was starting to wear on us, and after providing the picturesque backdrop change, and so should we all. Our dreams morph rapidly in our unconscious for our fairytale wedding, it had lost its luster. Panic attacks at Trader Joe’s, life. This is the brilliance of their teachings. Why should we expect anything chronic nausea, and two of Manhattan’s finest therapists helped us to realize less from our reality? we wanted to move on. But we didn’t know how or where.

Sara is a freelance writer and yoga teacher who specializes in therapeutic, prenatal and corporate yoga. Her writing has appeared in the Huffington Something amazing happens to you when you are attracted to drama and Post, Scary Mommy, and YogaDork, to name a few. She is a certified yoga go through a hard time. You churn it into art or healing. Really, those are teacher, a certified personal trainer, a certified holistic health counselor, recyour only choices. And when your art has let you down in a city that spit ognized by the American Association of Drugless Practitioners, a member of you out, you discover ways to heal. Now, this can be very addictive. Because the International Association of Yoga Therapists, and she’s a certified Golf Fitas an artist, you thrive on making an impact. So going into a healing field ness Professional by the Titleist Performance Institute. Sara currently teaches that allows you to be creative AND helpful AND get paid a steady income in corporate offices and privately by appointment. becomes particularly attractive. When Zach and I became adults, sometime

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July 2017- OTAND Quarterly

During their time at Otterbein, Cesar Villavicencio (‘09) and Justin Keller (‘10) were both drag queens in the student-produced drag shows in the Pit Theatre. As exceptionally strong dancers, both were known for their dazzling acts that would bring the audience to their feet. They have since gone on to professional drag careers. OTAND Quarterly caught up with them to find out more about the busy life of a working queen.

Meet

Pixie Aventura

Years performing in drag: Professionally 7 yrs, training 12 yrs.

What kind of queen are you? Why do people come see you perform? I’m an actor, a storyteller, a dancer, and a comedian. I think my main strength is being committed to what I do, and that includes whatever is happening on stage. I try to give people a different show at all the venues. The last thing I want is for people to say, “I’ve seen it before.”

When did you decide to pursue drag as a career?

As an actor I found myself auditioning for many things and always getting to the bitter end, but no luck. I was eager to perform- I missed it dearly. At one point a coworker, also a drag queen, found out I had dabbled in college and asked me to guest at her show in Brooklyn. That led to several other guest appearances and small gigs within the city. The amount of time I was investing began to grow as well as the different abilities one should have to do drag. I finally decided to go full-time drag in 2014. Interestingly, this has opened up more opportunities in theatre than before.

Do you act as your own manager? How does that dynamic work? I am definitely my own manager. I work on my own bookings and deal with rates. I’m also my own choreographer, hair stylist, costume designer, and makeup artist, it goes on and on. It’s definitely tiring at times, but being able to get things done is what keeps me going.

How does drag allow you to give back to your communities?

Is there a way you feel more engaged through the outlet of drag? Drag has always been an amazing way to grow awareness for the community. For a while now, I’ve joked about being the first Drag Queen of the UN. Drag queens already have a platform at their shows, and it’s only smart to shine light on issues that are dear to you. Even back at school, the drag shows there raised money for different causes. Recently, I’ve done the Cuba Drag Benefit and Broadway Bares.

What else are you up to these days? Besides the weekly shows I do, there are times I do extra work on TV shows and movies. The most recent was filming for HBO’s “The Deuce.”

Hard Working Meet

Bootsie Lefaris

Years performing in drag: 12 yrs.

What kind of queen are you? Why do people come see you perform? I am a live singing, comedy and dance Queen.

I do impersonations, as well. I give glam, rock, camp, grunge, and red carpet looks. I’m your versatile gal.

Is there a particular moment at Otterbein that stands out in your personal drag journey? Otterbein helped shape me into who I am today. Every moment helped me. I got to learn and create art. Professionally, I learned what I was good at and what I wasn’t. Mark in “Altar Boyz” helped me, and I think the faculty, realize there is a place for an outspoken, loud queer man onstage, and that’s something to be expressed.

Do you act as your own manager? How does that dynamic work? I’m absolutely my own manager. It’s all what I make it and what I want to do. If I don’t have money for food or rent, then it’s on me. I have an inner circle, if you will, that helps me, but at the end of the day, Bootsie pays the bills.

How does drag allow you to give back to your communities?

Is there a way you feel more engaged through the outlet of drag? I’m definitely a Queen that gives back to the community. I have done many charity events. I just did one hosted by Pixie Aventura. She raised money as well as material donations for the LGBTQ community in Cuba.

For me, it’s all about art and sharing love and joy with the world.

As a business person promoting yourself, what are your greatest challenges and successes? Luckily, with social media it’s very easy to promote yourself. It’s just how to promote yourself. Some people give me a lot of flack because I don’t really have a brand. I do so many things I sometimes get lost in the race. People say I need a specific look or performance esthetic, but that’s hard for me. I love it all. That’s my internal struggle.

Catch these Queens in Action!

M/ Pixie at Fire Island, Ice Palace T/ Pixie in “Drag Swap” at Hardware Bar W/ Pixie in“The Help” at Therapy Bar TH/ Pixie & Bootsie in “Queen” at Industry bar F/ Pixie & Bootsie in “Distorted Diznee” at Laurie Beechman Theatre then Boostie in “Super Size Queen Fridays” at Hardware Bar SAT/ Bootsie in “Sinful Saturdays” at Pieces Bar SUN/ Pixie at Barracuda Lounge, Bootsie in “Drag Brunch” at The Highline Ballroom

Need even more drag? You can also find alumnus Erik Christensen (‘08), Ot-

terbein Drag Show cofounder, performing as Shnappshanna Von Carlsberg occasionally around NYC. At Otterbein, she was known for her Carol Burnett “Little Girls” from Annie. She’s a comedy Queen and an old Broad with a capital “B”! Shnappshanna does old Broadway divas and obscure songs with humor.

You can find and follow her on Facebook or Instagram: Shnappshannaofficial July 2017 - OTAND Quarterly

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Pulled in a new direction:

Using the Principle of “Victim Control” in an Onstage Torture Device

By Patrick Stone,

Otterbein Theatre & Dance Technical Director Wednesday and Pugsley Addams have an unconventional sibling relationship. In The Addam’s Family, the musical number, “Pulled in a New Direction” prominently features Wednesday stretching Pugsley on a rack. While the characters greatly enjoy the process, it was up to me to make sure the actor playing Pugsley had fun, too. Few things would be less fun than having your shoulder dislocated because of a mistimed cue. So, to execute the gag, I applied the stage combat principle of victim control to the design of the rack.

The principle of victim control simply states that in order to prevent actual injury to an actor who is being “attacked,” the victim must be in ultimate control of the speed and range of movement.

However, poor reactions can read outlandish to an audience. The problem with applying this lesson to stretching Puglsey is that the “attacker” is on the other side of a wall. Any action performed by a stagehand would be a blind reaction to a cue.

While this could simply be timed out for the actor and the stagehand to work together, that approach runs two serious risks. If the timing is too slow, either the chains will sag, spoiling the effect, or Pugsley will slow his movement to match the chains, draining energy from the moment. Conversely, too fast or too large a move by the chains could seriously injure the actor.

My solution was to take all agency away from the “attacker,” placing Pugsley in complete control of the timing, range of motion, and speed of the stretch. I accomplished this using tensioned bungee cords to control the chains. Our rack was a twelve foot tall, six foot wide, hard-covered wall.

The actor rode a bicycle seat welded to the framing of the wall. The points of apparent contact were a band of steel around the actor’s waist and shackles on wrists and ankles. The shackles were attached to plastic chains which disappeared through holes in the wall beyond the reach of the actor. None of the apparent restraints actually limited the actor from slipping off of the wall unassisted should the need occur.

Faculty Spotlight

Patrick Stone Patrick Stone (Technical Director) began his tenure as the Technical Director at Otterbein in the Fall of 2014. He spent the previous seven years at the University of Arkansas as the Faculty Technical Director. He holds a Masters of Fine Arts from the University of South Dakota in Vermillion and a Bachelors of Arts from Doane College in Crete, Nebraska.

He teaches classes in stage-craft, properties design and construction, metal working, technical direction, wood working, and motion scenery. Patrick also enjoys consulting with local and regional theatres, ranging from professional through junior high school.

Lately, he has been exploring the use of negative feedback loops in motion control.

When not in the shop or backstage, Patrick enjoys any activity that gets him outdoors.

Patrick believes most band saws are of low moral character.

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The control of the movement of the shackles, the “stretching,” was governed by using bungee cords attached at the back of the unit. Once the bun-

gees were tuned properly, the actor could throw his hands up at any rate he chose, and the chains dutifully ratcheted into the wall with no apparent slack. This happened because there was never any slack in the chains. The key to the bungee cord answer was that the apparent strain on the actor was the opposite of the actual strain. That is, when the actor had his hands at his sides and appeared relaxed, the bungee cords were at their farthest extension. When the actor threw his hands up over his head, the bungee cords pulled in the slack and relaxed into their normal state. The rack was a success, and the comedy of the perceived violence delighted the audience. I was delighted to know that Pugsley was perfectly safe thanks to an odd application of an old axiom.

Left image: Relaxed bungee cords (actors arms extended at apparent “tension.” Right image: Bungees at full tension (actor’s arms are pulled down at their side in an apparent state of relaxation).

July 2017- OTAND Quarterly

DEPARTMENT NEWS

Featuring Lenny Leibowitz and Kari Ringer (‘09).

On June 17, Otterbein Summer Theatre hosted Bach to Broadway, An Evening of Melody, Merriment and some of Ohio’s Best Craft Beers to benefit future seasons.

The event, which had more than 100 people in attendance was held in the Otterbein Courtright Memorial Library and featured a rare public performance by OST’s own Artistic Director

Lenny Leibowitz, who began his artistic life as a concert pianist and performed as soloist with The Philadelphia Orchestra.

It was the perfect way to celebrate the beginning of summer and the start of a new era of epic imagination.

Kari Ringer (Musical Theatre Class of 2009) joined Lenny in a special guest appearance along with the cast of My Fair Lady. Kari, an Otterbein Summer Theatre veteran, and Lenny wowed the crowd with their beautiful and diverse program.

The benefit, which also included a silent auction and tastings of three craft beers from Central Ohio’s Wolf’s Ridge Brewery (that’s right...we drank beer in the library!), raised more than $5,000 for Otterbein Summer Theatre.

OST has a new look!

The in-coming and out-going Cap & Dagger Executive Teams, pictured from left, back to front: Chris Smith (‘19), Ethan Wintgens (‘19), Morgan Wood (‘18), Emily Bubeck (‘18), Lottie Prenevost (‘18), Lauren DiMario (‘18), Savannah Schakett (‘20), Sarah Short (‘20), Ben Folts (‘18), Nick Hahn (‘18), Tatum Beck (‘20), Abigail Isom (‘19), Hannah Pohlman (‘18), Jessica Metcalf (‘19), Annika Morrison (‘20), Daniel Kunkel (‘20), Alyssa Samuelson (‘20), and Olivia Crawford (‘18).

Cap & Dagger

Otterbein Summer Theatre is celebrating it’s 51st season with a bold, fresh new look. The new logo provided new inspration for the brochure design and it was all enhanced by alumnus, Evan Zimmerman (‘12) who provided the beautiful photography and graphic design work for the show posters. Stay tuned, more exciting changes are in store for Otterbein Summer Theatre as we continue to build on the strong tradition of excellence and forge new paths for Central Ohio theatre!

Cap & Dagger was busy spring semester with a number of events. We coordinated a department-wide Easter egg hunt around campus, and an all-girls slumber party at my apartment. Forty girls from all degree plans in the department attended, and we had a Hawaiian blast! After electing new officers for 2017-18, we concluded our year with thesecond annual End of the Year Celebration at the Copious and Notes Bar and Restaurant in downtown Columbus. It was an evening to remember with a pasta bar, DJ, and silly awards. We thank you all so much for your continued support of our department. Happy Summer!

- Morgan Wood (‘18), 2016-17 Cap and Dagger President July 2017 - OTAND Quarterly

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FROM THE ARCHIVES Otterbein Summer Theatre opened its 51st season with My Fair Lady on June 1st. While it is the first time the production appeared on a summer theatre season, Otterbein has staged it twice previously during the academic year. Here is a look back at the three productions.

1970

Robin Adair (‘74), as Eliza Doolitte with, from left to right, L. Napper, Earl Roosa (‘72), Don Bean (‘72), ?, and ?. We need your help! If you can identify the other people in this photo, please email us: OTAND@otterbein.edu.

1986

Christine Cox (‘87) as Eliza Doolittle with the Four Cockneys, from left, front to back: Steve Geyer (‘89), Kevin Carty (‘89), Todd Torrenga, and David Carpenter (‘89).

2017 Stay in touch with OTAND! We would love to know what you’re up to these days.

Complete your OTAND Update here:

www.otterbein.edu/TheatreAlumniUpdate Emma Shine (‘20) as Eliza Doolittle with the Four Cockneys: Kenneth Remaklus (‘20), Maxwell Bartel (‘19), Lincoln Belford (‘20), and André Spathelf-Sanders (‘19).

OTAND

Otterbein Theatre & Dance Alumni Network The Otterbein Theatre & Dance Alumni Network will bring together graduates of the Department of Theatre and Dance, as well as alumni who participated in theatre and dance activities before we became an official department, to provide networking support for each other, mentoring of current students, assistance with recruiting, and fundraising for the department.

STAY INFORMED

Otterbein Theatre & Dance Alumni Network

OTAND Executive Board CHAIR/AT LARGE REPRESENTATIVE James C. Minter (‘93) ACTING REPRESENTATIVE AT LARGE REPRESENTATIVE BA REPRESENTATIVE DANCE MINOR REPRESENTATIVE DESIGN/TECHNOLOGY REPRESENTATIVE MUSICAL THEATRE REPRESENTATIVE

Caitlin Morris (‘09) Trenton I. Weaver (‘11) Randy Adams (‘76) Kelsey Gorman (‘13) Sandy Quinn (‘10) David Caldwell (‘86)

DEPARTMENT CHAIR

Christina Kirk

DEPARTMENT REPRESENTATIVE Elizabeth Saltzgiver (‘99) Contact Sandy Quinn, Editor: OTAND@otterbein.edu

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Contact the Executive Board: OTAND@otterbein.edu

July 2017- OTAND Quarterly