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Issue One. A publication of Ivy Tech Community College-Bloomington


Issue One. king oedipus by Kelly Lusk Direction: Paul Daily Assistant Direction: Sam Young Costume Design: Lily Walls Lighting Design: Brennen Edwards Scenic Design: David Wade Dramaturg: Brennan Murphy

CAST Bethany/Sphinx: Maya Ferrario Oedipus: Connor Andrei Laius: Ben Jeatran Oracle: Rhianna C. Jones Jocasta: Danielle Carter Creon: Zach Trinkle Chorus: Cheryl Brennan, Billy Gilliam, Heidi Mikac, Jarrid Redden, Douglas Shields, Marissa Whitmer Puppeteer: Sarah McGrath

PRODUCTION STAFF Stage Management: Whitney Ellis Fight Director: Matt Herndon Technical Director: Eric Reynolds Props Master: Trina Sterling Sets: Scott Kaufman, Dusten Boulanger, Matthew Dittemore Wardrobe Crew: Vesa Bradley, Rachel Martinek Marketing: Sarah Alvarez, Amanda Billings

CONSULTANTS Special Effec ts: Benjamin Alm Shadow Puppets: Jennifer Goodlander Greek: Nathan Grantz

CAST+CREW Issue One.

SEE OUR SHOW! Ivy Tech Student Productions Season 2014-15

king oedipus by Kelly Lusk directed by Paul Daily

October 17, 18, 23, 24, & 25 at the Ivy Tech John Waldron Arts Center To purchase tickets, visit Tickets $15 adults, $5 students/seniors.

A publication of Ivy Tech Community College-Bloomington


CAST+CREW Issue One.

LILY WALLS COSTUME DESIGNER Costume Design combines many of my greatest loves into one field; history, fashion, theatre, and art. It’s really an amazing feeling to take a character who is made up only of words and flesh, and not only make them out, but make the whole world in which they live. I enjoy the little details, ones the audience might never see but that really speak to the actor about who they are playing or where that person has come from. 5

CAST+CREW Issue One.

DESIGN PROCESS The first thing I always do is read the script multiple times. Everything there is to know about a character comes from right there. Then there’s the first meeting with the director, to discuss the concept of the show, the things that stand out to us, and any preliminary ideas we have. Then I go and do research and preliminary designs, we have a production meeting with all the designers where we present our work, and make sure that what we’re envisioning is cohesive. Pending approval from the director I can move into final rendering, presenting to the cast, and starting the actual costume collection and creating process.


CAST+CREW Issue One.


I personally start the process with an image or a song for each character, as well as a collage and playlist for the whole show because the whole world fitting together is what I strive for more than anything. Having that allows me to get in the same headspace time and time again so I can have consistency but also so I can stay in the mindset of that ‘world.’ 9

CAST+CREW Issue One.

COSTUME + ACTING I am a theatre student, and while I have acted in the past and in a classroom setting, I am not an actress. I feel like an understanding of acting is crucial the same way an understanding of lighting design and dramaturgy and all the other elements of theatre are crucial. Theatre is always a collaboration, and it is aided when everyone at the table at least has an understanding of each other’s vocabularies, so we can communicate our visions clearly throughout the process. 11

CAST+CREW Issue One.

COSTUME + COLLABORATION Even though it’s based on a classic story, there is a lot of creative freedom with king oedipus. Paul is always a dynamic director to work with because he brings really interesting ideas to the table, and it makes the design process more of a conversation rather than me just saying, “we’re going to do this and this and this.” It’s a collaboration. The world of this show, with its mix of time periods and themes, is what has really been driving me through this process because there is a real need to connect every element of the story, and I feel costuming is a really effective tool to that end.


CAST+CREW Issue One.


Costuming is an art form on many levels, from the literal renderings of a designer to the patterning and stitching on a more technical level. Costuming creates, and creation is in itself art. It is an art which exists to be practical as well as beautiful. As a designer, we can create the most magnificent picture we want, but if it doesn’t communicate what we want to the production team, then it’s not of much use. 15

CAST+CREW Issue One.

SARAH MCGRATH PUPPETEER I do primarily act - this is my first puppetry job. It’s intimidating for me to think of it that way, but when it comes down to it, they’re both after the same thing: telling a story. It’s my thought that you can get just as much emotion from watching a skilled puppeteer make a flower slowly wilt as you can from an actor falling into despair onstage. I’m still doing acting, just with different tools.


CAST+CREW Issue One.


I actually didn’t know there was going to be a puppeteer! I auditioned and read for Bethany originally, and was surprised when I got an email casting me as “puppeteer.” I was interested and excited to take on the challenge though, because from experience in costume/prop making I knew I enjoyed finding ways to make things work. 19

CAST+CREW Issue One.


As for how it all comes together - I came up with an initial storyboard to present to Paul and that’s been the framework. I’ve gotten new ideas from watching run-throughs of the play, and Paul will suggest brilliant things that I wish I had thought of and it all comes together in a collaborative process. It’s a lot of, “Hey I drew this. How do you think this works for that part?” and him either saying, “Cool!” or guiding me to a wider variety of options. 21

CAST+CREW Issue One.

DEFINING PUPPETRY We started with the idea that I would build everything, and then the idea changed into making shapes out of human bodies and hands, and then lots of Chinese-shadow-puppetry-inspired characters on the screen, and now it’s got a little bit of everything from along the way. There’s a large mix of what you might consider puppetry some will be straight black shadows, and some will have color. You will see some hands and bodies, and at least one puppet inspired by Chinese shadow puppets and their construction, but with a more Greek flair. We’re also working with the idea of inverse shadows - projecting shapes of light with mirrors. It will be a very varied collection of techniques all helping to tell one story.


CAST+CREW Issue One.

RHYTHM OF THE SHADOWS “Though I am very, very, very new at it, I would say puppetry is just as much an art form as what the actors are doing onstage - there’s a rhythm and a timing in it and the person manning the puppets has to project all the feeling into the objects he or she has to work with. Those objects need to become living things themselves. They also have to follow the energy of the entire production even though they really only have their ears to guide them. Otherwise it’s just a bunch of stuff moving around behind a screen. I only hope I can do justice to that when king oedipus opens!” 25

CAST+CREW Issue One.

BEN JEATRAN ACTOR (LAIUS) I’ve wanted to be an actor for a while when I realized finally what it is I love: movies. It’s how I think and how I create. When I think of some of the best movies and productions I’ve seen, I think of the actors who helped pull the story together. I simply love taking on a story from someone else's perspective and seeing it from their view. Putting myself into someone else's perspective to perform is an unmatched feeling that can’t be created by anything else.


CAST+CREW Issue One.


I’m working toward a telecommunications major at Indiana University. I one day want to be a director and actor, making my own films and bringing the stories and ideas I have in my head to the big screen, and sharing them with everyone. Short term, I’m happy with wherever I can be in the media production process. 29

CAST+CREW Issue One.


Acting in king oedipus is actually a very different experience for me. It’s the first time I ever played a noble. With every new role, there’s always a constant challenge of finding out what goes through your character’s mind. This is a role you’ve never done before and have nothing to relate it to, so it’s a real journey to see how you can immerse yourself into it. 31

CAST+CREW Issue One.

THE LEAD VILLAIN I got started acting in high school. The first play I ever tried out for, I got the lead villain. I went out for the next play and got a character with his own song! I felt like the possibilities for my acting were endless! That’s when I got to the Waldron, and got the call telling me that it’s fun, but you need to focus and really know acting. It’s a lesson I haven’t learned anywhere else. This is the first time I’ve worked with Paul Daily. He was the first director to not cast me in a play I tried out for, and working with him is a real treat. He brings, like each director I’ve worked with, a new form of acting to the table and a new way to perceive what it is we do. 33

CAST+CREW Issue One.

MAYA FERRARIO ACTOR (BETHANY/SPHINX) This show is so uniquely cool in it’s own way. It’s a brand new play written from the perspective of someone that everyone’s heard of, with language that is realistic, but in a completely unrealistic world. Kelly Lusk did a fantastic job with the script. It’s so complex, and even though everyone has heard of the story of Oedipus, they don’t know his side of the story.


CAST+CREW Issue One.

MAKING PEOPLE LAUGH AND CRY I’ve enjoyed acting for all my life, but what really rejuvenated my acting juices was when I was in high school, I saw another high school’s version of “Almost, Maine.” I laughed, I cried, and I wanted to be involved in something that could affect someone that massively. I continue to act because I enjoy everything about acting. The high of being on stage and creating a persona that is different than my own is exhilarating. I re-found my love for reading through my immersion of acting, as well. Reading scripts and interpreting the words through actions has brought a more realistic connection between the words and me. 37


The Sphinx is such a challenging, complex character. She has so many layers and it’s fun peeling back the layers of myself to help create this strong character from my own experiences. The reason the sphinx is so complex is because she is not only this amazingly strong femaleish character, but she has also been created and formed from this woman who lost everything. She feels things from two perspectives. She remembers everything from her past life, but has that manifested into pain or strength?

CAST+CREW Issue One.


CAST+CREW Issue One.


I am a senior at Indiana University studying theatre, with a concentration in acting and telecommunications with a concentration in design and production. My number one career would be to act professionally. I would love to be on stage or behind the camera and make people laugh and cry and rethink life.


CAST+CREW Issue One.

DANIELLE CARTER ACTOR (JOCASTA) I’ve been acting for about 12 years. I love the chance to tell a story in a way that is unique each time. I love that acting makes not only the actor but the audience use their imaginations. I don’t think we always use our imaginations enough as we get older. Theatre creates an entire world in a limited space with limited resources so you have to be creative with the way you tell the story. Theatre is insanely hard work, long hours, dedication, emotionally draining, frustrating, and the most fun in the entire world.


CAST+CREW Issue One.


The first Ivy Tech Student Productions show I auditioned for was Macbeth and I have always loved Shakespeare, so I just went for it. I had a great time working on that show, so I wanted to audition again. I like that the auditions are open to the community so you get to meet a variety of people.


CAST+CREW Issue One.


I love Kelly Lusk’s retelling of the Oedipal myth. Oedipus is an extremely difficult story to tell. It’s awkward for the audience and for the actors, but its our job to make these characters full and honest. We have the challenge of creating these mythical scenes on a small intimate stage with limited resources. We have to create a sphinx, show the destruction of a town, and stage battles.


CAST+CREW Issue One.

A CULINARY CREATIVE I have a degree in Baking and Pastry. I went to Ivy Tech Community College and was able to complete my degree without accumulating any debt. The most enjoyable classes I took were my culinary labs. These classes were really small which allowed for a lot of individual attention. Not only did I learn so much from these classes, but they were really fun and I felt like my chef instructors really cared about me. The best teachers I had while at Ivy Tech were Chef Stacy Strand and Chef Tad Delay. They are both really knowledgeable and talented. They were both great at sharing their expertise in a manner that allowed you to be creative and add your own spin to things. 49

CAST+CREW Issue One.

CONNOR ANDREI ACTOR (OEDIPUS) For me, acting is an art because it is vulnerable. Acting is the practice of throwing yourself into the midst of a world that is both similar to and vastly different from our own, and into a different person with so much emotion. You take yourself and you bring yourself to the ends of your wit. You kill your family, you leave your wife, you break down in tears, you kill yourself and you do it all in front of a crowd for their amusement. And it’s hard, and it’s cathartic. And when it’s all over everyone is a little bit changed. And change is the measure of art.


CAST+CREW Issue One.


It’s been so very long that I’ve been on the acting side of the equation, and it’s quite a lot of fun to become someone new, not to mention getting to stab someone. And I think I’m really learning a lot from Paul, our director, about acting and also about directing and about trusting your actors to find the story themselves.


CAST+CREW Issue One.

THE ART OF THINKING Acting is, in my opinion, the art of thinking. At least, thought is what makes good acting good. One’s first instinct is to just read the words off the page with some haughty “acting” voice, but that’s when you lose the character. Acting isn’t about portraying something, it’s about being something. You take the words on the page and you think - just as there is a reason behind everything you do, there’s a reason behind everything your character does, and there’s history, backstory, pain, love, grief, prejudice. The character is a person, and you become them by taking in the subtext and imbuing it with yourself. This is how I think when I write, and it’s how I think when I direct and edit, and this is what I love about acting. If it weren’t for that human connection, I’d rather never even look at script or see a play or watch a movie. It’s everything to me. 55


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