Backdrop_Spring2025_Issue1

SPRING 2025

backdrop magazine

THE COMEDY ISSUE THE BEST MEDICINE pg.10 LET'S TALK ABOUT SEX pg.32

' LIFE S A

CIRCUS

pg.20

Letter from the editor

Darcie Zudell | Editor-in-Chief backdropmag@gmail.com

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backdrop | Spring 2025

I’m not a fan of icebreakers. Those dreaded get-to-know-you questions on the first day of classes. They got easier when I realized nobody likes a serious answer. I started thinking about how to make facts about myself more “fun.”

Looking back, I don’t think this was about making a good first impression – I used humor to connect with others. How else would I bond with the guy next to me, who I couldn't be more different from?

I knew if I got him to laugh, maybe we could break down walls and make tedious tasks feel less awful. For our third issue, we’ve decided to focus on the universal language of laughter and lean into humor.

In The Comedy Issue, we dive into the lively and often overlooked comedy scene in Athens, finding humor in everything from the everyday to the absurd. I always encourage my peers to venture out beyond campus and Court Street. Freshman writer Hadley Lynch looks into the wacky improv workshops hosted by The Athens Comedy Collective and how the group manages to bridge the gap between townies and students (pg. 8). Have you ever wondered why you laughed when someone fell, or in a really awkward moment?

Junior writer Clara Leder breaks down the science behind laughter, dissecting its many benefits and enigmas (pg. 10). As restrictions on sexual education grow increasingly out of control, Section Editor Riley Clark busts some myths on the hilariously out-dated information we were fed in health class (pg. 32).

I hope you can enjoy the levity of this issue, especially in a time of chaos and uncertainty. Working on Backdrop and connecting with the community in Athens has reminded me: in uncertain times, we rely on each other to help make sense of it all. Right now, things might not feel as exciting or funny as we’d like, but that’s exactly why having a sense of humor is key. Even through tough times, we need to hold onto the laughter and support our communities offer. It’s in those times of shared joy that we find the strength to keep moving forward, even when it feels hard.

Happy reading!

SPRING 2025 » VOLUME 18 ISSUE 3

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Backdrop Magazine is looking for its editor-in-chief and managing editor for the 2025-2026 academic year!

To apply: Email a resume and cover letter to backdropmag@gmail.com by Feb. 28. Please indicate what role(s) you’re applying for. www.backdropmagazine.com

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backdrop magazine EDITOR-IN-CHIEF DARCIE ZUDELL MANAGING EDITOR LAYNE REY COPY CHIEF PEGGY SPETZ SECTION EDITORS KIRSTEN ABBEY, RILEY CLARK, LUCY RILEY, LUKE WERCKMAN COPY EDITORS AVA JELEPIS, HADLEY LYNCH, CLAIRE MOSSBRUGER, LILIA SANTERAMO, PEGGY SPETZ WRITERS NORA BARNARD, RILEY CLARK, MADELEINE COLBERT, PARKER JENDRYSIK, CLARA LEDER, HADLEY LYNCH, MEGHAN MCCRATE, LAYNE REY, ELLIE SABATINO, ZOE WEYAND, ROSEMARY WILDEY, DARCIE ZUDELL MARKETING DIRECTOR JENNAVIEVE KERNC ASSISTANT MARKETING DIRECTOR DIVY BOSE

CREATIVE DIRECTOR ABBY BURNS ART DIRECTOR ELLIE SABATINO DESIGNERS MATTHIAS AGGANIS, ABBY BURNS, ELIZABETH DICKERSON,

CARLEY HINTON, JULIA PARENTE, ALLY PARKER, ANGELO POLIS, LAYNE REY, ELLIE SABATINO, ANNA SCHNEIDER PHOTO DIRECTOR PEARL SPURLOCK ASSISTANT PHOTO DIRECTOR CLAIRA KIMBLE PHOTOGRAPHERS MORGAN CLARK, SHELBY GIBSON, CLAIRA KIMBLE, ALLY PARKER, PEARL SPURLOCK SOCIAL MEDIA DIRECTOR ALLY PARKER ASSISTANT SOCIAL MEDIA DIRECTOR CARLEY HINTON

Interested in working with us?

Email backdropmag@gmail.com

SEE "Committing to Character" PAGE 24

Tyler Murray as Mr. Collins in Tantrum Theater’s production of “Pride and Prejudice.” Photo by Ellie Clark, the artistic director of Tantrum Theater. Provided by Tyler Murray.

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CONTENTS FEATURES

LIVE FROM ATHENS Inside the writers’ room of OU’s sketch comedy show. . . . . . . . . . . . . . . . . . . 16

LIFE'S A CIRCUS

The art of clowning is much more than slapstick. . . . . . . . . . . . . . . . . . . . . . . . . . 20

COMMUNITY

THE DROP

Meet the brainiacs behind popular bars’ trivia nights. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Actors who’ve been in comedic plays share their methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

COURT'S QUIZZES

WORKSHOPPING COMEDY

The Athens Comedy Collective brings improv to locals and students. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

SCIENCE

THE BEST MEDICINE

The science and benefits of laughter . . . . . . . . . . . . . . 10

HISTORY

UNSERIOUS STOPS

While driving through Ohio, check out these odd attractions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

BUILT TO PERFORM

Inside Memorial Auditorium’s history, culture and community. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

COMMITTING TO CHARACTER CAN WE GET A HEADLINE?

Black Sheep Improv says, “yes, and…” . . . . . . . 26

S.O.U.P

An undergraduate playwriting group writes and performs shows in just one month. . . . . . . . . . . . 28

GAMES

FUN AND GAMES

Fill out these wacky word games! . . . . . . . . . . . . . . . . . 30

SEX & HEALTH

LET'S TALK ABOUT SEX

What they didn’t teach you in health class. . . . . . 32

VOICES

THE RAINBOW CONNECTIONS

Art Director Ellie Sabatino shares her experience being a Disney Imagineer for a semester. . . . . . . . . 34

SPRING 2025 » VOLUME 18 ISSUE 3

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COMMUNITY

Meet the brainiacs behind popular bars’ trivia nights

BY PARKER JENDRYSIK PHOTOS BY ALLY PARKER DESIGN BY CARLEY HINTON

C

ourt Street is known for its vibrant weekends, brick streets and bustling bar scene. But what many may not know, is that this lively atmosphere extends to weekdays, with an added competition element. Lucky’s Sports Tavern and The Pigskin Bar and Grille are two of Court Street's beloved bars that host such events. Both offer students and locals a chance to test their knowledge. What better way to challenge yourself than with a game of trivia?

Hosts Regan Ritchie and David Green read off a question at Lucky’s Sports Tavern’s trivia night on Jan. 21.

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Lucky's Sports Tavern Given the number of bars, Athens stands out among other college towns. Because of the distinct atmospheres each one offers, no bar is the same as the next. One of the first bars people see in Athens is Lucky’s Sports Tavern, located on North Court Street. For those seeking a sports bar atmosphere, Lucky’s delivers, featuring pool tables and weekly drink specials that keep locals and students coming back for more. Lucky’s is open from 4 p.m. to 2 a.m. Monday through Saturday and 7 p.m. to midnight on Sunday.

Lucky’s holds an open trivia night every Tuesday at 8 p.m.

However, just because they start at 8 p.m. does not mean players should not get there early. As the start time approaches, the crowd grows bigger and bigger.

With large crowds comes great responsibility. Lucky’s takes pride in the hard work that goes into making their trivia nights entertaining for players. Regan Ritchie, Lucky’s trivia host and barback, has been involved with trivia nights longer than she has worked there. Ritchie says hosting the event can be both exciting and challenging.

“For me, I like seeing teams return every week, and also seeing new people come makes me feel like I’m doing a good job,” Ritchie says.

Lucky’s trivia nights accommodate up to 15 teams, with a limit of eight people on each one. Ritchie mentions that they have hosted themed nights, including beer night during Ohio Brew Week and Halloween-themed trivia, which was a big hit.

But it is not just the returning players that make trivia so rewarding for Ritchie; it is also the friendly competition and the playful rivalries that add an extra layer of fun to her job.

“I like the community,” Ritchie says. “Teams that have been coming will have fake beef with each other.”

Winners of trivia night at Lucky’s earn more than just

bragging rights – they also have the chance to win cash. First place takes home $25, while second place wins $10. With a chance to win it all, players can throw in $1 each to participate in a jackpot question. Answer it correctly, and all the money in the pot is yours.

The Pigskin Bar and Grille A popular spot on Thursday nights, The Pigskin Bar and Grille hosts trivia nights at 7 p.m. each week. The friendly competition is a great way to unwind after a long week of classes or catch up with friends.

Pigskin’s trivia host Macy Peck is a recent graduate of Ohio University with a bachelor’s degree in psychology. Since 2023, she has been hosting trivia and works hard to keep the questions engaging and relevant to the college crowd.

“I’ve always loved trivia,” Peck says. “I was going to Pigskin trivia before I even got involved in it."

With different categories every week, keeping the questions interesting is key. Peck engages players by knowing the popular trends among college students.

Pigskin’s trivia hosts five separate categories, each with seven questions. Notable categories from previous trivia nights include NFL teams, music, TikTok memes, celebrities, movies, riddles and American history.

“I try to make it fun every week, so people keep coming back. I like to do a pop culture one, and then a fun category, which kind of just varies every week,” Peck says. “We do five rounds. The last round of every trivia is a music round where we play a certain section [of a song], and then they give us the artist and the name.”

Peck keeps players on the edge of their seats with fun, new and inviting questions.

“My personal favorite that we’ve ever done was a celebrity drama category, and people ate that up. Oh, also riddles,” Peck says. “My favorite part is probably coming up with the trivia, and then actually seeing people’s reactions to it live.”

Trivia contestants have the chance of winning merchandise from Pigskin’s liquor vendors. The bar’s casual yet competitive atmosphere welcomes students and community members to enjoy the weekly event. Pigskin is open from 4 p.m. to 2 a.m. Monday through Thursday and 11 a.m. to 2 a.m. Friday through Sunday.

was there. They always get a good turnout. I would just say they keep the questions very light-hearted. It's nothing too challenging,” Liming says. “All the people who participate are super fun and supportive. They're just there to have a good laugh [and] a good time. I would just say the atmosphere overall is really what I love about it. I always go. I'm not the best at trivia, but I'm just there [for the] experience and the vibes.”

What's Next?

Pigskin and Lucky’s offer a great way to relax, spend quality time with friends and test the limits of your knowledge.

With two top spots on Court Street and a great staff of trivia enthusiasts, it is worth checking out both events. Whether you are a first-timer, a competitive player or just along for the ride, it is sure to be a memorable night. The (trivia) night of your life awaits, and a booth with your name on it just a few bricks away. b

A Taste of Victory Such environments attract the best of the best when it comes to trivia contestants. Regular Madison Liming, a fourth-year English student, says she had been curious about Pigskin trivia nights ever since she first heard of them. It was not until a group of friends invited her that she became a regular every Thursday night.

Her experience is one of many who say they enjoy the event. “It was such a fun atmosphere. I loved the crowd that

A team participating in trivia, hosted in Lucky’s Sports Tavern on Jan. 21.

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COMMUNITY

The Athens Comedy Collective participates in various improv exercises and games at Central Venue on Feb. 2.

WORKSHOPPING COMEDY The Athens Comedy Collective brings improv to students and community members

F

BY HADLEY LYNCH | PHOTOS BY PEARL SPURLOCK | DESIGN BY ABBY BURNS

or those with a passion for acting, the Athens Comedy Collective offers seasoned and aspiring improvisers a space to practice and grow. The Comedy Collective provides both local residents and students with a community of growing actors while helping them build various skills and techniques for comedic performance. The group hosts weekly workshops on Sundays from 2 p.m. to 4 p.m. at Central Venue, which typically feature acting games and exercises focused on long-form improv.

Students often gain much of their hands-on experience through student organizations. Although working with peers is beneficial, those who have the opportunity to diversify their surroundings gain valuable alternative perspectives.

Because the Comedy Collective brings together a wide range of individuals, Ohio University students have an excellent opportunity for collaboration.

Molly Nixon, a second-year student studying acting, has been an active attendee of workshops during her time at OU. She says her favorite aspect of the group is getting to interact with community members outside of the School of Theater.

“It's really fun to see townies bring in their kids and work with different ages and different people because more exposure is always good,” Nixon says.

Nixon has long had a passion for comedic acting, having attended various workshops, and has been involved in improv

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since she was in sixth grade. As a member of Black Sheep Improv, she continues to work on her comedic timing and collaborate with other performers.

As an acting student, Nixon will be in various shows and projects that require her to test and refine her comedic acting skills.

“Next semester, I'm going to be in an Ivy Posies show, ‘Victor Builds a Body,’” Nixon says. “I'm actually [also] directing my own show about improvised mask work – improv is going to help a lot with that.”

She first heard about the Comedy Collective from flyers in Canton and then decided to attend a workshop.

“I decided to do it because [when] learning any creative talent [or] skill, it’s important to get lots of different perspectives and expose yourself to as many techniques and styles and opinions as possible.”

The Comedy Collective has been active for about a year, led

by Yang Miller. Originally from Athens, Miller has a lot of knowledge and background in the acting scene. He lived in New York City for about sixteen years and became involved with the comedy scene before moving back to Athens – bringing his passion with him.

“When I moved back to Athens, where I'm from… I was like, we need an improv scene down here,” Miller says. “I mean, I love it so much, and it's just such a great form of

community, communication [and] positivity, that I decided to start teaching improv classes and workshops.”

Miller also hosted workshops for younger actors in the past – called the Athens Kids Comedy – as the Comedy Collective is directed more toward an older crowd.

Along with long-form improv, a key concept that Miller focuses on is the idea of “yes, and.”

“The idea of ‘yes, and,’ it's kind of the basis of all the improv – it’s [agreeing with] any idea that somebody brings to you,” Miller says. “You treat it like it's the greatest idea. You say ‘yes’ to it and add to it. You get to the really fun stuff when you establish who you are, what you want, where you are and then say ‘yes’ to each other.”

Although some aspects of acting come naturally, Miller says that being spontaneous and willing to take risks are essential skills needed to thrive on stage.

“There's skills that you can learn and the basic techniques of improv – anyone could learn,” Miller says. “But I think even with any kind of performance or any kind of art, there sometimes is an inherent ability that you just have that kind of fits in it. But I can teach anybody to use the basis of improv, the basic structure, to create fun and enjoyable scenes.”

There have been many groups centered around the arts in Athens before; however, Miller thinks the area’s comedy scene is lacking.

“Another reason that I wanted to start this is that the comedy scene in Athens is so slim. I mean, it's a great music town, there's lots of music, there's lots of fun, creative weirdos and funny people, and I just wanted to harness that and give those folks a place to get together,” Miller says.

He believes that some people may be reluctant to try comedy and improv due to a fear of not being funny. However, Miller emphasizes the importance of trusting the process, as comedy often comes from taking risks and staying in the moment.

“I teach people that it's not about being funny – it's about being honest, truthful and supportive [and] saying ‘yes, and,’” Miller says. “A lot of people think it's like stand-up comedy where you get up and you're by yourself trying to make people laugh, but it's really not about trying to get the laughs. It’s

The Athens Comedy Collective playing an improv game at Central Venue on Feb. 2.

“

Yang Miller, founder of the Athens Comedy Collective, leads an improv exercise at Central Venue on Feb. 2.

I teach people that it's not about being funny – it's about being honest, truthful and supportive [and] saying 'yes, and' .”

YANG MILLER HEAD OF THE COMEDY COLLECTIVE more about creating interesting scenes, and then the laughs just come out of it.”

According to a survey by the U.S. Patterns of Arts Participation, only 4 percent of adults are involved in theater of any kind. The Comedy Collective has become a valuable place for actors to gather and improve their skills, and Nixon encourages more people to give it a try, regardless of acting experience or ability.

“There's not as many OU students as I would like to see,” Nixon says. “It's a lot of community members. I would encourage anyone who's interested in having a fun time to go there because Yang Miller is so approachable. He's so fun, and he knows what he's doing.”

Nixon considers the group a great addition to the community.

“Because it's free to attend, I think it helps add something to do, which is always good in a community, especially when it sort of blends campus into town,” she says. “I think it's a really helpful way to meet new people and meet a new perspective, especially since Athens’ campus is a bubble.”

For anyone looking to expand their understanding of comedic improv, attending one of the Comedy Collective’s weekly workshops is a must. The heart of Athens lies in its community, and the energy and joy that radiates through these workshops is contagious. b www.backdropmagazine.com

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SCIENCE

The science and benefits of laughter

BY CLARA LEDER | DESIGN BY ANNA SCHNEIDER

L

aughter is a part of everyday life, taking different forms whether shared with friends and family or experienced in moments of discomfort. Although it manifests in various ways, there is an interesting science behind laughter.

Laughter may truly be the best medicine

Whether it is a funny joke, video or moment with a friend, laughter triggers a stress release in the body and brain. During laughter, the body increases oxygen intake, and the nervous system essentially cools down. As a result, tension is released, and blood pressure drops. Laughter has also been linked to increased immunity – so not only does it help the body and brain relax, but it may also help fight off illnesses.

I feel so much better…

Laughter is often learned at a young age, but when and how it is used can vary from person to person. Sigmund Freud formulated the most common theories of humor and laughter.

He believed that laughter was a way to release nervous energy.

This release is why we laugh at so many different things. It is the brain's way of relaxing and letting off steam, releasing a variety of emotions.

But what is so funny?

Everyone’s humor is different, and no two people will laugh at exactly the same things – at least not when they are alone.

Researchers suggest that laughter is more than a contagious reaction; it is a way to connect with others. When people laugh, they are signaling to those around them that they want to connect with them. It is the brain’s way of saying “hi” to everyone in the room. Although scientists cannot pinpoint the exact triggers for laughter, psychologists note that it helps people feel bonded – and it is one of the first social cues people learn as infants.

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The dark side of laughter

Laughter is a tool for the human brain in many ways, but why do some people laugh at others or at unfortunate circumstances? One of the oldest theories of humor suggests that people find the misfortunes or mistakes of others amusing. People often laugh when someone falls, acts clumsy or messes something up. According to Plato and other Greek philosophers, people laugh at these situations because it makes them feel superior.

Dark humor is also incredibly common. Laughing at dark or difficult subjects help those situations feel easier to cope with, as the brain associates laughter with tension release.

People also use dark humor to connect with others, sharing their struggles in an attempt to find community. Laughing at a tough situation can also invite others into the conversation by making it more lighthearted.

Knock knock…

Who’s there? Other people. The source of laughter is not necessarily the content of jokes or funny moments – it is the presence of others. A study by the late Dr. Robert Provine, a psychologist at the University of Maryland, found that only about one in five laughs is caused by a joke. The rest? They are forms of social engagement to connect with others. This ability to bring people together makes laughter one of the most sought-after qualities in others.

WANTED: Someone who makes me laugh

Laughter is one of the most important qualities people look for in a romantic partner. The University of Kansas did a study on 51 college singles and found that humor plays a crucial role in relationships because it shows that someone is sociable and agreeable. Specifically, men may use humor to gauge a woman’s interest, and it is thought to be an unconscious form of courtship. Whether it is a conscious decision or an instinctive response, sharing laughter with another person is seen as a pathway toward deeper connection and, potentially, a longer relationship.

Laughter, a universal yet deeply personal experience, is more than just a reaction to humor. It is a powerful tool for the mind and body, promoting physical health, emotional well-being and social connection. From releasing tension and lowering blood pressure to strengthening bonds and helping us cope with life’s challenges, the benefits of laughter are both profound and diverse. While psychologists continue to explore its complexities, one thing remains clear: laughter enriches our lives, making even the darkest moments a little brighter and our relationships stronger. Whether shared with friends, sparked by a joke or found in unexpected moments, laughter truly is one of life's simplest and most meaningful joys. b

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HISTORY

UNSERIOUS STOPS While driving through Ohio, check out these odd attractions

BY MADELEINE COLBERT | DESIGN BY ELIZABETH DICKERSON

I

n many ways, Ohio has become synonymous with quirky behavior and strange attractions. Recent trends such as, “Only in Ohio,” have taken off on social media apps such as TikTok and X – adding to the state’s elusive reputation.

Ohio is full of artistic, offbeat and downright bizarre roadside attractions that spark awe, curiosity or confusion in those who have experienced them. Ohio truly is one of the best states to take a road trip full of strange stops at the most unusual places.

Hell is Real Sign:

Between Columbus and Cincinnati on I-71 is the iconic and ominous “Hell is Real” sign. This enigmatic sign has become an Ohio cultural landmark in the twenty years since its construction, and it has become something people across the country associate with the state. Its notoriety has grown to the point where it even inspired the rivalry between the Columbus Crew soccer team and FC Cincinnati, which is known as the “Hell Is Real derby.”

Unlike most other roadside attractions, it is not a stop nor does it offer any financial gains for its creator, Jimmy Harston.

So, why was it created in the first place? According to an interview with Columbus Monthly, Harston erected the sign because he felt a calling to spread the “word of God” using the wealth he had acquired through real estate. Although the original intent of the sign was to share a religious message, the weathered, eye-catching sign has evolved into an inside joke for those who drive by.

The World’s Largest Basket:

Life may not always be a picnic, but for the residents of Newark, Ohio, it certainly is – at least when it comes to the world’s largest picnic basket. According to the World Record Academy, this massive structure is 208 feet long, 142 feet wide and spans a total of 180,000 square feet. The basket was built by the Longaberger Company in 1997 as an unorthodox office building for the company that, unsurprisingly, made baskets.

The Longaberger Company used the basket as its headquarters and hosted tours until 2016, when they moved out of the building. Since then, the giant picnic basket has had a tumultuous history, with a final tour held that same year and plans to turn it into a convention center and hotel in 2020.

However, after the company went out of business in 2018, the basket has remained standing – albeit now semi-abandoned and up for sale in Newark.

The world’s largest picnic basket in Newark, Ohio. Photo courtesy of Heritage Ohio.

The ominous Hell Is Real sign on I-71, created by Jimmy Harston.

Photo courtesy of @mindthebat on X.

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The world’s largest stamp, located in Cleveland, Ohio. Photo courtesy of Robert Meyers-Lussier.

Field of Giant Corn:

Many may think of Ohio as just a vast cornfield, and for Ohioans, this is just seen as a snide remark. However, for the creator of the Field of Giant Corn in Dublin, Ohio, it is something to be celebrated.

Malcolm Colchan, a sculptor and retired art professor at The Ohio State University, is the mind behind the Field of Giant Corn, which was created in 1994 to honor Ohio’s agricultural roots. Each ear of corn is six feet tall, made of white concrete, and, according to the Ohio Sculpture Center, the design resembles the white graves at Arlington Cemetery. This art installation is free to the public and includes signs that explain the history of agriculture in Dublin and Ohio as a whole, honoring the past that made the state into what it is today.

The Field of Giant Corn, constructed by Malcolm Colchan, in Dublin, Ohio. Photo courtesy of Dublin Arts Council.

World’s Largest Bobble-head:

Ohio is home to many “world’s largest” attractions, and the world’s largest bobble-head is certainly no exception. Located in Bellville, a giant 35-foot-tall fiberglass bobble-head of a chef holding two burgers stands outside the Buckeye Express Diner.

The oversized bobble-head is created from the remains of an old statue that once resided in Mansfield but was taken down in the 1970s.

According to an interview by the Cincinnati Enquirer with the manufacturer and restorer of the bobble-head, Terry Byrne, the idea to make the restored statue a bobble-head was inspired by the way the statue in Marblehead had deteriorated, losing its head. This bobblehead continues to inspire awe in adults and kids alike when they visit.

World’s Largest Rubber Stamp:

Although many famous roadside attractions in Ohio are situated in the southern part of the state, the northern half also has its share of unconventional attractions. Situated along the Cleveland harbor is the world's largest rubber stamp.

According to the World Record Academy, the stamp stands at 49 feet. Another key feature to the stamp is the word “free” printed at the bottom. It was commissioned in 1985 by the Standard Oil of Ohio company, and installed in Cleveland in 1991 in front of their former office building.

According to an interview by Roadside Attractions with Nicholas T. Giorganni, who worked on the construction of the sculpture, the iconic “FREE” on the bottom of the stamp was chosen because the stamp faces the Soldiers’ and Sailors’ Monument. It honors soldiers who fought in the Civil War who worked to free enslaved people. The stamp pressing down on the word “free,” symbolizes the ongoing struggle for freedom around the world.

The world’s largest bobble-head, located outside of the Buckeye Express Diner. Photo courtesy of Northeast Ohio Family Fun.

Want more stops?

Visit roadtrippers.com to make your next road trip an adventure! b

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HISTORY

BUILT TO

Perform Inside Memorial Auditorium’s history, culture and community

BY ROSEMARY WILDEY | DESIGN BY LAYNE REY

T

empleton-Blackburn Alumni Memorial Auditorium is not only special to Ohio University students, but also to the Athens community. The foundations of Memorial Auditorium were constructed to support the community, and they have upheld that purpose ever since.

Built on College Green in 1927, Memorial Auditorium is the largest performing arts center in Southeast Ohio, bringing in stars from all over the country. Andrew Hopzaefel, who has programmed the performing arts series there for 25 years, says, “We believe that we are one of the cultural hubs of Southeast Ohio. So, by being able to provide entertainment that exists in large cities like Cleveland, Columbus and Indianapolis, and bring it to rural Southeast Ohio, we feel like we're serving the community.”

When selecting upcoming performers, Holzapfel’s detailed process always takes what the community will respond to into consideration.

“We do surveys with students and community members. We talk to other universities to find out what works well for them or what didn't work well for them. And then I go to what they call ‘booking conferences,’

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where we meet with artists, agents and managers, and they basically will pitch their artists to us.”

Each performance at Memorial Auditorium is a passion project that requires many dedicated people.

Hopzaefel says, “The best part is to walk up to the edge of the stage at the end of the show, and just be able to look out at a full house audience and just see the smiles on people’s faces, and know the impact that performance had on those people.”

Comedy was first introduced to Memorial Auditorium for OU’s parent weekends. Hosting comedians at OU became a tradition adored by Athens and its visitors, and a wonderful way to connect students and families. Fan favorite comedians have starred at OU, such as Saturday Night Live’s Seth Meyers and Joe Gatto from Impractical Jokers. Memorial Auditorium’s legacy continues, with tickets available for popular stars of all genres.

OU was established in 1804, only one year after the state of Ohio was founded.

OU is famous for being the first public university built in Ohio. Because of this historic distinction, Athens became a hotspot for many public figures.

Memorial Auditorium has withstood

decades of changing student bodies, audiences, artists, political movements and wars. That said, its rich history is certainly worth discovering. Throughout the mid-1900s, Memorial Auditorium witnessed outstanding classical performances, ballets, orchestras, plays and symphonies. The American Ballet, the first professional ballet company in the United States, opened for an artist performance series at OU. Others, such as gospel soloist Mahalia Jackson, gave a once in a lifetime performance to a soldout audience.

Many political leaders have also spoken on College Green. As part of the 18th Ecumenical Student Conference on the Christian World Mission, Martin Luther King Jr. visited OU in December of 1959, shortly before the Civil Rights Movement gained momentum. Former Presidents Dwight D. Eisenhower, John F. Kennedy, Lyndon B. Johnson, Jimmy Carter, Barack Obama and First Lady Michelle Obama have all also given speeches in Memorial Auditorium.

Before the construction of Memorial Auditorium, Athens’ main auditorium was in Ewing Hall. The building was named after Thomas Ewing, a member of the first graduating class of OU in 1815. In March of 1898, the hall

was introduced to campus on College Green near Scripps and McGuffey.

To accommodate the growing student body, Memorial Auditorium was built as a replacement in 1927. Ewing was demolished in 1974, though its stainedglass windows were repurposed and placed in Walter Hall. Now, on South Green, the name “Ewing” lives on in the form of a residence hall.

Over the decades, Memorial Auditorium has experienced many renovations to accommodate changes in the community and its values.

Memorial Auditorium was named after John Newton Templeton and Martha Jane Hunley Blackburn, two of the first Black graduates of OU. Templeton graduated from OU,

becoming the first Black man to graduate in the state. He was an outstanding student and a member of the Athenian Literary Society. After college, he taught in Chillicothe, where he also became a member of the Chillicothe Anti-Slavery Society.

The first Black woman to graduate from OU was Blackburn in 1916.

Blackburn was an English literature student, with a minor in home economics. She accepted a position as the head of the Home Economics department at Central State University and received the Ohio University Alumni Medal of Merit in 1979.

Blackburn’s attendance at OU inspired a whole new generation of students.

When asked about her life at age 80,

Blackburn stated, “It won’t seem like a very exciting life to you, but as I look back on it and receive letters from girls I taught who have made a success out of their lives, I feel I have fulfilled what my destiny was to be. Even now as I look back I feel so rewarded.”

Both graduations represent significant new beginnings in the history of OU, celebrated through Memorial Auditorium.

From incredible performances to laughter-filled comedy shows, Memorial Auditorium has consistently brought the world’s best talent to Athens. Students still continue to pack the venue when new talent is showcased, like when the Drivers Era and Noah Kahan took the stage. With each performance, it remains a place for unforgettable experiences. b

Vintage posters advertising performances held in Templeton-Blackburn Alumni Memorial Auditorium.

Photos provided by the Robert E. and Jean R. Mahn Center for Archives and Special Collections.

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FEATURE

LIVE FROM

ATHENS

Inside the writers' room of OU's sketch comedy show

BY LAYNE REY | PHOTOS BY SHELBY GIBSON AND PROVIDED BY FRIDAY'S LIVE | DESIGN BY ALLY PARKER

O

hio University’s longest-running sketch comedy “A lot of people can just pitch a simple gag, and then they show, Friday’s Live, showcases students’ abilities to can really rack their brains and write a whole sketch that's execute Saturday Night Live-inspired performances centered around or dedicated to a gag or a funny idea,” every other week. The School of Media Arts and Studies group Linscott says. “I myself am a bit different. I'm prone to hosts a range of talents whether that is in acting, producing, writing parody sketches that use characters from other media editing, art direction or videography. character archetypes that I'm familiar with.”

Behind the scenes, the writers of Friday’s Live are busy Next, the team collaborates to categorize the ideas into collaborating throughout two main groups: the tightly scheduled live sketches and week to ensure the actors digital content. Live have the show day holy sketches are typically grail: a script. more straightforward, Each Sunday preceding a focusing on the writers’ Friday show, writers gather comedic talents without in the writers’ room to relying on complex begin the pitching process. techniques such as Head Writer Lydia Smith, perfectly timed camera a senior studying media blocking or after-effects. and social change, kicks Digital content, on the things off by introducing other hand, is broken the host for the week and down into three formats: their interests, as well a four-to-five-minute as any timely holidays, digital short, a TikTokevents or seasons she style “mini-digi” or an hopes to incorporate into improvised commercial. the sketches.

These shorter sketches rely “Timing is important,” on the writers’ abilities to Smith says. “As a general communicate a concept rule of thumb, we don't quickly and creatively, do much direct political (Bottom) Olivia Freeland at her final show with Friday's Live on which they have certainly Nov. 22, 2024. Photo provided by Friday's Live. satire. We don't like leaned into. impersonating politicians. My general philosophy is we “The vibe of the show these days, I would say, is a lot more probably lack the nuance to do these parodies in a way that surrealist,” Smith says. “Especially with the digital content, people will find respectful and also that won't be inflammatory. we have this interesting team of underclassmen who are really That's not to say we don't want to push buttons from time to trying new stuff. And I think that's great.” time. Comedy is all about that.”

HR and Diversity, Equity and Inclusion Director Hiley Following that inspiration, the writers share ideas with the Kresse, a senior studying communication studies, notices the group that align with the values and comedy style of Friday’s positive impact of the writers’ room including, “drawing on Live. Jack Linscott, a sophomore studying game design, is a inspiration from so many outside things and being able to cast member and writer. He believes that the writers’ room is bounce ideas off of other people,” Kresse says. “Sometimes the ideal place to develop ideas. people will come into the writers’ room with an idea, and then

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they'll leave, and it's an entirely different idea.”

Besides Smith’s other numerous responsibilities throughout show week, she writes three key segments: the cold open, banter and A News. She describes entering a “flow state” writing these segments, gathering inspiration and ideas from Sunday’s writers’ room before beginning the writing process. As for the cold open, Smith writes more adventurously and enjoys taking on bigger ideas since it is digital and can be edited.

Banter is the segment where the host introduces themselves and checks in mid-show in a comedic manner. After viewing the host’s LinkedIn and conversing with them, Smith’s approach to writing banter is to essentially have the host say: “Hi, this is an exaggerated version of myself."

As the writers' room concludes on Sunday evening, the team spends Monday and Tuesday writing their respective sketches.

On Tuesday, Smith hosts office hours to offer a second opinion on sketches – whether it is to help with a tricky ending, refining a punchline or overcoming writer’s block.

“The hard thing about this is you can't tell how a sketch will read, necessarily, every time,” Smith says. “So, you can have a great concept for a sketch, and it just might not hit on the actual read-through. So, what I try to do is ensure that even if a sketch is pretty simple in concept, that there are some good zingers here and there that can ensure: OK, that will get a chuckle even if it's not the main body.”

Combined with zingers and a solid structure, Smith works with writers to refine their sketches – emphasizing that bouncing ideas off of another person is a crucial aspect of successful comedy writing.

Lydia Smith, head writer for Friday’s Live, reflecting on the pitches made during the writers' room.

During her office hours, Smith also works with A News Host Chance Lane to write the Weekend Update-inspired segment.

The pair write multiple punchlines for news stories they find will ultimately be easily communicated and tasteful.

“We narrow down which one is the most accessible, which one is the most – if we’re shooting for cleverness – which one will get people going, ‘oh,’” Smith says. “That little reaction of inspiration – if that was possible with every joke, send me to Hollywood.”

Keeping in mind that the host of the show also serves as the co-host of A News for their episode, Smith emphasizes “cross-referencing” with the host to ensure they are comfortable with the jokes.

“As for A News, sometimes we have to cut jokes last minute,” Smith says. “It just happens. There are instances where we want to be kind of relevant to things happening at the school, and then we decide this might not be in the best judgment right now. It might isolate people more than it invites them to laugh. You see that on Weekend Update a lot – some people groan and some laugh – and sometimes those jokes are really funny, but you just hit a nerve. I try to avoid hitting nerves with the broader population. If I hit a nerve, it's gonna be with the person reading the joke because we're all friends here.”

On Wednesday, writers reconvene along with the executive board and cast members to read through the sketches that they have been working on over the past few days. Cast members who signed up for the week’s episode read the sketches out loud in order to bring the writers’ visions to life.

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Read-throughs are a way for the group to gauge how a sketch will be perceived by the audience, particularly as they explore the randomness and absurdity they have embraced in recent seasons, Smith says.

“There’s often a concern for broad appeal when it comes to sketches, but if it makes us all laugh in the read-through, people tend to really enjoy it,” Linscott says.

Typically, writers list the characters in their sketches with short descriptions, which sometimes can lead to typecasting.

Regardless, writers will typically work in tandem with producers to decide which cast members will read each sketch during read-throughs. Linscott noted that he does not often write his sketches with specific actors in mind and that cast members are happy to help out and adjust to different personas.

However, Linscott recently wrote a sketch following a character that he was extremely passionate about.

“There's this recent digital short I wrote that was for a little bit of self-enjoyment, where I envisioned a character for myself that was this flamboyant, energetic detective character,” Linscott says. “And I got to, luckily, perform that for myself, and I got to help out with the production.”

As the DEI and HR director, Kresse is present at read-throughs to ensure all sketches align with the group’s core values.

“My first job is to content check everything and if rewrites need to happen, being at the read-throughs to see all the content before it gets voted on,” Kresse says. “I'm there to gauge everything.”

After all content is read through and approved, a Google form is sent out to vote on which live and digital sketches will be in the show. Giving every member a voice, read-throughs are an exciting sneak peek at the show to follow.

“I think, generally speaking, it's an important process that it's both democratic and anonymous,” Smith says.

On an extremely busy Wednesday night, Smith organizes the winning sketches into a logical script for the Friday show.

Once a season, Friday’s Live holds an after-dark show, which Smith describes as “not quite rated R, but mature audience episode.” During these shows, the writers explore darker humor

and can be more scandalous as opposed to their typical scripts.

“I love a good sex joke,” Smith says. “I love innuendo – I live for that kind of stuff.”

During these episodes, Smith and Kresse work closely to ensure that everyone is comfortable with the jokes, no one in the organization is upset and everyone is aware that the episode will be posted on YouTube.

Although it is one of Friday’s Live’s most popular episodes each season, dark and scandalous humor can create awkward moments.

“This is true for any single organization, but I think comedy is one of the most – it can produce a lot of strain,” Smith says.

“It can produce moments of [discomfort]. So, it's important to be very careful about it.”

Although Friday’s Live writers generally follow a shared style and understand the organization’s role within the School of Media Arts and Studies, each writer has their own inspirations and writing techniques.

“We try to push things that are going to be funny no matter what the context or situation is,” Kresse says. “So, things that you don't really need to have social media or understand a certain reference to make it funny – so a lot of physical comedy.”

Kresse adds, “It's also fun to see people kind of grow throughout the semester. You'll see freshmen come in and be pretty timid with their writing style, and then it gets more outrageous over time, or they just get into the groove of it a little bit more.”

The Friday’s Live writing team carefully balances comedic writing while maintaining the show’s standards of responsibility and inclusivity. Whether in the group or a fan of the Friday evening performances, there is a joke for everyone – from physical comedy and self-deprecating banter to news-related zingers and every punchline in between.

“That’s why people love the org so much,” Kresse says, “They can come into the room with crazy ideas that somewhere else would get shot down, but then they come here, and everyone is building it up and listening to it.” b

AnnMarie Palombi laughs as she makes a pitch during a writers’ room for Friday’s Live.

Ryan Humeniuk and Matthew Campbell in their sketch "The Trunk", written by Lila Alix on Nov. 22, 2024. Photo provided by Friday's Live.

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Houston Boxler and Bre Reidle in their sketch "Hot Topic", written

by Lydia Smith on Nov. 22, 2024.

Photo provided by Friday's Live.

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19

FEATURE

'

LIFE S A

CIRCUS The art of clowning is much more than slapstick

BY DARCIE ZUDELL | PHOTOS BY MORGAN CLARK | DESIGN BY ABBY BURNS

A

s a kid, Ohio University alum Dez Brandes wanted to be a mime. However, not many colleges offer such a program, so Brandes shifted their focus to filmmaking.

They attended OHIO-In-LA, a semester-long program that exposes students to life working in media and creative fields in Hollywood. By the end of the semester, Brandes was not entirely sold on the film industry but, instead, left with an intense creative calling that consumed much of their final semester at OU: Brandes would become a clown.

In Los Angeles, they met a group of friendly clowns who welcomed them into their circle, inviting them to comedy shows and karaoke nights. Notably, "nobody was dressed up like a clown with

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makeup or a nose," Brandes says. Instead, being a clown was about embracing the most authentic aspects of themselves and creating genuine connections with others.

Performing as a clown gave Brandes something they had longed for in filmmaking: connection with an audience.

“With a film, you make the thing, you finish it, you put it on a screen, and it's perfect, or it's as perfect as you can get it,” Brandes says. “I think with live performances, you get to include the audience more. But even that has its limitations, and I feel like with clowning, you get to break down everything standing in the way of the audience and the production, and the audience becomes part of the production.”

Brandes returned to campus and decided to showcase their newfound love of clowning. They

Ruby Culp in a crew neck she made, wearing clown makeup that occasionally takes her three hours to complete.

started with a second-hand clown suit from Little Wing Relief, paired with bold red makeup to exaggerate their lips and black circles outlining their eyes that were filled in with blue.

They began clowning by simply attending parties and other social outings in their clown makeup and suit, often bringing along toys like Flarp putty. In the clown getup, Brandes felt empowered to “just be stupid all night.”

Brandes soon became fascinated by bouffon — the French word for "jester," – which is also a style of performance centered on mimicry, satire and the grotesque. Popularized by Jacques Lecoq in the 1960s, bouffon pokes fun at the absurdities of power structures, using physicality and humor to exaggerate social norms and subvert authority.

Lecoq was a French actor and director who dedicated much of his time to mentoring young performers at L'École Internationale de Théâtre Jacques Lecoq, a school of physical theatre located in Paris. Lecoq was known for his teaching style, which encouraged actors to "play" and fully engage with audiences — an approach that was incredibly innovative for the theater landscape at the time.

Lecoq once described the distinction between the clown and the bouffon as, "The audience laughs at the clown and the bouffon laughs at the audience."

In February of 2024, Brandes formed the Athens Clown Collective after hosting their first clown comedy workshop. The Athens Clown Collective is an inclusive group open to "any and everyone" who wants to participate in and lead comedy workshops, receive feedback, create new routines and collaborate on producing shows together.

“It seemed like clowning was a way to explore comedy in a new way outside of the rules of sketch and improv that felt more freeing,” Brandes says. “I thought that'd be a really great thing to introduce to the community in Athens.”

Through the Athens Clown Collective, Brandes began hosting weekly workshops called the “Laugh Lab.” These workshops began as a way

Darian Knapp poses at their senior thesis show, "It's All Just Part Of The Show" in Trisolini Gallery on April 18, 2024. Photo provided by Darian Knapp.

The Athens Clown Collective produced its first showcase at Donkey Coffee on April 6, 2024.

Although they did not have many performers, the group put on a hilarious and memorable show. They promoted the event through posters and social media posts that invited the audience to “come unprepared” and be ready for “the wildest comedy you’ll see all year.”

Brandes says they believe in “free accessible clowning,” so all of the workshops and shows produced by the Athens Clown Collective would have no admission fees.

Along with hosting workshops, Brandes also performs as their signature clown character, Safety Pin. When Brandes gets ready as Safety Pin, their signature look is a clash of black and white patterns, with oddly placed lumps and humps created from for comics and clowns alike to perform bundled-up laundry. The ensemble new routines and receive feedback. includes a frilly, classic clown collar Participants would often play games with ruffles that frame their face, which that emphasized responding to an is painted white with bold, sharp lines in black that define their eyes. Atop audience and laughter.

Brandes began each workshop with their head sits a knit, black-and-white a guided meditation, to encourage its striped pointy hat, complete with participants to enter a “childlike state” antennae-like protrusions.

“I view Safety Pin as this creature from and to imagine seeing and interacting another world who is getting up on a with the world for the first time.

This spiritual approach to clowning stage to laugh at how weird everybody was influenced by Brandes’ time in looks,” Brandes says. “I think the L.A. where they attended Clown comedy comes from the fact that Safety Church. Though telling their Pin is the one that looks weird to a roommates and family they attended ‘normal person.’”

Clowning is much more than just “clown church” made them worry Brandes had joined a cult, it was performing, although the line can become actually more of a workshop guided heavily blurred for those who view their by professional clown Jet Eveleth. The everyday interactions as a performance.

Darian Knapp, an OU alum, says workshop encouraged the use of play becoming a clown was a natural form and laughter as a way of release. www.backdropmagazine.com

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Ruby Culp and Kyrah Porter hold hands and lean their heads on each other.

of rebellion against traditional gender roles and expressions. Being called harsh names like “freak” growing up, not just by others but also by family members, for how they presented attracted them to art and clothing that many would consider “weird” or “kitschy.”

They often felt forced to perform a gender that was inauthentic to how they truly felt.

“Clowns are funny – it's literally their thing, and it's always such a high energy and high effort performance of something” Knapp says. “I really equated that to the way that presenting gender was. Everyone forgets that everyone performs for each other. That's just the way that people relate.”

When Knapp was a photography and integrated media student, their first major project was called “The Circus,” which featured self-portraits of Knapp in clown makeup. Additionally, Knapp’s senior thesis show, titled “It’s All Just Part of the Show,” showcased more clown selfportraits along with original zines and collages that explored the intersection of performance art and gender expression.

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Their art and photography are largely inspired by queer surrealist artists Claude Cahun and Marcel Moore. Photographs taken by Cahun and Moore delved into the uncharted territory of gender queerness and expression, with much of their work featuring Cahun embodying various characters, often showcasing both feminine and masculine attributes.

While the concept of androgyny was largely avoided at the time, Cahun leaned into it, as exemplified in the famous selfportrait “I am in training, don't kiss me,” which shows Cahun wearing makeup and sporting short hair.

Knapp says when people belittle others’ expressions or identities, it can feel isolating. However, they have found humor in the absurdity of gender roles and in the audacity of those who police and continue to uphold them.

“You have to laugh at it at a certain point,” Knapp says. “I think that's just the attitude you have to have sometimes.

You work toward that, and you do what

you can, but also to yourself, sometimes you just have to find a little bit of humor in it.”

Although Knapp does not perform as a clown in the traditional sense, they are known to frequent local bars and go on picnic dates in clown makeup and clown-inspired clothing. They decided to start bringing horns, balloons and other “silly things” to engage with people who might be startled by their look. Knapp enjoys interacting with those they encounter and encourages them to join in on the fun.

“You get the best interactions that way, too,” Knapp says. “It's all very natural… but in a very over-the-top way that I draw a lot of joy from.”

Current students at OU have seen the clown renaissance in Athens and decided to join in on the spectacle.

Ruby Culp, a second-year drawing and painting student, loves to go uptown with her best friend Kyrah Porter, a second-year student, both dressed in clown makeup and eclectic outfits.

Culp and Porter agree that being able to fully control their appearance with

striking makeup, which almost makes them unrecognizable, oddly boosts their confidence.

“You know, you’re with your friends, and you're like, ‘Oh, that's a bad picture, don't post it,’ or [you] feel selfconscious,” Culp says. “When I have makeup on – not normal foundation – the clown makeup, I'm just like, ‘Oh my gosh, yes.’ I always feel myself and I feel great.”

Similar to how people feel on Halloween, something about dressing up and creating a spectacle brings Culp and Porter confidence. However, people typically dress up as others on Halloween, which is not quite the case for Culp when wearing clown makeup.

“You're not pretending to be something you’re not,” Culp says.

“You're shifting yourself into another version. It's really cool. We still like to incorporate our own personalities in it.”

Porter has always had a signature look, often sporting a drawn-on star between her eyes. Despite her bold look, she can understand why others might feel shy about stepping out in

adventurous makeup.

Culp and Porter say they feel the most insecure when wearing their clown makeup on a regular night out. Porter recommends that people wanting to experiment with alternative makeup start by attending a themed event or party, where the occasion provides an excuse to wear bold makeup, making them feel less self-conscious.

“If you go to an 80s night or one of the raves around here, then you almost have an excuse to do it,” Porter says.

“You can have that social armor because it's for something.”

Culp also emphasizes that exploring makeup – whether clown-inspired or gothic – is an enjoyable way to experiment, even if she is not going anywhere.

Growing up, Culp says she had never felt or presented as overly feminine until recently. Once she embraced that expression, she began enjoying playing with makeup, taking pictures and then simply removing it afterward.

She views the process of getting ready as a clown as a “mini art project,” given how much time it takes in both

preparation and execution. Often, Culp sketches the makeup on paper before applying it to her face and even searches Pinterest for inspiration.

As the clown community in Athens continues to grow, it is clear that clowning is more than just a slapstick — it is an invitation to embrace individuality. Whether through the lens of comedy, gender expression or empowerment, the art of clowning is a method for participants to discover new ways to laugh, play and be seen.

As Brandes puts it, “The audience becomes part of the production”— and in clowning, everyone is invited to join the show.

Join the show! Learn more about comedic acting and improv by attending an Athens Comedy Collective workshop (pg. 8). They take place every Sunday from 2 p.m. to 4 p.m. at Central Venue. b

Kyrah Porter poses, wearing a shirt that says, "I'm getting married bitches."

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THE DROP

Committing to Character

Actors who’ve been in comedic plays share their methods

BY MEGHAN MCCRATE | DESIGN BY ALLY PARKER

T

he Chaddock and Morrow College of Fine Arts is known for its diverse range of performances, showcasing the talents of Ohio University students. During the fall semester, the theater department produced four different shows, but one comedic take on Jane Austen’s classic novel stood out among the crowd for its ability to be ridiculously over-the-top while staying true to the original themes and characters.

“Pride and Prejudice” opened at Tantrum Theater on Oct. 25, 2024. The play was promoted with the tagline, “This rendition is not your grandmother’s ‘Pride and Prejudice!’” Directed by Sullivan Canaday White, the production was meant to feel like a game show, essentially seeing how characters would navigate the game of love.

The flashy nature of the show was evident in its vibrant costuming. All actors wore bright oranges, pinks and blues,

Tyler Murray as Mr. William Collins in Tantrum Theater's production of "Pride and Prejudice" in October 2024.

Photo by Ellie Clark, the artistic director of Tantrum Theater. Provided by Tyler Murray.

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paired with colorful converse. The game show atmosphere was enhanced by the music incorporated into the show, including memorable dance sequences set to Joy Lenz and Grace Potter’s hit, “I Want Something I Want.”

The over-the-top performances, combined with rapid character changes, set the stage for an engaging and fast-paced comedy. It is important to note, however, that there is a lot of thought and consideration that goes into crafting a strong comedic theatrical performance.

Tyler Murray, a junior studying acting, says he had to find a balance between being comedic while also staying true to his character.

“During ‘Pride and Prejudice,’ I had two very distinct characters that were very different from each other, and one of those characters – Mr. Collins – was a huge character," Murray says. “He has this larger than life personality, and closer to the show, I started really struggling with how to balance making him this super huge character, but also still being able to keep him grounded and believable.”

Murray says he always jots down initial thoughts after reading a script for the first time. He thinks about what feels natural to him and the character he is portraying. Usually, many of those initial instincts carry through the rehearsal process and end up in the actual performances.

For the role of Mr. Collins, Murray decided that he would move like a ballerina with “the dexterity of a T. rex.” He saw his character as strong, but with the ability to move beautifully and swiftly.

“If you're doing something on stage, you can do it a lot bigger,” Murray says. “You can go way farther with it. It can be really nonsensical, especially with something like ‘Pride and Prejudice.’”

Chris Reinhardt, a third-year student studying musical theater, played multiple roles in “Pride and Prejudice” that could not have been more different. For Reindhardt, comedies are hilarious when actors approach their characters’ absurd scenarios with seriousness.

“The first way to kill comedy is to try to be funny,” Reinhardt says. “And the best way to do it is just to build these completely quirky and wacky characters, and try to see everything as life or death and serious – like our interpretation of Bingley. There’s ridiculousness going into that but you kind of have to ignore the fact that it's funny in order for it to be funny.”

Reinhardt says the cast approached this production with the same seriousness as they would with any other Austen novel adaptation. Heightened energy is also a huge part of comedic acting. Reinhardt says when the audience is not very loud or responsive, it is up to the cast to really ramp up the energy in the theater. If the audience is already in the mood for a ridiculous show, the actors can just “exist with them in that space.”

Comedy is often rooted in tragedy, Reinhardt says. It can emerge from the darkest and most unexpected places.

Steven Strafford, an assistant professor and the department head of musical theater at OU, has worked on countless plays, including some that were still comedic in nature but dealt with difficult topics.

“I think comedy has substance,” Strafford writes in an email, “For me, comedy is the way I organize the world. In the darkest moments of my life, I still have jokes. So, when I write, there’s always a healthy blend of jokes and tragedy kind of smashed together.”

He has firsthand experience writing about hardships. One of his favorite moments working in theater was writing

and starring in his one-man play, "Methtacular!" The show follows Strafford's brief substance use disorder, which was a very difficult time in his life. However, it begins as a campy comedy, complete with humorous songs and sequences before the seriousness gradually seeps in.

Strafford was able to take a “deeply tragic” time in his life and present it in a way that makes people laugh and cry. Dissecting and reliving those moments is no easy task, but being able to look back at those times with a touch of humor can make them more manageable.

“I think it works because the story is so grim and the jokes give the audience a chance to be together in a group and receive it together. When we laugh as a group, we feel safe, right?” Strafford writes. “So, the jokes in my show allow the audience to feel taken care of in a way. Then, they feel in good hands and are willing to follow me through this difficult story.”

It is important not to forget the effort that goes into comedic performances. Similar to dramas, actors have to carefully consider all of their choices – and more than that – actors have the responsibility of making their characters resonate with audiences. Approaching ridiculous scenarios with seriousness and engaging with life’s hardships with a bit of comedic brevity seems like the best way to achieve that goal. b

Amy Pilgrim as Elizabeth Bennet; Tyler Murray as Mr. William Collins and David Haugen as Charlotte Lucas in Tantrum Theater's production of "Pride and Prejudice" in October 2024.

Photo by Ellie Clark, the artistic director of Tantrum Theater. Provided by Tyler Murray.

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THE DROP

STORY BY NORA BARNARD PHOTOS BY CLAIRA KIMBLE DESIGN BY MATTHIAS AGGANIS

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A

lthough other acting groups may have certain limitations, Black Sheep Improv says, “yes, and” to anything that comes their way. From the classroom to the stage, each member brings their own talents and humorous approaches.

This comedic herd, however, is a selective group. The audition process, which happens at the beginning of each academic year, is fairly rigorous. Current members say people interested in auditioning should attend the pre-audition workshops.

Jack Miller, a sophomore studying international studies, says even though the audition process can feel “stressful,” he still had a ton of fun. After auditions, prospective improvers receive callbacks where they perform with team members, and normally four to five new people are chosen each year.

Jackson Coleman, a freshman studying musical theatre, says, “It was pretty fun…They made it feel like a welcoming environment…The auditioning and call-back process helped me decide to be there because they seemed like a really cool group and community.”

Once the “baby lambs” or new members are chosen, rehearsals begin. Each time, they start with a sharing circle where everyone discusses what they did throughout the week. The rest of the rehearsal time is filled with funny improv in whatever format they choose: musical, murder mystery or just basic improv games.

The main difference between rehearsals and performances are the audiences’ interactions.

How an audience reacts to a scene can help the actors navigate where to go next. Quinn Bennett, a fifth-year student studying environmental studies, calls improv a “collaborative art form,” because of this.

At the start of each year, Black Sheep works on the “Harold” format, which is one of the most iconic long-form improv structures. A typical “Harold” show starts with an opening, often initiated by a suggestion from the audience. That is followed by three “beats,” each consisting of an improvised scene that builds on themes or characters introduced earlier. The first “beat” sets ideas that will be explored or revisited throughout the show.

The group may also incorporate a specific theme for the shows – like doing a Hunger Games show close to the upcoming book release. Though some jokes are developed in rehearsals, the bulk of the show is created on the spot.

“I think being your most authentic self and really trusting the other person on stage is the biggest part of improv…being able to have trust in these people because the whole thing is just fully created.” Coleman says.

One recurring bit the audience does not see is when the actors are waiting backstage. A group member with a stage-manager-esque presence will say, “Hey guys, you’re on in fiiiiiiive minutes,” then shortly return to say, “Hey guys, you’re on in foooourrrrr minutes,” and so on until the show starts.

Each troupe member has their own way of getting ready for each performance. For instance, Coleman's process is to watch his favorite funny TikToks to get the humorous energy flowing. On the other hand, Bennett says, “improv is so much fun and it's gotten so natural at this point that I don't really do a lot of preparation anymore.” As a group, before a performance, they do warmups and sing upbeat songs all the way to the stage.

backdrop | Spring 2025

At the beginning of the show, each member introduces themselves. Some put on a silly voice, some act nonchalantly and some even take a dramatic pause before quickly saying their names.

Black Sheep shows used to be held in Seigfred Hall every other Thursday, but the building is undergoing repairs for the next few months. They are now performing in Schoonover Center 145. For a large lecture hall, the troupe was able to command the space.

Finally, the show always ends with a game called, “sex with me.” The troupe stands in a line and asks for one to two words. When they pick a word randomly given to them by the audience, each person will come forward and say, “sex with me is like [word]...” and finish the sentence. This exercise exemplifies their comedic ability to think quickly on their feet.

“A lot of my friends come to [the shows], so it's really fun to just show them what I've been working on,” Coleman says. “I think especially as a freshman in musical theater, there's not a lot of instant performance opportunities I have within that. So, it's really nice that I do have something to go to every two weeks. It kind of keeps that spark of performance that I love to have in me.”

The group’s camaraderie is obvious through their comedic interactions with one another on stage. Many members of Black Sheep consider the improv troupe as some of their closest friends at Ohio University.

“I think [it's] just the fact that we're very open with each other and that we're very close,” Miller says. “It's been a while since I've gotten so close to people so quickly.”

Aside from their time practicing and onstage together, they build intense trust from many group-bonding activities. They like to do week-long retreats and hang out often.

Also, The Ohio State University recently hosted an improv festival that students from Black Sheep attended together to watch performances and participate in workshops.

“I think that'd be really cool if, in the future, we could maybe host our own festival,” Coleman says. “That'd be really cool, because then we could also invite alum and professionals from all around the country to come and perform.”

What makes Black Sheep truly special is its diverse range of actors, with various students from different majors, experience levels and comedic perspectives, coming together to perform.

“Don't shy away from the stuff that you're interested in,” Miller says. “I think what makes our improv group so special is that we each bring something different to the table and we all come from different majors and different backgrounds. And we're able to bring those perspectives on the stage.” b

Black Sheep Improv rehearsing and playing various improv games on Jan. 29.

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THE DROP

BY ZOE WEYAND PHOTOS BY PEARL SPURLOCK DESIGN BY ANGLEO POLIS

W

hen people think of soup, Campbell’s often comes to mind – whether it’s chicken noodle, broccoli cheddar or cream of mushroom. However, students at Ohio University associate the fall comfort food with something a little different. For them, it is not just about the food – it is about S.O.U.P., the Student Organization of Undergraduate Playwrights. Unlike other student theater groups, S.O.U.P. challenges its members to write original plays, cast, direct and produce a performance in just one month.

As the university’s only student-run

playwriting organization, S.O.U.P. works to create a cooperative and welcoming environment where members are encouraged to exercise their creative freedom. That includes allowing members to decide whether they want to create a comedy, drama, tragedy or something in between.

The process of writing and producing shows always begins with picking a theme. The rules are that the theme must be open-ended, and that there are no rules.

Claire Waldrop, a senior studying English and marketing, is the administrative director of S.O.U.P. She

describes picking a theme as, “A lot of people yelling out really chaotically. It’s a lot of people’s favorite meeting of the month just because it is so loud and fun and chaotic. It’s people just really vying for what it is they want to write about.”

Once the group has suggested enough themes, the chaos continues as prompts are slowly narrowed down until just one remains.

Jack Allen Murphy, a senior studying playwriting and the producing director of S.O.U.P., says the process of picking a theme can take a long time. In fact, Murphy says that the group has sometimes spent upward of

Top row, left to right: Via Snyder, Terin “Mellohi” Reiber, Cooper Dawson, Alaina Tennant, Caspar Robbins and Hayleigh Wilhite. Bottom row, left to right: Mimi Sheard, Jack Allen Murphy and Claire Waldrop.

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backdrop | Spring 2025

Alaina Tennant at a S.O.U.P meeting on Feb. 3.

three hours selecting a show theme.

Once a theme is chosen, writers can begin brainstorming ideas to make it their own. Themes have ranged from love songs to supernatural to fully immersive – one constant is that the word “soup” is tagged onto the end of each theme, like “immersive SOUP” or “SOUP-ernatural.” This allows writers to experiment with style and subject matter within each five minute play.

Waldrop says, however, that they tend to lean more into comedy.

“One thing I will note about S.O.U.P. is I think a lot of our writers typically end up enjoying the comedy elements of it more, which can be really refreshing,” Waldrop says. “I think in a lot of other modes of writing, there’s a lot of value placed on very dramatic and, oftentimes, heavy works, but I think [it’s nice] having an outlet where you can write fun and you can write something that’s quite comedic.”

Waldrop also admits that some themes naturally lead writers to more fun and silly shows.

An example of this is “Whodunnit?

SOUP,” which led to a night of extravagant murder mysteries and “campy gags” to entertain the audience.

However, no matter what direction the writers take, they must consider how to get their plays written and produced in a short period of time.

In addition to casting, staging and assembling technical elements, writers

are also required to attend at least one writing workshop to receive feedback on their scripts. Waldrop explains that the toughest part of the process is often just showing up.

“I think the most difficult thing is sometimes just the time commitment to come to meetings,” Waldrop says.

“S.O.U.P. has never been something that, for me, is really difficult, and I think that is the beauty of it and something that we really want to keep about it. We want it to be something that people can do for fun and do to flex their creative muscles.”

The responsibility of casting, staging, picking props and costumes largely falls on the person who wrote the play, or a separate director if they choose not to direct their own work. However, Murphy and the other executive board members make sure that no director is left to fend for themselves throughout the process.

“I will tell (directors), ‘it’s your responsibility to find props, it’s your responsibility to find this’, but we are still a community,” Murphy says. “If people reach out to me and they’re like, ‘Jack, I have no clue what to do’, whether that’s actors, costumes or props, I’m like ‘let's talk about it.’”

Lastly, one hour before the show is presented to an audience, lights and sound are introduced. Murphy explains that this is because of the fastpaced nature of the group and the fact

that the focus is primarily on writing the script.

Once the scripts are written, movements are choreographed, props are set and lights and sound are programmed, the show is finally presented. It is a fast-paced environment that pushes students to adapt to a tight schedule. However, Hayleigh Wilhite, a junior studying acting and university liaison for S.O.U.P., says the organization is about much more than just presenting a show within a set timeline.

“I feel like we definitely have this community, especially when we go to the shows, and I think it makes me a better person,” Wilhite says. “It makes me happy to wake up on a Monday because I know I have S.O.U.P. that night.”

Meetings are held every Monday at 7 p.m. in Room 153 of the RadioTelevision Communications Building.

For updates about show locations and themes, follow @ohiousoup on Instagram. b

Jack Allen Murphy at a S.O.U.P meeting on Feb. 3.

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f un an d

GAMES

BY SHELBY GIBSON & KIRSTEN ABBEY | DESIGN BY ABBY BURNS Crossword puzzle generated by Education.com

Down:

Across:

1. World’s largest ___ (roadside attraction located in Bellville, Ohio) (pg. 13)

7. TV show with laughs and awkward moments

2. What event does the Athens Comedy Collective host weekly? (pg. 8) 3. Make fun of, in a playful way 4. What follows a punchline, usually 5. Chemicals released during exercise or laughter

8. Only 30 states require this form of education that teaches students about the birds and the bees. (pg. 32) 9. Undergraduate improv group at OU (pg. 26) 10. The fall comfort food and also the acronym of the Student Organization of Undergraduate Playwrights (pg. 28)

6. The theme of Backdrop Spring 2025 Issue 1

12. In this comedic practice, the golden rule is to always respond “yes, and” (pg. 8)

7. Comedy routine presented to an audience by one performer

13. Ohio University’s Saturday Night Live (pg. 16)

9. The French word for “jester” (pg. 21)

14. An essential skill for making jokes land

11. Weekday competitions where teams of friends can test their knowledge at Court Street bars (pg. 6)

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ga me s!

In the quirky town of ____________________, a group of clowns gathered for place

their annual ____________________ potluck. Each clown was dressed in a vibrant holiday

____________________ costume, with pockets full of ____________________. The adjective

object plural

star of the event was ____________________, known for their hilariously oversized name of celebrity

____________________ and their artistic abilities with a(n) ____________________. body part

object

Upon their arrival, the clowns began to draw on the giant ____________________. object

____________________ suddenly felt a wave of ____________________. They name of celebrity

emotion

stared at the ____________________ in their hand and pondered if any of the object

____________________ parts of life mattered. The audience watched in awe as adjective

the clowns created a ____________________ mural, depicting scenes of people adjective

____________________. verb ending in -ing

They filled a giant container with

____________________ and flung it at the noun plural

mural, symbolizing the ____________________ nature of existence. The audience adjective

erupted in laughter and contemplation as the clowns began to perform a synchronized ____________________, while balancing on one ____________________ each. body part

verb

When

the

mural

was

complete,

____________________. place

They

had

the

clowns

finally

____________________

understood

a past tense verb

the

meaning

in of

____________________. b noun

b ad Li bs www.backdropmagazine.com

31

SEX & HEALTH

LET’S

TALK

ABOUT

SEX

What they didn’t teach you in health class

BY RILEY CLARK | PHOTOS BY PEARL SPURLOCK DESIGN BY JULIA PARENTE

I

n the age of sexting and sneaky links, it is easy to forget where our understanding of sex actually began: sex ed. For me, it was a surreal time. My class was split by gender.

The girls and I were taken to a separate room, where we sat in front of the box TV that played MarshMedia’s sex ed DVD series. My education was overpowered by a catchy theme song that chanted “just around the corner” and a fear that my crush would not like me because of my prepubescent flat chest.

We went through the course as 9, 10 and 11-year-olds, unable to keep a straight face whenever the words “sex” or “intercourse” were mentioned. We graduated from learning about our own bodies to those of our counterparts and the intersection between them. After retaining slim to nothing, we reconvened with smirks on our faces, exchanging awkward giggles with our classmates.

How were we supposed to understand the wealth of this knowledge when all we could focus on was the red flush of our cheeks? Through the lens of a silly 10-year-old who could not help but laugh at diagrams of private parts, my key takeaway was abstinence was apparently the only answer, according to the middle school–aged girls paid to say so in Just Around the Corner.

Only 30 states require sexual education. In Ohio, the curriculum “is not required to be comprehensive” and has “no standard regarding medically accurate sex education,” according to Sex Ed for Social Change. As for the 20 other states that do not explicitly require sex ed, school districts are left to decide the content – if any – of what they teach their students.

“In our culture, as much as we have sexual content in the

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media, it is not something we’re necessarily very comfortable talking about in an open, productive way,” Jane Broecker says, a doctor of obstetrics and gynecology and an associate professor in the Heritage College of Osteopathic Medicine.

The Office of Health Promotion saw a need for a judgmentfree space for students to discuss sexual health. Bobcat Peer Educators, trained through the National Association of Student Personnel Administrators’ Certified Peer Educator program, are equipped to lead these conversations and promote healthy decision-making.

We have made it out of the mud of puberty, and many of us are exploring and experimenting with our sexuality. With more regulated and thorough teaching of the ins and outs of our bodies, adults could be better equipped to engage in safer, more fulfilling sex.

How many women actually orgasm during sex?

Just because DJ Khaled does not go down on his wife does not mean that should be the standard for everyone. The idea that all women orgasm during vaginal sex alone is a myth. According to gynecologists at the Mayo Clinic, “fewer than 1 in 5 women say they can climax from vaginal intercourse alone — everyone else wants or needs some sort of stimulation on their clitoris.” As adults, most people know about the clitoris, but the common knowledge of where it resides is debatable.

“Sometimes women in particular feel that sex is about pleasing their male partner in heterosexual relationships,” Broecker says.

“I think that we could do a little bit better with helping girls own their sexuality.”

The orgasm gap can only close if sexual partners shift to a more teamwork oriented mindset, ensuring that everyone has the chance to experience the big O.

Pull out game strong?

If a man suggests using the “pull out” method in place of birth control, do not listen.

Broecker emphasizes the importance of people taking ownership of their reproductive destiny when deciding to have sex. Especially now, with the overturning of Roe v. Wade, it is crucial for people engaging in sex – whether safe or not –understand the risks involved, without shame.

“Health education can probably be helpful in those situations, so that people know that they have a right from a young age,” Broecker says. “That they have the opportunity to control when and how they have children.”

The pull-out method is not foolproof. Start by having a conversation with your sexual partner. It is important to understand that there is a middle ground between abstinence and pregnancy.

STI reality check Something sex ed may have gotten right is the commonality of an STI. In a reproductive physiology class at Washington and Lee University, researchers discovered that one in four college students have had a sexually transmitted infection, with 80 percent going undetected due to having no symptoms.

The best answer to avoiding STIs during sex is to wrap it up.

Nyla Gilbert, a second-year journalism student and a Bobcat Peer Educator, always encourages anyone looking for condoms, dental dams and other sexual health resources to visit the Office of Health Promotion, where they are available for free.

“We [the Office of Health Promotion] have [a] bowl of condoms. We call it the fishbowl.”

If it is too late for preventative action, do not be ashamed.

Although the stigma around STIs can make it hard for people to seek help, it is important to remember, as Broecker points out, “to pick up an STI is embarrassing for most people, even though it is simply an

infection, just like a cold is.”

Outside of the Office of Health Promotion, there are a plethora of reproductive health services just around the corner, including OhioHealth Campus Care, Hopewell Health and Planned Parenthood.

Salt-N-Pepa had it right when they said, “let’s talk about sex.”

By dismantling the stigmas and unlearning the myths we have been taught, we can pave the way for healthier, safer and more informed sexual experiences.

Resources On campus: The Office of Health Promotion, located on the third floor of Baker Center room 339, allows students to access condoms and dental dams for free. Walk to the desk outside of the office to request sexual health resources or schedule a meeting with a Bobcat Peer Educator.

Online: Order a condom or dental dam package through ohiv.org/free-condoms, which allows people to place an order once every 30 days.

To schedule an appointment with a contraception counselor, who can discuss safe contraception options and insurance coverage, visit OhioHealth Campus Care at 2 Health Center Drive. Students can bring their student I.D. and either meet with a counselor or schedule an appointment in advance by calling (740) 592-7100. b

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33

VOICES

the rainbow connections

Art Director Ellie Sabatino shares her experience being a Disney Imagineer for a semester WRITTEN, PHOTOGRAPHED AND DESIGNED BY ELLIE SABATINO

I

n a typical college lecture, laughing out loud is likely frowned upon. But in Communication 4023 – laughter isn't just welcomed – it’s encouraged. After all, how could you be sad when your final exam is a trip to the happiest place on earth?

Storytelling, Technology, and Digital Media in Theme Parks is a domestic study abroad course offered as a seniorlevel capstone in the fall semester. In this course, students are immersed in the inner-workings of storytelling inside the theme park industry. From commercial design to immersivity and guest experiences, students are tasked with reworking their preconceived notions of what it means to entertain.

As one of these students, I came into the course with a pretty set idea of how the theme park industry operated, thanks to my years-long love and appreciation of the history of Disney Parks. I’ve been lucky to have visited Walt Disney World with my family growing up. This, along with my passion for design, cemented my connection to creative storytelling, which only grew with my introduction to graphic design in high school.

Ellie Sabatino next to Stage One Company Store in Muppets Courtyard.

Ellie Sabatino smiles in front of Cinderella Castle.

Flash forward to today – over ten years since my first trip to Disney and five since discovering my passion for design – my appreciation for storytelling hasn’t changed.

In fact, it's taken on a new life as I’ve fallen in love with the work of Disney Imagineers.

“Imagineering” is Disney’s coined term for their creative team. A play on the words “imagination” and “engineering,” these magic makers work tirelessly behind the scenes to make sure that every part of a guest’s experience within the Disney parks and resorts are immersive, magical and true to Disney’s brand.

Admiring the storefronts leading up to Cinderella's castle on Main Street, U.S.A, or finding a hidden Mickey Mouse tucked into the lattice work on a fence — these details are all products of Disney Imagineering.

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I wasn't quite sure what to expect on my first day in class.

I knew that, besides learning about the inner workings of theme parks, I would be working with my classmates on a semester-long immersive project. The details of this project, however, remained a mystery. Regardless, I was more than excited to dive in.

It’s not every class where you genuinely feel better after attending each week. In the midst of the beginning of my senior year – packed with graduate school applications, thesis show preparations and the existential feelings that come with graduation, COMM 4023 was a place where I could learn with my peers, laugh out loud and truly love what I was working on.

As I got to know more about my classmates, I began to realize the underlying power of laughter during work. By work, I don’t mean just what we were learning about – though it was pretty funny to be graded on our knowledge of Mickey Mouse – but more about the importance of keeping joy alive in a working environment. No matter how tough the other aspects of my semester felt, I knew that for 90 minutes, twice a week, I could sit with people who were steadily becoming more like friends than just classmates, as we studied something we all loved.

Midway through the semester, it was time to play the music and light the lights. Our task was to come up with a new attraction concept for the Walt Disney World parks.

Having spent half a semester learning about the inherent humor, lightheartedness and creativity of Imagineering, I proposed a project that would combine the history of former Disney attractions and the humorous characteristics of The Muppets – “The Great Muppet Ride.” Based on a beloved former attraction that spoke to the history of movies, my group saw the value in both appealing to and improving upon Imagineers former work.

With a concept picked and a team assembled, our group began to lay the foundations behind humor and theme park design. What followed was a three week period of intense library brainstorming sessions where we had to address questions and concerns. For example, we found ourselves debating whether a chicken would sing or dance, how The Muppets would faithfully recreate the Titanic and the Shining and whether Rizzo the Rat could truly be a good stand-in for Mickey Mouse. In short, I’ve never had more fun working on a project.

Ellie Sabatino and her COMM 4023 group wearing their original T-shirts for their Muppets attraction concept.

Despite the silliness, applying what we had learned throughout the semester, along with each group member's talents, truly felt like being a team of Imagineers. Our final project involved concept art, virtual reality renderings, architectural models, logo design, character sketches and much more — all thanks to our team's willingness to push our creative limits through humor.

Even more inspiring was seeing the final projects of all my other classmates, including Pixie Hollow inspired restaurants, Inside Out roller coasters, Kingdom Hearts dark rides and a Fortnite park inclusion. I loved seeing everyones different takes on the importance of creativity in storytelling endeavors.

Sure, our project was the final amalgamation of a semester spent in Athens, but the real final of COMM 4023 was, of course, the long awaited week-long trip to Walt Disney World.

The whole trip felt like a dream, but really what made it unforgettable was the bond we shared as a group.

Participating in a storytelling class led by Imagineers during the day was made even more magical by meeting Flynn Rider (or a guy playing Flynn Rider) as a class at night. I’ve never laughed harder waiting in line for attractions, running to the lobby in the mornings or turning our bus into a party bus.

All this to say, COMM 4023 is an experience I will always hold close to my heart – both for the lessons taught to me by professors and the friends I made. Imagineering is truly a passion of mine and I hope to be in the position one day to call it my career.

For now, as I enter into my final semester of undergrad and all the pressures that come with it, I will remember to approach each assignment with creativity, authenticity and a little bit of humor. After all, life gets pretty dull if you don't remember to laugh every once and a while. b

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