Texas Theatre and Dance Presents Fall For Dance 2015

Dance Repertory Theatre presents

nov. 12–15, 2015 B. IDen Payne Theatre

The University of Texas at Austin / Department of Theatre and Dance

Dance Repertory Theatre presents

November 12, 13, 14 at 7:30 p.m.

November 14, 15 at 2:00 p.m.

b. iden payne Theatre F. Loren Winship Building

utexas.edu/finearts/tad

Dance Choreographer

Stage Manager: Jessica Forte Technical Director: Travis Perrin There will be a 10-minute intermission Dance DECODED: There will be a post-performance discussion with the cast following performances on November 12, 13, 15 and November 14 at 2:00 p.m.

cover Photo: Lawrence Peart

Prelude Dorothy O’Shea Overbey Introspection Rachel Perry Seen But Not Heard Hunter Sturgis Poem (Part 1) Alex Ketley Fear Knot / Sublime David Justin Feminist Doormat Andrea Beckham Maximizing the Audience Manuel Vignoulle

a note from the artistic directors For our 2015/2016 season, Dance Repertory Theatre’s focus is on embodiment; exploring dance as a way of existing in the world. The primary artistic medium of dance is the body, where artistic meaning is produced through movement and physical experience. Dance is a unique art form because, unlike more tangible art forms, the dancer attempts to express something solely through the motion of the body. Before we, as human beings, expressed ourselves with pictures, before we had words to say, before we had letters to write on a page—we had our bodies. The nature of dance itself is written into the human form. But what is the meaning of dance? What do we see when we see dance? What do we feel when we experience dance? Who are we when we are part of the act of dance? In truth, dance is nothing more and nothing less than the action of the entire human body, which may be bound to language of motion, ultimately seeking to create its own language through movement.

This fall, under the artistic direction of Charles O. Anderson, Andrea Beckham and Dorothy O’Shea Overbey, Dance Repertory Theatre will explore embodiment through the lens of contemporary ballet, a genre of dance derived (and departing) from classical ballet. The term “contemporary ballet” can be used to describe what is, essentially, contemporary dance that stresses the precision and clarity of line and form often associated with ballet. The concept of contemporary ballet actually refers to a broad continuum of movement and varying choreographic approaches. It describes ballet technique, juxtaposed against music, body types and imagery that departs from the traditional ballet aesthetic in a movement that deconstructs ballet form, while still honoring classical sensibilities. This form demands that the dancer possess ballet technique while working with a greater range of upper body movement and creative use of the space. The common thread throughout this concert is that it is not constrained to the rigorously defined body lines and forms found in traditional ballet, yet each work, in its own unique way, is an embodied conversation with classical style.

The Department of Theatre and Dance is a world-class educational environment that serves as the ultimate creative incubator for the next generation of artists, thinkers and leaders in theatre and performance.

PRELUDE Choreographed and performed by Dorothy O’Shea Overbey Music: Prelude No. 15 in D flat, Op. 28/15 by Frédéric Chopin, Raindrop with Evgeny Kissin, piano From the Choreographer “So the darkness shall be the light, and the stillness the dancing.” —T.S. Eliot

introspection Choreography: Rachel Perry Lighting Designer: Chian-ann Lu Costume Designer: Adrienne Greenblatt Cast: McKenzie Cornish*, Erin Kedzie, Aminah Maddox, Kathryn McCarn, Allyson Morales, Kanami Nakabayashi, Eileen Yurkio Roby*, Mackenzie Voorhies, Erica Wend From the Choreographer Introspection is influenced by the practice of Ziva meditation, which is said to reveal innerpeace and a sense of individuality. Through the style of contemporary ballet, each dancer utilizes movement as a form of meditation in order to express their uniqueness in a powerful and graceful way. Through this practice, one’s path in the world becomes clear, allowing the pursuit of one’s passion. * Understudies will perform November 14 at 2:00 p.m.

Seen But Not Heard Choreography: Hunter Sturgis in collaboration with the dancers Music: Neither Anvil nor Pulley: Act III: A Cow Call (Please Oh Please Come Home!), Neither Anvil nor Pulley: Act II: 120bpm (Or, What Is Your Metronome Thinking?), Neither Anvil Nor Pulley: Act IV: Feedback (In Which A Famous Bach Prelude), composed by Dan Trueman, performed by SO Percussion Lighting Designer: Chian-ann Lu Costume Designer: P.J. Kelly Rehearsal Assistant: Anna Ingram Cast: Stephen Anthony, Sofia Aranha, Veronica Boccardo, Lizzette Chapa, Emily DiFranco, Laura Beth Flett, Anna Ingram, Allison Irby, Oluwaeun S. Olayiwola, Francis Rodriguez, Georgina Wilson From the Choreographer Seen But Not Heard is an abstract exploration of the concept of existential social identity.

Poem (Part 1) Choreography: Alex Ketley Music: Instant performed by Emptyset (Recur), composed by James Stuart Ginzberg and Paul Purges, Through the Glass in the Roof by Ben Frost Lighting Designer: Chian-ann Lu Costume Designer: Caitlin Graham Rehearsal Assistant: Mariana Spósito Production Assistant: Sarah-Grace Poitevent Cast: Gianina Casale, Camille Collins, Summer Fiaschetti, Katherine Gunderson, Zach Khoo, D’Lonte K. Lawson, Aminah Maddox, Morganne Mazeika, Kanami Nakabayashi, Sarah-Grace Poitevent, Mariana Spósito, Georgina Wilson From the Choreographer Poem (Part 1) was created as a pure movement piece, derived from the various processes Alex Ketley has explored over the last five years, including information gleaned from his companies’ research in rural communities in the United States. This piece stands as his meditation on the landscapes and diversity available to our bodies and how it exists as a connection for audiences in unlikely settings.

intermission

Fear Knot / Sublime Choreography: David Justin Music: The M-10 Song performed and composed by Michael Nyman Lighting Designer: Chian-ann Lu Projection Designer: Robert Mallin Costume Designer: Caitlin Graham Rehearsal Assistant: Sarah-Grace Poitevent Cast: Lizzette Chapa, Johnny Chatman II, McKenzie Cornish, Nicholas Kao, Erin Kedzie, D’Lonte K. Lawson, Morganne Mazeika, Kanami Nakabyashi, Oluwaeun S. Olayiwola, Cassidy Oldham, Eileen Yuriko Roby, Connor Timpe From the Choreographer The words “fear knot” and “sublime” suggest contrasting states of tension and release, interspersed with lingering stillness. Fear Knot / Sublime explores the internal moments of each of these concepts, manifesting these ideas through the physical nature of dance.

No matter how fleeting the moment, the tension between these two concepts and the distance that tension stretches exist as compelling expressions.

DIRECTOR’S COUNCIL The Texas Theatre and Dance Director’s Council is a premier volunteer group designed to foster strong and collaborative connections between The University of Texas at Austin and the local community by supporting initiatives in marketing, public relations, student recruitment and development. As advocates for the department, this group of alumni, parents and fine arts supporters play a key role in continuing to build a professional theatre and dance training program serving thousands of talented Texans for generations.

2015/2016 Director’s Council Members Carol Smith Adams Francesca Brockett and Jim Pedicano Barrett Bruce Jean Cheever Joanne and Jack Crosby Dee Dawson Laura Eastman

Gary Farmer JoLynn Free Missy Grimes Pam and Edmund McIlhenny Annie McKinnon Debbie Oliver Miriam Relyea

Diane Robinson Russ Sartain Nancy Scanlan Marc Seriff Laura Sheffield Karen Skolnik Leah Stolar Sharon Watkins

Feminist Doormat Choreography: Andrea Beckham Music: Fratres by Gideon Kramer and Keith Jarrett, composed by Arvo Pärt, Clark Thomas Cappel and David C. Sartore (Tabula Rasa) Lighting Designer: Chian-ann Lu Costume Designer: Lirit Pendell Rehearsal Assistant: Erica Wend Production Assistant: Elizabeth Tan Cast Trio: Emily DiFranco, Katherine Gunderson, Allison Irby* Cast Trio: Gianina Casale, Summer Fiaschetti, Mariana Spósito** Cast Trio: Rasely Goode, Claire Goodman, Vivian Lugo*** Second Section: Gianina Casale, Emily DiFranco, Summer Fiaschetti, Rasely Goode, Claire Goodman, Katherine Gunderson, Allison Irby, Vivian Lugo, Mariana Spósito Understudies/Collaborators: Laura Beth Flett, Elizabeth Tan, Erica Wend From the Choreographer The trio, Feminist Doormat, choreographed in stages over the past two decades, is rooted in research published by esteemed women in their early careers such as Shulamith Firestone, Nancy Henley and Dame Rebecca West, and is re-imagined for today’s powerful young women in dance. Assisting in development of an entirely new secondary section, these dancers took part in exploration of both written word and non-verbal expression, loosely inspired by the thoughts of Dame Rebecca West, who, at age 20, said: “I, myself, have never been able to find out precisely what feminism is; I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat, or a prostitute.” *Trio will perform November 12 at 7:30 p.m. and November 14 at 7:30 p.m. **Trio will perform November 13 at 7:30 p.m. and November 15 at 2:00 p.m. ***Trio will perform November 14 at 2:00 p.m.

Maximizing the Audience Choreography: Manuel Vignoulle Music: Maximizing the Audience, Music and Lyrics: Wim Mertens, ©Copyright by Usura S.R.L. Lighting Designer: Chian-ann Lu Projection Designer: Jon Haas Costume Designer: Lirit Pendell Guest Artist: Dorothy O’Shea Overbey Cast: Stephen Anthony, Lizette Chapa, Johnny Chatman II, Camille Collins, Nicholas Kao, Zach Khoo, D’Lonte K. Lawson, Morganne Mazeika, Kathryn McCarn, Oluwaen S. Olayiwola, Connor Timpe, Mackenzie Voorhies From the Choreographer The piece finds inspiration in music, following the different paths of the continuously evolving and ever-changing melody and rhythmic accents that allows the dancers and audience members to experience a trance-like feeling through sounds, voices and bodies.

cast

Stephen Anthony

Sofia Aranha

Christian Bergin

Veronica Boccardo

Gianina Casale

Lizzette Chapa

Johnny Chatman II

Leigh-Alice Clark

Camille Collins

McKenzie Cornish

Emily DiFranco

Summer Fiaschetti

Laura Beth Flett

Rasely Goode

Claire Goodman

Katherine Gunderson

Anna Ingram

Allison Irby

Nicholas Kao

Erin Kedzie

Zach Khoo

D’Lonte K. Lawson

Vivian Lugo

Aminah Maddox

Eleah Maxfield

Morganne Mazeika

Kathryn McCarn

Kanami Nakabayashi

Oluwaeun S. Olayiwola

Cassidy Oldham

Dorothy O’Shea Overbey

Rachel Perry

Sarah-Grace Poitevent

Tabitha Pupo

Eileen Yuriko Roby

Francis Rodriguez

Mariana Spósito

Hunter Sturgis

Elizabeth Tan

Connor Timpe

Mackenzie Voorhies

Erica Wend

Georgina Wilson

Allyson Morales

creative CHARLES O. ANDERSON (Artistic Director) is head of the dance program and producing artistic director of Dance Repertory Theatre.

Born and raised in Richmond, Virginia, Anderson earned his B.A. in Choreography and Performance with a minor in African Studies from Cornell University and his M.F.A. in Dance from Temple University where he specialized in African Diasporic dance.

Professionally, Anderson is artistic director of the critically-acclaimed dance company, dance theatre X which he founded in 2003.

He has performed in the companies of Ronald K. Brown, Sean Curran, Mark Dendy and Miguel Gutierrez, among others. His work has been presented nationally and internationally and he has earned recognition from numerous grants and organizations such as the Pew Fellowship in the Arts, one of “25 to Watch” by Dance Magazine and one of “12 Rising Stars in the Academy” by Diverse: Issues in Higher Education magazine.

Andrea Beckham (Artistic Director, Choreographer – Feminist Doormat) is a choreographer, dancer and educator.

Longtime participant in the repertory ensemble, Sharir Dance Company, Beckham has additionally performed with Wilson’s Tallulah Dance in Seattle and on tour, Jones/ Zane Dance Company in New York and numerous others. She has also developed new work with her own company, Andrea Beckham Collaborative Dance. Presenting choreography since 1989 in the United States, Mexico, Taiwan and Europe, Beckham has also presented works in new media explorations with Yacov Sharir in Holland, Portugal, Israel and China. She teaches dance and runs the pilates laboratory at The University of Texas at Austin, where she proudly received the Regents’ Outstanding Teaching Award.

DAVID JUSTIN (Choreographer – Fear Knot / Sublime) was formerly a principal dancer with Birmingham Royal Ballet, a soloist with San Francisco Ballet and began his career with Boston Ballet. Justin has toured extensively

across the globe performing at Lincoln Center, the Royal Opera House (London), Covent Garden (London), Paris Opera (Paris) as well as major houses in Italy, Japan, Hong Kong and South Africa. His repertoire includes work with William Forsythe, Mark Morris and Twyla Tharp, among others. Justin’s own critically-acclaimed choreography has been performed at the Kennedy Center, in Greece, at the Edinburgh Festival and in New York City.

In 2005, he founded the American Repertory Ensemble (Austin, Texas). He has extensive training in Shakespearian theatre from the Royal Academy of Dramatic Arts (London) and holds a M.A. from the University of Birmingham (England). Justin is an associate professor of dance at The University of Texas at Austin and currently serves as the guest ballet master in residence with Kansas City Ballet.

Alex Ketley (Choreographer – Poem (Part 1)) is an independent choreographer and the director of The Foundry. Formerly a classical dancer with the San Francisco Ballet, Ketley performed a wide range of classical and contemporary repertoire including the work of William Forsythe, James Kudelka and George Balanchine. In 1998 he left the San Francisco Ballet to co-found The Foundry in order to explore choreography, improvisation, mixed media work and the collaborative process. With The Foundry, he has been an artist in residence at many leading art institutions including Headlands Center for the Arts, The Yard, the Santa Fe Art Institute, the Taipei Artist Village, ODC Theater and the Vermont Performance Lab. Ketley also worked with Summer Lee Rhatigan to create The San Francisco Conservatory of Dance in 2004, an organization where he still serves as an advisor, teacher and resident choreographer.

Dorothy O’Shea Overbey (Artistic Director, Choreographer/Performer – Prelude, Guest Artist – Maximizing the Audience) grew up in Austin, training and performing with Ballet Austin, where she also trained in classical piano with Dr.

creative Amanda Vick Lethco. Overbey spent a year as an apprentice with Colorado Ballet and went on to dance with David Taylor Dance Theater, Ballet Nouveau Colorado and Aspen Santa Fe Ballet. After moving to New York in 2004, Dorothy danced for Ballet NY, Dances Patrelle, Collective Body Dance Lab and John-Mark Owen Presents.

Rachel Perry (Choreographer – Introspection) is a fourth-year B.F.A. in Dance major who is also pursuing a Business Foundations Certificate from the McCombs School of Business. This is her third year performing with Dance Repertory Theatre (DRT). Perry has performed works by Mark Morris, Merce Cunningham, Andrea Beckham, Shen Jun and Sidra Bell, and co-choreographed a piece entitled (De) constructed for DRT’s production of Ears, Eyes + Feet. After graduating in May, Perry plans to dance and choreograph professionally in New York and Europe.

Hunter Sturgis (Choreographer – Seen But Not Heard) is a third-year B.F.A. in Dance

major. He was recently seen in Tongue in Cheek Texas Theatre and Dance’s production of Ears, Eyes + Feet (2015). After graduating, Sturgis plans to join a dance collective.

Manuel Vignoulle (Choreographer – Maximizing the Audience) is a French choreographer based in New York. Vignoulle studied at The Conservatoire National Supérieur de Musique et de Danse de Paris and went on to work with different French contemporary companies including Claude Brumachon, Corinne Lanselle and Bernardo Montet. He was a dance artist with both Ballet du Grand Théâtre de Genève (Switzerland) and Cedar Lake Contemporary Ballet (New York) where he collaborated with inspiring choreographers such as Sidi Larbi Cherkaoui, Andonis Foniadalkis, Hofesh Shechter, Cisco Aznar, Carolyn Carlson, Benjamin Millepied and Ohad Naharin.

Manuel appeared as a guest for La La La Human Steps (Canada), Het Nationale Ballet (The Netherlands), State Theatre (South Africa) and The Forsythe Company (Germany). manuelvignoulle.com

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production JON HAAS (Projection Designer – Maximizing the Audience) has been designing video, lighting and scenery for performance since 2003. He recently moved to Austin in order to pursue his M.F.A. in Design and Technology with a focus in integrated media design for live performance where he recently developed projections for William Glick’s Wilma, under the direction of Natalie Novacek.

JESSICA FORTE (Stage Manager) is a thirdyear B.A. in Theatre and Dance major with a focus in stage management. Most recently, Forte completed the Summer Professional Training Program at the Shakespeare Theatre of New Jersey where she served as assistant stage manager for Love’s Labour’s Lost. She has been the stage manager for Ears, Eyes + Feet (2015), Rainbow Connection (The Cohen New Works Festival, 2015) and Good Day (UTNT (UT New Theatre).

CAITLIN GRAHAM (Costume Designer – Poem (Part 1), Fear Knot / Sublime) is a first-year M.F.A. in Design and Technology candidate with a focus in costume design.

She recently moved to Austin from New York City where she worked in styling and costume design for theatre, television, commercials and print.

ADRIENNE GREENBLATT (Costume Designer – Introspection) is a third-year B.A. in Theatre and Dance major with a focus in costume design. Greenblatt recently worked as the wardrobe supervisor for the short film Bunny & Nonbunnyness.

P.J. KELLY (Costume Designer – Seen But Not Heard) is in her final year as a B.A. in

Theatre and Dance student with a focus in costume design. Kelly is currently designing work for the Round About Player’s production The Insanity of Mary Girard and working alongside faculty member Marielena Roque to create a costume-inspired performance piece.

CHIAN-ANN LU (Lighting Designer) is originally from Taiwan and received his B.A. form the National Taiwan University. He is a second-year M.F.A. Design and Technology candidate with a focus in lighting design.

His recent work was for Texas Theatre and Dance’s production of Ears, Eyes + Feet (2015). chianannlu.weebly.com ROBERT MALLIN (Projection Designer – Fear Knot / Sublime) received his undergraduate degree from Concordia University in Montreal, Quebec where he focused in lighting and scenic design.

Mallin is a M.F.A. in Design and Technology candidate with a focus in integrated media design for live performance. Recent credits include working for In-Yer-Face theatre production, Osama the Hero and After the End (Lifelong Productions). Mallin was nominated for a Frankie Award for Design in 2014 for his work on Curse of the Starving Class by Sam Shepard (Lifelong Productions).

LIRIT PENDELL (Costume Designer – Feminist Doormat, Maximizing the Audience) is a first-year M.F.A. in Design and Technology candidate with a focus in costume design.

Pendell came to Austin from upstate New York and, more recently, Seattle, where she worked in Shakespeare festivals, devised theatre and commissioned jewelry, corsets and steampunk fashion design.

cast STEPHEN ANTHONY (Seen But Not Heard, Maximizing the Audience), a fourth-year B.F.A. in Dance major, has been performing with Dance Repertory Theatre for four years. Originally from Austin, he began his dance training at Dancin’ Jazzi Dance Studio where he started in jazz, tap, hip hop and ballet. Anthony has performed abroad with the Austin-based contemporary company, Diverse Space Youth Dance Theatre, for their European tour to Berlin, Germany and Dublin, Ireland. His most recent performances include “Tyrone Jackson” in Fame The Musical and Dance Repertory Theatre’s 2015 spring show, MOVE!.

Sofia Aranha (Seen But Not Heard) hails from Richardson, Texas where she began dancing at the age of three. Aranha is a second-year B.F.A. in Dance and B.A. in Economics student, also pursuing academic tracks in pre-law and business economics.

She serves as the financial director for the Fine Arts Council, is a mentor for the Gateway Scholars program, and is a member of the Texas Orange Jackets and the Liberal Arts Honors Program. After graduating, Aranha plans to attend graduate school to earn her J.D. and M.B.A.

a student with Joffrey Ballet and worked for American Ballet Theatre in Austin and Ballet West as resident assistant and intern. Boccardo is pursuing a B.F.A. in Dance: Dance Studies in order to become a certified teacher.

GIANINA CASALE (Poem (Part 1), Feminist Doormat) was born in Argentina and raised in Texas. Casale began her dance training at the age of seven in Irving, Texas before continuing her education at. Booker T. Washington High School of the Performing and Visual Arts in the Dallas area. Casale is a third- year student at The University of Texas at Austin pursuing a B.F.A. in Dance. She most recently performed in ALTMODE (New York City).

LIZZETTE CHAPA (Seen But Not Heard, Fear Knot / Sublime, Maximizing the Audience) began performing in high school in the Rio Grande Valley. Most recently, she performed in Dance Repertory Theatre’s Ears, Eyes + Feet and MOVE!. After graduating in May 2017 with a B.F.A. in Dance, she plans to dance with a contemporary company.

CHRISTIAN BERGIN (Production Assistant – Fear Knot / Sublime) began dancing at the age of ten. He has had the opportunity to work with many professionals in the field, including Sidra Bell. He is also pursuing a degree in business from the McCombs School of Business and plans to use his creativity to revolutionize the business world.

JOHNNY CHATMAN II (Feat Knot / Sublime, Maximizing the Audience) began dancing at the age of four in the Greater Houston Area. He has performed in Yoav Kaddar’s Raw, Mark Morris’ Grand Duo, David Justin’s Quiver, Merce Cunningham’s Beach Birds, Millicent Johnnie’s Clear the Air, Sidra Bell’s schematic, Christian Von Howards’s Two Degrees, Charles Anderson’s For the Fallen Ones and student works during his time with Dance Repertory Theatre. Chatman is a fourth-year B.F.A. in Dance major.

VERONICA BOCCARDO (Seen But Not Heard) began performing at a young age in Venezuela, training in ballet and flamenco performance. Once in the States, Boccardo continued dancing through high school. During her time at The University of Texas at Austin she has performed in Dance Action’s S.E.E.D. shows: Nothing Else Matters, Virgen Morenita, Liber Vitae and The Awakening. She has been

LEIGH-ALICE CLARK (Production Assistant – Introspection) is a third-year student at The University of Texas at Austin. Clark danced with Dallas Metropolitan Ballet during high school and performed various roles in ballets such as Penny Whistle, La Valse, The Night Before Christmas and The Little Mermaid. Last Spring, she performed with Dance Repertory Theatre in MOVE!. After graduating with a

cast B.F.A. in Dance as well as a certificate in premedicine, she plans to pursue a health career with a dance influence.

CAMILLE COLLINS (Poem (Part 1), Maximizing the Audience) is a third-year B.F.A. in Dance major. Collins began her dance studies at The Houston Ballet’s Ben Stevenson Academy in 2006. In 2009, she was accepted to Houston’s High School for the Performing and Visual Arts where she was featured in Thang Dao’s S.O.S and Troy Powell’s (Alvin Ailey) Intimate Voices. After leaving Houston Ballet’s program, Collins attended Point Park University’s International Summer Dance Program where she performed in works by David Curwen and William McClellan.

MCKENZIE CORNISH (Introspection, Fear Knot / Sublime) previously studied at the University of North Carolina School of the Arts. Entering The University of Texas at Austin with a ballet background, Cornish has shifted her focus to new techniques and plans to explore commercial work and the entertainment industry upon graduating.

EMILY DIFRANCO (Seen But Not Heard, Feminist Doormat) began dancing at the age of three in Rowlett, Texas. In 2011 she became a member of the Collin Dance Ensemble at Collin College where she performed modern and contemporary dance. DiFranco transferred to The University of Texas at Austin in the fall of 2014. After receiving her B.F.A. in Dance she plans to travel, join a company and become a dance instructor.

SUMMER FIASCHETTI (Poem (Part 1), Feminist Doormat) began her dance studies at the age of three in Glen Burnie, Maryland before moving to Texas in 2008, where she graduated from Booker T. Washington High School for the Performing and Visual Arts.

Fiaschetti is currently a third-year B.F.A. in Dance: Dance Studies major. After graduation, she plans to pursue a dance career before establishing herself in dance education.

LAURA BETH FLETT (Seen But Not Heard, Feminist Doormat) began dancing at the age of four at Shreveport Dance Academy in Louisiana. Flett is a second-year B.F.A. in Dance: Dance Studies major and plans to pursue a career in dance education and dance therapy upon completing her degree.

RASELY GOODE (Feminist Doormat) is a third-year B.F.A. in Dance major. She began dance training in jazz, tap, ballet and contemporary in early grade school. Most recently she performed in Ears, Eyes + Feet and Dance Repertory Theatre’s spring 2015 concert, MOVE!.

CLAIRE GOODMAN (Feminist Doormat) began performing at a young age with North Central Ballet in the Dallas/Fort Worth area.

She is currently a third-year pursing a B.F.A. in Dance. Most recently, she performed in Dance Repertory Theatre’s MOVE! and Fall for Dance (2014). During the summer of 2015, Goodman traveled to Austria for the Young! Tanzsommer dance festival. After graduation, she plans to pursue a career in professional dance.

KAtherine GUNDERSON (Poem (Part 1), Feminist Doormat) is a fourth-year B.F.A. in Dance: Dance Studies major. Most recently, Gunderson performed throughout Austria with Young! Tanzsommer. After graduation, she plans to pursue a performance career before teaching dance in a K-12 setting.

ANNA INGRAM (Rehearsal Assistant/ Performer – Seen But Not Heard) is currently a third-year B.F.A. in Dance student at The University of Texas at Austin. She has trained in ballet, jazz and contemporary. Ingram has studied with Cogliandro, Marlana Doyle, Sidra Bell, Peter Chu and Sean Carmon, among others. She has traveled to China and France for dance where she was recently in residency with members from world-renowned dance companies such as Merce Cunningham Company, Pina Bausch, Gaga and Katherine Dunham Company.

cast ALLISON IRBY (Seen But Not Heard, Feminist Doormat) is originally from Denver, Colorado where she began dancing at age three. Irby’s exploration of movement began with improvisational movement, which later fused with formal training in ballet and modern styles. After high school, Irby studied dance at Hillsong College in Sydney, Australia. Following her year abroad, Irby was a member on the Collin Dance Ensemble at Collin College in Plano, Texas.

NICHOLAS KAO (Fear Knot / Sublime, Maximizing the Audience) began dancing at the age of 14 in the North Dallas area.

Since transferring to The University of Texas at Austin as a B.F.A. in Dance major, he has performed in Texas Theatre and Dance’s production of Fame The Musical and Dance Repertory Theatre’s MOVE!. After graduating, Kao plans to perform with a dance company or theatre collective.

ERIN KEDZIE (Introspection, Fear Knot / Sublime) is a fourth-year B.F.A. in Dance major and a journalism major who hails from Houston, Texas where she received classical ballet training during her youth.

ZACH KHOO (Poem (Part 1), Maximizing the Audience) is a fourth-year B.F.A. in Dance major at The University of Texas at Austin. At the Department of Theatre and Dance, he has had the opportunity to perform works by Paul Taylor, Mark Morris, Merce Cunningham and Sidra Bell. Last fall, Khoo spend a semester abroad at the Centre National de Danse Contemporaine – Angers (CNDC) in France where he performed in works by Robert Swinston, James Carles, Shlomi Tuizer, Malou Airaudo and Ohad Naharin.

D’LONTE K. LAWSON (Poem (Part 1), Fear Knot / Sublime, Maximizing the Audience) began performing in high school in Manor, Texas. The musical In the Heights was his first performance with the Department of Theatre and Dance. Lawson is currently a B.F.A. in

Dance: Dance Studies major. Upon graduation he plans to travel the world and experience dance from the roots of different cultures.

VIVIAN LUGO (Feminist Doormat) began dancing at a young age in San Antonio, Texas and is currently a B.F.A. in Dance: Dance Studies major and a B.S. in Corporate Communications major. She has performed in several productions across The University of Texas at Austin campus including the 2014 Fine Art’s Council showcase. She serves as a leader in several campus organizations.

AMINAH MADDOX (Introspection, Poem (Part 1)) is a third-year B.F.A. in Dance major who is also studying exercise science.

Maddox started dancing at the age of three with Hathaway Academy of Ballet.

She graduated from Booker T. Washington High School for the Performing and Visual Arts in 2013. Now in her second year with Dance Repertory Theatre, she has performed works by Sidra Bell, Jun Shen, Christian Von Howard, Charles Anderson and Andrea Beckham. After graduating, she plans to continue her dance career.

ELEAH MAXFIELD (Production Assistant) began dancing at age five at Carol Ehler Dance school, where she danced for 13 years.

While in high school, she served as an officer for the Cypress Lakes Sterling Stars. Maxfield is also pursuing her certificate in social entrepreneurship and nonprofit with a focus in art and social change. She plans to attend law school upon completing her degree in order to pursue an international degree in human rights law.

MORGANNE MAZEIKA (Poem (Part 1), Fear Knot / Sublime, Maximizing the Audience) hails from Houston, Texas and is a third-year B.F.A. in Dance major at The University of Texas at Austin. Most recently, she performed the choreography of Kate Watson-Wallace, Sidra Bell, Charles Anderson, Ellen Bartel and Merce Cunningham. She recently directed

cast and created an original work called No More which was performed at The Cohen New Works Festival (2015).

KAthryn MCCARN (Introspection, Maximizing the Audience) is a fourth-year B.F.A. in Dance major from Alexandria, Virginia. Her training has focused on ballet, contemporary and jazz. McCarn recently performed with Dance Repertory Theatre in MOVE! and Ears, Eyes + Feet. She will graduate in May of 2016 and plans to return to the East Coast to pursue a career in dance performance and choreography.

ALLYSON MORALES (Introspection) is a fourth-year B.F.A. in Dance: Dance Studies major also pursuing a B.S. in Communications Studies and Human Relations as well as her teacher certification from DanceAbility International. Morales is on the Fine Arts Studies Student Advisory Council and is co-president of Dance Action. She recently performed in MOVE! and Ears, Eyes + Feet.

Morales will be student teaching at a local high school in the spring of 2016.

KANAMI NAKABAYASHI (Introspection, Poem (Part 1), Fear Knot / Sublime) is a thirdyear B.F.A. in Dance major originally from Tokyo, Japan. She began dancing when she was two and has trained in ballet, contemporary and various other forms of dance in both Japan and Canada. During her time with Texas Theatre and Dance, she has performed in Fall For Dance, MOVE!, The Cohen New Works Festival and Ears, Eyes + Feet. Recently, she performed Alt/Mode in New York City.

OLUWAEUN S. OLAYIWOLA (Seen But Not Heard, Fear Knot / Sublime, Maximizing the Audience) began dancing at the age of 14 in his high school color guard program in Mansfield, Texas. He went on to perform with the Bluecoats Drum and Bugle Corps in the summer of 2014, earning second place at the Drum Corps International World Championships. He is currently a second-year

B.F.A. in Dance: Dance Studies major. Olayiwola was recently seen in Ears, Eyes + Feet.

CASSIDY OLDHAM (Fear Knot / Sublime) began dancing at Boni’s Dance and Performing Arts Studio in The Woodlands, Texas where she performed on their competitive team for six years. Oldham later trained and performed as a part of a pre-professional company, the Houston MET too Youth Company. As a current B.F.A. in Dance: Dance Studies major, Oldham has performed in Dance Action’s S.E.E.D.. After graduating, she plans to perform in a tap or contemporary dance company before becoming a dance instructor.

SARAH-GRACE POITEVENT (Production Assistant/Performer – Poem (Part 1), Rehearsal Assistant – Fear Knot / Sublime) began performing at a young age in the Fort Worth area. She recently performed in Andrea Beckham’s Through the Mountain/Faith in Unknowing and Jessica Grey’s Five with the Department of Theatre and Dance. Upon graduating with a B.F.A. in Dance she plans to dance professionally.

TABITHA PUPO (Rehearsal Assistant – Introspection) is a second-year B.F.A. in Dance and a B.A. in Education student. Dancing since the age of three, Pupo aspires to dance with a professional company upon graduation.

During recent summers she worked with American Ballet Theatre, Pittsburgh Ballet Theatre, Ballet Austin and the Mejia International Ballet.

EilEEN YURIKO ROBY (Introspection , Fear Knot / Sublime) is a second-year B.F.A. in Dance major, originally from northwest Arkansas. She has attended summer intensives at American Ballet Theatre, Joffrey Ballet, Ballet Austin, Central Pennsylvania Youth Ballet and Tulsa Ballet. Roby plans to graduate with a pre-physical therapy certificate and become a physical therapist for dancers and athletes.

cast FRANCIS RODRIGUEZ (Seen But Not Heard) hails from Brownsville, Texas and received her dance training at dance academies in the Rio Grande Valley. During high school, she attended various ballet summer intensives and, most recently, was a mentor for the American Ballet Theatre’s Summer Intensive Program. Rodriguez is a current B.F.A. in Dance: Dance Studies major and plans to pursue a M.F.A. in Dance Pedagogy to teach dance at the collegiate level.

MARIANA SPÓSITO (Rehearsal Assistant/ Performer – Poem (Part 1), Feminist Doormat) is a fourth-year B.F.A. in Dance major, originally from Edmond, Oklahoma. She has performed and choreographed in Dance Action’s S.E.E.D and was recently part of the summer program at the San Francisco Conservatory of Dance. Upon graduation, Spósito plans to live and dance abroad and pursue a career in dance movement therapy.

ELIZABETH TAN (Production Assistant/ Performer – Feminist Doormat) began dancing at the age of four, taking ballet classes at her community center. She began training in ballet, jazz, hip-hop and modern with the Houston Metropolitan Ballet at age 11 after joining her middle school’s award-winning drill team. She continued her training in Horton and Limon techniques with local Houston companies Hope Stone, Soundbox, the Movement Lab and Urban Souls. Tan is currently pursuing a B.F.A. in Dance and a B.A. in Economics at The University of Texas at Austin.

CONNOR TIMPE (Fear Knot / Sublime, Maximizing the Audience) began dancing with the Galveston Ballet during high school.

He is currently a third-year B.F.A. in Dance major. Timpe plans to dance professionally overseas upon graduation.

MACKENZIE VOORHIES (Introspection, Maximizing the Audience) is a second-year B.F.A. in Dance major pursuing a pre-physical therapy certificate. Voorhies is from Allen, Texas and has been dancing since age two.

She has performed in Dallas Repertoire Ballet’s The Nutcracker for several years and traveled to Austria during the summer of 2015 to perform in the Young! Tanzsommer dance festival.

ERICA WEND (Introspection, Rehearsal Assistant/Performer – Feminist Doormat), a fourth-year pursuing a B.F.A. in Dance, began training and performing at a young age in Washington. At The University of Texas at Austin, she has performed works

by David Justin, Charles O. Anderson, Merce Cunningham and Sidra Bell. Most recently, she performed in Austria with Young!

Tanzsommer. Wend is the co-president of Dance Action, a student dance organization.

GEORGINA WILSON (Seen But Not Heard, Poem (Part 1)) hails from California and is currently in her third year pursuing a B.F.A. in Dance. Wilson has recently performed with Dance Repertory Theatre in MOVE! in Sidra Bell’s schematic. Upon graduating, Wilson plans to pursue a career in professional dance.

crew ASSISTANT STAGE MANAGER DACK JUSTIZ SECOND ASSISTANT STAGE MANAGER MEREDITH FISHLER SCENE SHOP SUPERVISOR J.E. JOHNSON CHARGE SCENIC ARTIST KAREN MANESS MASTER CARPENTER HANK SCHWEMMER ASSISTANT CHARGE SCENIC ARTIST LESLIE TURNER LEAD CARPENTER KATE VAUGHN GRADUATE TEACHING ASSISTANTS BRUNO-PIERRE HOULE MICHAEL KRAUSS PRODUCTION ASSISTANTS ANISHA BORTHANKUR CAMRYN DEWET OLIVIA DUNN JESSICA FORTE ELLIOT GARDNER CHRISTINA JANSEN HALEY LIBBEY ASHTON MURPHY REED NEAL KAILEY NUNLEY TAYLOR TRAVIS DAVID ZEMNICKI

PROPS CONSTRUCTION CREW MAKYNZIE DAVIS SYDNEY DAVIS KRISTEN KELLOGG MORGAN STUART SCENERY/PROPS CREW NATALIE HERRERA ABIGAIL LOPER SAMANTHA PAVICH LEONARDO ROMERO SELINA ROSALES CLAIRE WOOD COSTUME SHOP SUPERVISOR PATRICIA M. RISSER DRAPERS BETTY CHLYSTEK SARAH LANKENAU 1ST HANDS LISA GEORING ANNA KIMMEL ROXANNE ROHMAN STITCHER DAECI DUYEN COSTUME SHOP ASSOCIATE SUPERVISOR DARCY WEBERG COSTUME PRODUCTION CREW CHEIFS JACQUELINE LANDSMEN ALISON REID

PROPERTIES ASSISTANT SUPERVISOR CHAZ SANDERS

COSTUME CONSTRUCTION CREW ASHTON FORTUNE ADRIENNE GREENBLATT P.J. KELLY KAY MCGUIRE PHOEBE NEWLAN LYDIA SAENZ KEVIN TRAN

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WIG AND MAKEUP SPECIALIST ALLISON LOWERY

PROP ARTISANS KIARA MCGEE MORGAN STUART

WARDROBE CREW SUPERVISOR MARIKA WYNN

PROP STOCK MANAGER CHRISTOPHER MONTALVO

WARDROBE CREW JACKIE BERGER HALEY FULLER KAITLYN JONES JORDYN MARSH MORGAN MIKES DAYNA PALER SAVANNAH ROSE HANNA SMITH ANNA STAR

PROPERTIES SUPERVISOR REBECCA SWITZER

PROPS ADMINISTRATIVE ASSISTANT CHRISTOPHER MONTALVO

COSTUME CRAFTS ARTISAN TANYA OLALDE COSTUME SHOP OFFICE ASSISTANTS MATTHEW HERNANDEZ AUSTIN HOWELL COSTUME STOCK MANAGER CAITLIN GRAHAM COSTUME STOCK ASSISTANTS CASEY MCCOOL RAMA TCHUENTE MASTER ELECTRICIAN ALEX HANNA texas performing arts supervising electrician mikela cowan LIGHTING DESIGN TEACHING ASSISTANTS andrew carson yi-tai chung chian-ann lu po-yang sung TEXAS PERFORMING ARTS LIGHTING SUPERVISOR JEFF ELLINGER TEXAS PERFORMING ARTS ELECTRICS CREW ERICA AYALA DOMINIC CORTINAS JADON HATLEY NOLAN THOMAS SHIMSHON ZEEVI THEATRE AND DANCE STUDENT ELECTRICS CREW YI-TAI CHUNG ALEX HANNA (CREW HEAD) CHIAN-ANN LU MERCEDES MCCLEARY THEATRE AND DANCE STUDENT LIGHTING CLASS SARAH CANTU KAILEY MOORE PRESTON WEDEN SEAN WOODS THEARE AND DANCE STUDENT MEDIA CLASS KEVIN AYALA JAKE BARDIN JOY CLAWSON ALFRED GOMEZ ADOLFO LAMBERT REAGAN MURDOCK

LIGHT BOARD OPERATOR VICTORIA MURILLO AUDIO SUPERVISOR MIKE MALAK AUDIO BOARD OPERATOR CHRISTIAN LEAL MEDIA BOARD OPERATOR HOPE CAREW STAGE MANAGEMENT ADVISOR RUSTY CLOYES COSTUME DESIGN ADVISOR Susan Mickey LIGHTING DESIGN ADVISOR MICHELLE HABECK INTEGRATED MEDIA DESIGN ADVISOR SVEN ORTEL ACADEMIC PRODUCTION MANAGER DAVID STEWART PHOTOGRAPHER LAWRENCE PEART GRAPHIC DESIGNER MORGAN BATHE MONICA GRIFFIN SPECIAL THANKS alex ketley and the foundry dancers courtney mazeika, sarah woods and marlie cuoto manuel vignoulle rena butler amy diane morrow texas theatre and dance costume shop texas performing arts gavin cantrell rusty cloyes