Author Archives: Prof. Mendelowitz

241 Basic Stagecraft

Basic Stagecraft 241             Kade Mendelowitz

Theatre 241, 4 Credits, Mondays & Wednesdays

Fall Semester 2012 University of Alaska Fairbanks. E-mail: Kade@alaska.edu

Office: 223A (by KUAC) or in the shop.  Office hours: TBD

Course Description:

An introductory course in the ever-expanding worlds of scenic technology.  Exploring the development of the technician’s craft and the current practices involved in the production of the scenic environment.  Students will be offered both a classroom and actual production experience.

Course Objectives:

  • Students will be exposed to all areas of scenic technology currently in use at the University of Alaska of Fairbanks, as well as receiving an understanding of technologies available in other theatre environments.
  • Through project work and lecture / demonstrations, the student will be introduced to the safe operation of tools currently in use in the UAF scene shop.
  • By completing project assignments, the student will begin to develop a technical resume and portfolio.

Required Text:

None!

Suggested Text:

  • Scene Design and Stage Lighting Ninth Edition (old editions are acceptable – though the pages will not follow reading assignments.)  by W. Oren Parker and R. Craig Wolf (older editions will be by Parker and Smith).  Price: I’m not sure, but expensive (sorry – but you will get what you pay for).
  • Backstage Handbook by Paul Carter  Price: $12.95
  • Entertainment Design Magazine

 Required Materials:

Drafting pencils or leads and holder in 6H, 2H and H.  Some students may need HB in addition.  Technical (.05) pencils are NOT ACCEPTABLE!

Architect’s scale rule

Eraser (Plastic-type is recommended)

Erasing Shield

45 and 30/60 degree triangles (one at least 8-10″ long)  or one adjustable triangle (expensive).

Drafting tape (or weak masking tape).

Drafting Vellum 18″X24″ sheets as needed.

   Advised: Ames lettering guide

   May be needed:  “T” Square (at least 24″ – 36″ recommended).

These supplies are somewhat expensive.  They are available at the UAF book-store, Michaels, JoAnns, OfficeMax, Alaska Digital Printing

Digital component:

You will be expected (aka: requirement) to have a UAF e-mail account with Blackboard access.  Even if you do not use this address as your primary e-mail account, you should set it as a forward to the address of your choosing.
 Viewing Productions and Production Work:

Students are expected to see and be prepared to discuss this semester’s Mainstage productions (unless they are on a conflicting running crew).  To aid in show viewing, students will be allowed one complimentary ticket through the box office – and are invited to the final dress rehearsal before opening of each show.

As a class requirement, each student is required to spend, and document, 3 hours a week (39 Hours total for the semester) in the shop outside of class time working on University production projects.  It is suggested that the student plan to spend a minimum of two hours in the shop at any given time.  You may take 1 running crew position on one of the Mainstage shows (worth 39 hours – a running crew schedule is available for you to look at); if you choose this option, you are still required to work 10 hours in the scene shop/electrics crew outside of class time.

Students are also encouraged to explore the wide range of theatrical experiences available in the area.

Grading:

This course will be graded including +/- values.  Numerical values for +/- grades can be found on page 77 of the 2007-2008 UAF catalog.

Drafting project I          lettering          5%

Drafting project II         lines/boxes         5%

Drafting project III         groundplan         10%

Drafting project IV         elevation          10%

Painting Project                            10%

Participation                               20%

Shop-Time (on productions)                   20%

Final Project                               20%

Class attendance and participation is expected.  After two unexcused absences, your grade will be affected.  Proper attire for labs and shop time is suggested for the safety of both the student and their wardrobe.

Scheduling:

Because this class is somewhat related to the production schedule for each specific show and semester, the scheduling of readings, projects, etc. will be assigned through the class – and is subject to change. Fridays after the first month are canceled in order to give you more time to work outside of class on projects, etc.

Safety:

Attached to the scene shop door is a copy of the scene shop rules.  Please make yourself aware of them – and follow them.  Above all: Do not do anything you are not comfortable with (using a specific tool, saw, etc.)  Be aware of others.  Report all accidents (no matter how minor) to a supervisor A.S.A.P.

The Flu Season

“The Flu Season”
Written by Will Eno
Directed by Stephan Golux
November 9-18, 2012

Interested in reading the Fairbanks Daily News-Miner publicity piece they wrote about the play? (210k pdf)

Cast (in order of Appearance)
PROLOGUE    Andrew Cassel
EPILOGUE    Amelia Cooper
MAN    Brian Tuohy
NURSE    Siri Tuttle
WOMAN    Stephanie Sandberg
DOCTOR    Eric Heyne

The Flu Season production photo M-11

The Flu Season cast (let-right):
Siri Tuttle, Stephanie Sandberg, Andrew Cassel, Amelia Cooper, Brian Tuohy, Eric Heyne

Production Team
Scenic Designer:    Bethany Marx
Costume & Makeup Designer:     Bethany Marx
Lighting Designer:    Deirdre Adams
Sound Designer:    Jeff Buckley
Assistant Director:    Tiana Hanson
Stage Manager:     Nicki Karl
Assistant Stage Manager:     Fiona Zachel
Graphic Design:    Ariadne Wattum
Box Office Manager, Public Relations:     Kimberly K. Eames

Medusa’s Tale & The Veldt

Winter Shorts LogoSDA LogoWinter Shorts produced by the UAF Student Drama Association (SDA)
Medusa’s Tale” by Carol Lashof, directed by Paul Rios
and
“The Veldt” by Ray Bradbury, directed by Carl L. Sage
October 5-14, 2012

Medusa's Tale production photo “Medusa’s Tale” by Carol Lashof — directed by Paul Rios  Set Design by Carl L. Sage, Costumes by Ariadne Wattum, Lighting by Deirdre Adams, Sound & Props by Paul Rios.
Featuring (top left, clockwise): Shawn Kelly as Poseidon, Daniels Calvin as Athena, Riley Clarke as Perseus, Erlee Hjellen as Medusa, and (not pictured) Jordan Guinn as Girl.
The Veldt production photo “The Veldt” by Ray Bradbury — directed by Carl L. Sage Set & Sound Design by Carl L. Sage, Costumes by Ariadne Wattum, Lighting by Deirdre Adams.
Featuring (left to right): Thomas Petrie as Peter, Shannon Monroe as Wendy, Brian Ackerman as George, Justine Webb as Lydia, and (not pictured) Jordan Guinn as MacLean and Electrician.

354 Intermediate Costume Construction

THR 354    3 Credits    As Demand Warrants
Intermediate Costume Construction (2+3) h
This course is intended to improve students’ sewing and patterning skills through a series of exercises and advanced projects. Students will be asked to construct costumes and mockups, create and alter basic patterns, manipulate sloper patterns and alter existing costumes. The final project will be designed and constructed by the student. (Prerequisites: THR F254 or demonstrated sewing experience and instructor permission. Recommended: Theatre Practicum or Work Study in the Costume Shop.)

Intermediate Costume Construction Syllabus

1. Course Information

Course #/Title: THR 354- Intermediate Costume Construction     CRN: TBD

Time: TBD                                              Location: Costume Shop FAC 107                        Credit Hours: 3

2. Instructor

Name: Bethany Marx, Asst. Professor                Office: FAC 105B               Office phone: 474-5365

Email: bmarx2@alaska.edu      Office Hours: Wed 1:00-2:00, Thurs 3:30-5:00 or by appointment

PLEASE TAKE NOTE: This is an advanced class that builds off of the skill set acquired during THR 254: Beginning Costume Construction. Students who received poor grades in Beginning Costuming or students who have not taken THR 254 from the current instructor may have difficulty completing this course.

3. Course Readings/Materials

Textbook: The Costume Technician’s Handbook by Rosemary Ingham and Liz Covey

ISBN 0-435-08610-3

Required Supplies :

  • 3 yards of muslin or cotton broadcloth in an unobtrusive color
  • ½ yard of gingham fabric (¼”- ½” squares) in a low contrast color (light blue, yellow, pink, not red or navy)
  • A small binder or folder which can hold 3-punched papers (can be old/used)
  • Supplies to construct a final design project of your choosing (list provided later)

Students who wish to keep their men’s period (pirate) shirt must also purchase 3 ½ yards of shirting material (lightweight, non-stretch fabric , ideally cotton or linen). Students who wish to donate their shirt to the costume shop may construct it out of shop provided fabrics. Please inform me ahead of time which you intend to do, so I have materials available as needed.

You may also choose to (and I recommend that you do) purchase the following:

  • A good pair of fabric scissors
  • Paper scissors
  • A clear 2” wide ruler
  • A dressmakers curve
  • Push pins
  • Straight pins of your preferred style
  • A pin cushion (magnetic or traditional)
  • All students are welcome to use the scissors/rulers/pins in the costume shop.

4. Course Description

This course is intended to improve students sewing and patterning skills through a series of exercises and advanced projects.  Students will be asked to construct costumes and mockups, create and alter basic patterns, manipulate sloper patterns and alter existing costumes. The final project will be designed and constructed by the student.  Methods taught in this class are those commonly used in professional costume shops throughout the United States and Canada.

5. Course Goals

Students are thoroughly comfortable with shop equipment, including sewing machines, sergers and industrial irons.

Students are able to cut and construct accurately, following universal pattern markings without assistance from the instructor.

Students comprehend and can replicate basic draping, transferring and truing methods to create new patterns made to fit a specific form.

Students can follow written and verbal instructions to complete more difficult projects.

Students are familiar with common costume shop terminology and know when and how to ask questions pertinent to their project.

6. Student Learning Outcomes

Complete difficult sewing techniques such as pleating, felling and blind hemming.

Use seam variations for appropriate projects.

Replace a broken zipper or button in an existing garment, matching the techniques used by the manufacturer.

Repair and alter an existing garment discreetly.

Create bias tape and piping from regular fabrics.

Make alterations to a paper pattern based on a set of measurements and  “true” the seams accurately.

Understand the difference between commercial patterns and shop made patterns and how to use both.

7. Instructional Methods/Assignments

This course is taught in a combination of lecture and studio. Students will learn and practice while completing the following projects.

 Advanced Sewing Samplers-Similar to those required for Beginning Costuming, students must complete the following ten samples of advanced skills: Shirt tail hem, French seam, felled seam, offset zipper, bias tape, piping/piped seam, hand blind hem, machine blind hem, double welt pocket and one inch knife pleats

Men’s Period Shirt-To practice sewing accuracy and refresh memory, students will cut and construct a pirate/peasant shirt. Students may choose to make the shirt to fit themselves or make a shirt to donate to UAF costume stock. If you make the shirt for yourself, you must provide the fabric.

Corset Pattern Adjustment and Mockup-Students will transfer an existing corset pattern to brown paper, remove any manufacturers seam allowance, and adjust the pattern to fit themselves or another student, friend or family member. (If the person is not taking the class, they must be available to come in during class on the mock-up fitting day.) Students will then cut and construct a muslin mockup, adjust fit on the body and alter the original pattern after the fitting.

Draping Project-Students will drape a basic sleeveless bodice (women) or vest/doublet (men) with very simple neck and waistline on one of the shop dress forms. Students will then transfer this garment to brown paper, mark grain lines, label and true the pattern. Students will trade projects and construct a mockup from someone else’s pattern.

Alteration Project– Students will take part in a mock fitting with another student and costume pieces from UAF stock . Alterations will be pinned and marked in the fitting and completed by the student. The student will take before and after photos.

Final Construction Project-Students will create sketches and submit proposals for their chosen final construction project. Keep in mind the following:

The project should consist of one costume item. You may choose to design a larger outfit but select one piece to be constructed and graded for class. I want you to make one thing very, very well.

You will have to purchase all of the supplies yourself. Fabric can be very expensive. Design something you can afford to build.

Project must be reasonably difficult, without being too difficult to construct with the skills you’ve already obtained. Capes, cloaks, ponchos, peasant blouses, etc. do not utilize enough advanced skills. Suit coats and structured jackets require skills you do not have.

Project must be fitted. Please do not propose things made of stretch fabric or extremely loose. Garment must be made to fit you or a person that can be brought in to class at the end of the semester.  You will be graded on whether your project fits.

If you plan to use a commercial pattern for your project, you will be required to transfer it to brown paper, remove the seam allowance and true the pattern. Leave time for this.

Suggestions for projects:

Build a corset from your corset pattern. Must be fully boned, top and bottom finished with piping, and have grommetted or buttonhole lace-up closure. Decorated as preferred.

Drape and build a sleeveless fashion top to fit yourself or someone you know. Must be fully lined, and include zipper, grommets or button closures. Turn in draping, pattern and final top.

Alter your draping project from class to build a period bodice, waistcoat or doublet with closures, advanced seaming, peplum, wings, pockets and/or pocket flaps. Simple tie-on sleeve optional.

Build a men’s button-down dress or western shirt with breast pockets and decorative accents.

8. Tentative Schedule/Class Topics

Week 1

Introductions, Syllabus. Review of basic construction, sewing machines, serger, etc. Begin Samplers

Work on Sewing Samplers in class

Week 2

Finish Sewing Samplers in/out of class.

Week 3

Review cutting techniques, cut period shirts and begin construction

Construct period shirts in class

Week 4

Continue period shirts

Week 5

Period shirts due.

Lecture on pattern transfer, alterations and truing. Begin corset pattern adjustment.

Week 6

Finish corset pattern.

Start cutting corset mockup.

Week 7

Finish cutting. Construct corset mockup.

Finish and fit corset mockup.

Week 8

Alter corset pattern after mockup.

Demonstration of draping and truing. Begin draping project.

Final Construction Proposals due. (Two ideas, note which you prefer.)

Week 9

Finish draping on form. Begin transfer to paper pattern.

Complete paper pattern. Label and notch. Exchange with classmate.

Final Construction Proposals returned. Make shopping lists/yardage est. Students must purchase supplies for final project by Week 11

Week 10

Cut draping mockups, begin construction.

Continue with draping mockups.

Week 11

Draping Mockups due. Begin Alterations project with class fittings.

Alter garments in class.

Week 12-14

Final Construction Project. Due during final exam period.

9. Course Policies

Attendance

Attendance is required EVERY DAY. This is a small, hands-on class and you need to participate to learn. I know everyone has an occasional “brain lapse,” so students will be granted two excused absences in the semester. Any further absences will count against your final grade (see grading below). “Life events” such as weddings may be excused if consent is obtained prior to the event and an effort is made to promptly reschedule and make up missed work.

Students may be excused at the discretion of the instructor for illness, family emergency or life event ONLY if the absence is cleared IN ADVANCE.[*] I will not back down on this. If I do not have a phone call or email from you by 5:30 the day of class, you are unexcused. Documented proof, such as a doctor’s note, hospital bill or obituary may be required to obtain an excused absence.

It is the responsibility of the student to inquire about and make up missed work if he or she is absent. Students who are consistently late will be penalized at the discretion of the professor.

Cheating=Bad. Learning=Good.

It is difficult to cheat in this course, as most of the work will be completed in the presence of the instructor. However, as they say, where there’s a will, there’s a way. So, if I catch you cheating, or you work doesn’t look like yours, you’ll lose all the points for the assignment.

Also, please treat your instructor, the shop manager, the equipment and your fellow students with respect. Hurtful, racist or derogatory comments, excessive use of inappropriate language, physical violence and improper use or vandalism of university equipment will not be tolerated. Please see the instructor if any class activity or your classmates are making you uncomfortable so we can address the issue promptly. (Please refer to the UAF Catalog Academics and Regulations under Student Code of Conduct for more information on the University’s policies regarding student behavior. I am very serious about this.)

Blackboard

All information included on this syllabus, detailed assignment instructions and up-to-date grades will be available on Blackboard at classes.uaf.edu within the first few weeks of the semester.

10. Evaluation/Grading

Project                                                                                                 Points                   Percent of Grade

Sewing Samplers (Ten, 3-5 points each)                                 40                           ~9%

Period Shirt                                                                                        60                           ~13%

Corset Pattern and Mockup                                                        80                           ~18%

Draping Project. Pattern and Mockup                                     80                           ~18%

Final Project Proposal                                                                    20                           ~4%

Alteration Project                                                                            50                           ~11%

Final Construction Project                                                            120                         ~27%

Total:    450                         (~ means approximately)

A+ 97-100%        B+ 87-89%           C+ 77-79%           D+ 65-70%

A 93-96%             B 83-86%              C 73-76%              D 60-64%    Failing is below 58 percent

A-90-92%             B- 80-82%            C- 70-72%            D- 58-59%

**Late Assignments will be docked one letter grade (B becomes a B-) for each day they are late and will not be accepted after one week. Design assignments that must be presented in class will not be accepted after the due date unless prior consent is obtained.

You have two excused absences, no questions asked. Following these, your first absence will cost you 10 points, the second 15 points and each subsequent absence an additional 20 points. IT IS VERY EASY TO LOSE SEVERAL LETTER GRADES OR EVEN FAIL BECAUSE OF POOR ATTENDANCE. Remember if you are ill you must contact me the DAY OF CLASS (I’ve told you twice now)! Repeated tardiness will cost you points at the discretion of the professor. Please tell me if you are traveling a long distance from another class.

I will do my best to keep you informed if it is obvious to me that you may be failing or falling behind, but ultimately it is your responsibility to attend class and complete your assignments every week.

11. Support Services

If you are having difficulty with any part of this course, please make an appointment with the instructor.

12. Disabilities Services

I will be glad to work with the Office of Disabilities Services (203 WHIT, 474-5655) to provide reasonable accommodation to students with disabilities. It is the responsibility of the student to contact the office and provide a letter of accommodation within three weeks of the start of class. Letters of accommodation will be accepted at any time, but will not be applied retroactively after three weeks.


[*]Exceptions will be made for exceptional circumstances, but you better be bleeding, unconscious or actively administering CPR, I kid not!

499 Thesis Project

THR 499    3 Credits    Fall, Spring
Thesis Project (1+4) h
Final step in acting/directing/design or playwright training which involves performing a leading role on main stage, or a one-person show, or a directing/designing/writing project for the UAF season. (Prerequisite: Permission of instructor.)

Links to helpful guidelines for those interested in pursuing a Thesis:

Directing Project (including Directing Thesis) Guidelines

Acting Thesis Project Guidelines

351 Makeup for Theatre

THR 351    3 Credits    Spring
Makeup for Theatre (1+4) h
Theatrical makeup for actors, teachers, directors, and other theatre workers; makeup materials and use, age and character makeup, injuries and horror, Kabuki, cross-gender, animal, illusory and plastic relief, crepe hair beards, and influence of lighting. Student will spend approximately $85 for materials and book for this class.

THR 351: Makeup for the Theatre

Time: Monday 2:15-5:15         Location: Women’s Dressing Room FAC 105A        Credit Hours: 3

Instructor: Bethany Marx, Asst. Professor        Office: FAC 109B               Office phone: 474-5365

Email: bmarx2@alaska.edu      Office Hours: Mon 12:00-1:00, Wed 1:00-3:00 or by appointment

Supplies:

  • Theatrical Makeup Kit (Mehron All-Pro, BenNye Student Kit, Kryolan Aquacolor or equivalent)
  • Mascara
  • Fabric headband, hair tie or bandana (means for keeping hair out of face)
  • Camera (You may bring a personal camera each week, or buy a disposable for this class)

——————

  • Binder or portfolio
  • Clear, 3-hole sheet protectors
  • Tracing paper
  • Colored pencils, including skin tones
  • Additional class supplies and specialty makeup including sponges, Q-tips and applicators, “actor photos,” hand towel s, facewash, cold cream, baby wipes and lotion will be provided.
  • You may also choose to purchase a tackle box or makeup case to store your supplies.
  • Recommended Text:  Stage Makeup by Richard Corson
  • You are not required to purchase a textbook for this class; however, this is the text I recommend if you are interested in further study.

Expectations/Course Goals

This course teaches the basics of makeup application for the theatre through a series of exercises, beginning with basic corrective makeup and working through old age, injuries, animal designs and fantasy makeup. Students will research and create their own makeup designs each week, culminating in a final design project at the end of the semester. The course is organized to allow students to learn how to apply makeup on themselves as well as others.

Preparation for Class

Students are expected to arrive to class prepared to apply makeup. Men should be clean shaven and women should wash off any street makeup prior to the start of class. Hair should be pulled back out of the face, including bangs and fly-aways.

Bring all of your makeup to class every day. You never know what you might need. Supplies must be taken home at the end of each class. There is no way to lock the classroom. The Student Drama Association rents lockers in the hall outside of the women’s dressing room if you wish to keep your makeup at the theatre.

You will be given two photos of yourself to use for makeup designs. Please bring these to class every day. Certain assignments will require you to design makeup for a partner and you will need to exchange photos to do this.

Assignments/Attendance

Each week, students will complete an in-class makeup exercise, beginning with simple techniques and building up to more difficult projects. Most weeks there will be a preparatory research and/or design assignment pertaining to the next week’s exercise. Because the class only meets once a week and all makeup application will occur during class, it is imperative that all students be PREPARED, PRESENT AND ON TIME TO EVERY CLASS.

Students may be excused at the discretion of the instructor for illness, family emergency or life event ONLY if the absence is cleared IN ADVANCE.[*] I will not back down on this. If I do not have a phone call or email from you by 2:00 on Monday, you are “shit outta luck.” Documented proof, such as a doctor’s note, hospital bill or obituary may be required to obtain an excused absence. Students who miss class unexcused will not earn attendance or preparation points for that class AND WILL NOT BE ALLOWED TO MAKE UP THE ASSIGNMENT FOR THAT DAY. So basically, you may choose to miss a class if you feel you can afford to lose the points. Students who have obtained an excuse will still lose the attendance points for that day, but will have the opportunity to make up class exercises. Students who are consistently late will be penalized at the discretion of the professor.

In-Class Assignments  Most classes will begin with approximately 30-45 minutes of lecture/demonstration. Students will then have 1 ½ to 2 hours to experiment with techniques and complete the assignment. Students will photograph the final application before washing their face. The final 30 minutes of class are for cleanup and explanation of next week’s project/homework.  Some classes will not run the entire three hours, however students are encouraged to stay, practice and experiment with makeup techniques until excused by the instructor.

Makeup Portfolio  Weekly designs, research and exercises will be documented and NEATLY compiled into a makeup portfolio.  This should be aesthetically consistent, neat and attractive. (That means you use the same paper, same labeling technique, layout etc throughout.) The portfolio will be turned in once at mid-semester for a preliminary grade and again at the end of the semester for a final grade. I recommend you prepare the portfolio ahead of time so you can simply insert pages each week. If you do not have a good photo printer at home, remember you can upload photos to Walmart.com and pick up your prints at the store.

Final Project  At the end of the semester, students will research, design and prepare a final project to be executed during the final exam period. This project will be graded in two parts: your preparation, research and design, and your execution on exam day. The project may include hairstyles, accessories or costume pieces which can be completed in advance, but actual application of makeup must be done during the exam. You will have a class period beforehand in which to practice any new techniques.

Research

When researching for your makeup assignments, it is important to use only primary research. In other words, pictures of actual elderly people, black eyes, tigers, etc. Pictures of other people’s makeup, including images from plays/movies, are not appropriate research in most cases (clowns being one exception).

Cheating=Bad. Learning=Good.

Because most of the work for this class will be completed in my presence, I am not too concerned about you not doing your own work, but just in case…Don’t copy, don’t cheat. Don’t have someone draw or research for you. Don’t steal a design concept from some production you saw before I moved up here. Remember, cheating=bad, learning=good. Plus, if I catch you cheating, or your work doesn’t look like yours, you’ll lose all the points for the assignment. If I catch you cheating a second time, you’ll fail my class. And who wants that? Nobody.

Also, please treat your instructor, the dressing room, the equipment, supplies and your fellow students with respect. While I may allow conversation during class from time to time, please stick to suitable subjects and limit the use of inappropriate language.

(Please refer to the UAF Catalog Academics and Regulations under Student Code of Conduct for more information on the University’s policies regarding student behavior. I am very serious about this. Please do your own work.)

Grading

Attendance-14 classes                                                   5 points                each                     70 points, 15%

Preparation-14 classes                                                   5 points                each                     70 points, 15%

Preliminary Portfolio Grade                                                                                         20 points, 5%

Makeup Portfolio*

Overall portfolio layout, neatness, etc.                                                          20 points, 5%

Research-10 assignments                                     5 points each                     50 points, 11%

Designs-10 assignments                                        5 points each                     50 points, 11%

Applications-12 assignments                               10 points each                   120 points, 27%

Final Exam                                                                                                                          50 points, 11%

Total:     450

*If a student fails to complete a research/design assignment, they may not be allowed to complete the class application for that week. Absent students who have not been excused will not be allowed to make up the application missed, but can still earn the points for design/research assignments for that week.

Both final projects for this class are due at the very end of the semester, though I will provide a mid-semester progress grade to everyone who turns in a preliminary portfolio. It may be difficult for you, and even me, to ascertain your final grade in the class prior to you turning in your portfolio and final exam. I will do my best to keep you informed if it is obvious to me that you may be failing or falling behind, but ultimately it is your responsibility to attend class and complete your assignments every week.

A+ 97-100%        B+ 87-89%           C+ 77-79%           D+ 65-70%

A 93-96%             B 83-86%              C 73-76%              D 60-64%    Failing is below 58 percent

A-90-92%             B- 80-82%            C- 70-72%            D- 58-59%

Disabilities

I will be glad to work with the Office of Disabilities Services (203 WHIT, 474-7043) to provide reasonable accommodation to students with disabilities. It is the responsibility of the student to contact the office and provide a letter of accommodation within three weeks of the start of class. Letters of accommodation will be accepted at any time, but will not be applied retroactively after three weeks.

Blackboard

All information included on this syllabus, detailed assignment instructions and up-to-date grades will be available on Blackboard at classes.uaf.edu within the first few weeks of the semester.

Tentative Schedule/Class topics

1/23 Go over syllabus. Take class photos. Lecture on light, bone structure, makeup tools and application demonstration.

Assignment: Have makeup kit  and above-the-line supplies for next class

1/30 Basic Corrective Makeup

Assignment: Have below-the-line supplies for next class

2/6 Designing Makeup/Modeling with Highlights and Shadows

Assignment: Old age research and design

2/13 Old Age makeup on face and hands with stippling

Assignment: Bruising and black eye research/design

2/20 Superficial injuries-Black eyes and Bruises, Split Lips, Bloody noses

Assignment: Design your face with a different nose and eyebrows. Nose must include a profile view.

Freshman Progress Reports-Grades will be based on attendance and participation only.

2/27 Modeling wax-blocking out eyebrows and reshaping noses

Assignment: Research burns and deep cuts/design

3/5 Simple Prosthetic Injuries-Deep cut and Severe burn techniques, Stitches

Assignment: Research scars, design scarring for your face or arm

MAKEUP PORTFOLIOS ARE DUE FOR PRELIMINARY GRADE BEFORE SPRING BREAK

Should include first four exercises and first two designs: Basic corrective, Modeling, Old Age and Bruises. Due by Friday at 5:00 pm. May be turned in during class.

3/12 Spring Break-No class

3/19 Making liquid latex/tissue scar prosthetics

Assignment: Research and design your own concept for Death using only makeup (no prosthetics)

3/26 Death Makeup

Assignment: Research Kabuki, Chinese Opera or clown makeup, design for a partner.

4/2 Chinese theatre or clown makeup on another person

Assignment: Furry animal research and design with gender specification

4/9 Animal face

Assignment: Research dragons, gargoyles, lizards. Design reptilian makeup with prosthetic element

4/16 Reptile face

Assignment: Design a series of 3 fairies, nymphs, butterflies or other “light” or “good” fantasy characters, one for a partner, two using your own face. Does not need to be a full face design.

4/23 Fantasy makeup on another person and yourself

4/30 Practice Day for Final Exam. Makeup Portfolio due.

Final Exam Monday May 7, 3:15-5:15 p.m.


[*]Exceptions will be made for exceptional circumstances, but damn it, you better be bleeding, unconscious or actively administering CPR, I kid not!

190 Audition or Portfolio Review Participation

This page is specifically about the Audition Workshop.  Were you interested in Portfolio Review instead?

THR 190/290 Audition Assessment

(0 Credit Audition Class for Theatre Majors)

Theatre majors are required to participate in auditions and/or portfolio reviews every semester. Theatre majors are also expected to attend all Theatre UAF productions (tickets are provided free) and to attend all theatre department “Town” meetings.

This is separate from Theatre/ Film UAF main-stage and film auditions.

WHEN: Saturday September 7, 2013: 9:30AM-12:00PM. All actors will be there the entire time slot.

WHERE: Theatre/ Film Department Green Room (THEA 101)

WHO: All theatre majors registered for the THR190/290 0 credit Audition Workshop.

WHAT: **FILM Auditioning Workshop** Professor Baker will share some pointers about the difference between Stage and On-Camera Auditions. Students will then go through a mock on-camera audition. Professors Baker, Salganek, and Cook will provide on-the-spot feedback, observable by all students.

  • Students should prepare one SHORT (30-45 second) contemporary monologue (from a play or screenplay) for an on-camera audition. Students will also be asked to cold-read a scene from a film script. Students should bring an acting resume. Actor resume templates are available online here Acting Resume Template  Word format, this document can be used as a template for creating your own resume.
    Once you download the file to your browser, read it online or choose “File”, “Save as” and save to your computer.
  • If you have a headshot, staple your resume to the back of your headshot.

Some pointers:

  • You will be asked to “slate” which is essentially when the actor speaks into the camera and introduces herself and her audition piece or the role for which she is auditioning. Make sure to rehearse this slate. A typical slate would be (looking into the camera…the only time you ever look into the camera!): “Hi my name is ________. My monologue is (name of character) from (name of play/film) by (playwright/ screenwriter)” OR “Hi my name is ____________ and I a reading for the role of ___________.” Then take a moment to gather yourself and begin the piece…don’t ask if we are ready, just begin when you are ready.
  • There will be a “mark” for you to stand on so that you are in frame for the camera.
  • There will be chairs available if you need one for your piece.  Don’t ask if you can use a chair; just get it if you need it and place it where the mark is.
  • What to wear: Wear clothes that you are comfortable in and that are appropriate for your piece, but also honor the formality of an audition (don’t come in sweats!). Avoid crazy-patterned shirts and make sure your hair is not in your face. Women should wear some make-up.
  • Remember that you will be on-camera, so your monologue should not have a lot of big physical movements in it. The camera will be on a mid-shot of you (waist up).
  • Choose a point of focus for your monologue…imagine the person to whom you are speaking to the side of the camera. When you are given a scene to read, the “reader” (actor who is reading the scene with you) will be to the side of the camera. Do not move toward the reader…stay in frame!

Still have questions? Contact Professor Baker (ccbaker@alaska.edu)

347 Lighting Design I

Lighting Design I – THR 347               Kade Mendelowitz

Theatre 347, 3 Credits, University of Alaska Fairbanks.

Office Hours; Tuesdays 1:00 – 1:45 or by appointment.  Office: 223 (by KUAC) or in the shop.

Course Description:

The exploration and application of elements of design (color, texture, intensity, line, composition) as they relate to lighting for theatre, dance, and life.  Production work required.  3 Credits.

Prerequisites:

Comm 131X or 141X

Student must be able to see details from a distance, have good color differentiation skills, and be able to draft (you will be taught how to draft in this course; but student must be physically able to do so).

Suggested, although not required: THR 241 “Basic Stagecraft” and THR 247 “Introduction to Theatrical Design”.

Course Goals:

Students will learn how to successfully light a show so that the actors will be seen by the audience in a way that meets the general mood and style of the production’s design.

Student Learning Outcomes:

  • Learn the differences between the (4) most common types of fixtures used in the Theatre; and why a designer would choose one over the other.
  • Learn how to hang and focus an instrument safely.
  • Learn the basics of power distribution, and how to use electricity safely within the theatrical environment.
  • How to read and draft a lightplot.
  • Analyze a script from a lighting designer’s perspective.
  • Develop a lighting concept; and how to create a color key that supports that idea.

Instructional Method:

Most of the class will be lecture/demonstration.  We will make use of Blackboard (UAF’s officially supported electronic Content Management System) – so students will be required to have access to the course Blackboard site, and a computer to run the CD for reading assignments.

Required Reading:

      Theatrical Lighting Design Interactive CD by Kade Mendelowitz

Other Suggestions:

  •       The Lighting Art Richard Palmer
  •       TCI Magazine
  •       Lighting Dimensions Magazine
  •       Architectural Lighting Magazine

Required Materials:

  •  Drafting pencils or leads and holder in 6H, 2H and H.  Some students may need HB or 4H in addition.  Technical (.05) pencils are NOT ACCEPTABLE!
  •  Architect’s scale rule
  •  Eraser (Plastic-type is recommended)
  •  Erasing Shield
  •  45 or 30/60 degree triangles (at least 8-10″ long)  or one adjustable triangle (expensive).
  •  Drafting tape (or weak masking tape).
  •  Drafting Vellum (24″ or 36″ roll or 18″X24″ & 24″X36″ sheets as needed).
  •  1/2’” Lighting Template
  •  Ames lettering guide
  •  May be needed:  “T” Square (at least 24″ – 36″ recommended).

 Grade Breakdown

Note: If you are taking this course to be applied as a Major requirement, or to satisfy the “Oral Intensive” core requirement (which most of you are) any grade under a “C” will not meet the minimum requirement for the Major…and you will need to retake the course.

Please do the work to achieve better than a “C-“!

Lighting Analysis and Discussion of ideas (Oral presentation)  20%

Additional participation bonus                             5%

Crew Participation (7 Hours Scale)                        5%

Drafting Assignment II                                    10%

First Project (Case 457)                                20%

Second Project (A Night for Conversation)                  25%

Midterm Examination                                     15%

Course Policies:

Class Attendance and Participation is essential to this course.  Much of what you will learn will come from our discussions of classwork as well as the productions and crew time – please let me know if you have any schedule conflicts so we can work them out A.S.A.P. before your final grade is effected.  When we do lighting demonstrations in class, it is hard to get classmates to explain what was covered.  To that end – all absences above 2 will effect your grade one step  (e.g.; B to B-).

Late assignments will be accepted, but will be penalized 3 points per day (not per class session).

Please note that this is an Oral Intensive Course.  For each of the projects, each student will prepare an oral presentation outlining his/her ideas for the production they envision.

  1. Each student must be involved in the preparation and delivery either of 2 or more course related presentations of at least 20 minutes duration each
  2. All presentations will involve question and answer interaction.
  3. All presentations must have a clear introduction-body- conclusion organization as outlined in the “Lighitng Concept” description handout.
  4. Both presentations will involve the development and use of appropriate visual aids (draftings, color keys, etc.)
  5. All presentations will receive evaluation by the instructor on oral communication competency (including responsiveness to audience questions), as well as on subject mastery.

In addition to what is listed, students are encouraged to attend all UAF Theatre Department productions.  (To aid in that endeavor, 1 complimentary ticket will be available to you through the theatre UAF box office off the great hall).  For those students not in the Fairbanks area: I encourage you to see theatre.  Many companies offer reduced ticket prices for students – and you can learn a great deal simply by seeing how other people design their productions.  You likely won’t be able to watch a show without noticing the lighting – this is a good thing!

Important selections from the UAF Student Code of Conduct:
“UAF requires students to conduct themselves honestly and responsibly, and to respect the rights of others. Conduct that unreasonably interferes with the learning environment or that violates the rights of others is prohibited…. Honesty is a primary responsibility of you and every other UAF student. The following are common guidelines regarding academic integrity:

  • Students will not collaborate on any quizzes or exams that will contribute to their grade in a course, unless permission is granted by the instructor of the course. Only those materials permitted by the instructor may be used to assist in quizzes and examinations.
  • Students will not represent the work of others as their own. A student will attribute the source of information not original with himself or herself (direct quotes or paraphrases) in compositions, theses and other reports.
  • No work submitted for one course may be submitted for credit in another course without the explicit approval of both instructors.”

Disabilities Services:
The Office of Disability Services implements the Americans with Disabilities Act (ADA), and insures that UAF students have equal access to the campus and course materials. I will work with the Office of Disabilities Services (208 WHIT, 474-5655) to provide reasonable accommodation to students with disabilities.

Support Services:

  • UAF Student Support Services office is located in 508 Gruening. Phone: 474-6844, Fax: 474-7480. Further information may be obtained at www.uaf.edu/sssp or by email at: fysssp@uaf.edu
  • The UAF Writing Center is located in 801 Gruening. Phone: 474-5314. Hours are listed on their website: www.uaf.edu/english/writingcenter
  • There is also a Speech Center available through the Department of Communication which can help you prepare your Oral Presentation.

458 SFX Up Your Video

FLM 458 SFX Up Your Video        Kade Mendelowitz

Film 458 – Tuesday/Thursday 2:00pm-3:30, 3 credits

Spring Semester 2013 University of Alaska Fairbanks. E-mail: KMendelowitz@alaska.edu

 Prerequisites:

FLM 290, FLM 271 or 280; or permission of instructor. Cross-listed with JRN F458

Course Reading: (Required Text)

Adobe After Effects CS6 Classroom in a Book by the Adobe Creative Team
ISBN-10: 0321822439

Course Materials: (Required)

External Hard Drive, with at least 250GB available for this course exclusively.  USB 2 or USB 3 recommended.

Course Description:

An exploration into adding Special Effects to your video projects.

Course Goals:

Students will learn how to design and implement the use of Special Effects into their video projects.

Student Learning Outcomes:

  • Shooting and editing “green screen”
  • Adding complex title sequences
  • Creating a personal logo animation
  • Learn the basics of color grading
  • Developing a unique DVD menu design

Instructional Method:

This is primarily a lecture/demonstration course.  We will discuss how to develop an effect plan, design the appropriate effect, and use the tools which will allow us to create the effect.  Sometimes that will include studio (TV studio) production work, but mostly we’ll be editing in the media lab.

Digital component:

You will be expected (aka: requirement) to have a UAF e-mail account with Blackboard access.  Even if you do not use this address as your primary e-mail account, you should set it as a forward to the address of your choosing.

Course Policies:

M Class attendance and participation is expected.  After two unexcused absences, your grade will be affected.  Assignments are due the date assigned during class; late assignments will be accepted up to two weeks late at a reduction of 3 points per day (not per class)…get your assignments done in a timely fashion!

Grading & Evaluation:

This course will be graded including +/- values

Because attendance is expected; only absences affect your grade (in a negative way).  You are not rewarded for ‘just showing up’…be warned.

Note: If you are taking this as a Film Major Requirement (very likely) any final grade less than a “C” (including C-) will be considered unacceptable as a graduation requirement, and you will need to retake the course.

Rough Logo Project                                5%

Logo Project Complete                             20%

Green Screen Project                               15%

Menu Design                                      10%

Project Integration                                 15%

Participation                                      10%

Final Project DVD menu, logo integration, reel demo     25%

101 Theatre Practicum

Theatre Practicum (THR 101, 201, 301 or 401) 3 Credits

Course location and meeting time: There is no formal meeting time for this course. This course is similar to “on the job training”. You get credit for actually working on (or being in) productions.

 Course description : Theatre Practicum is essentially “hands on” training/work to get credit for actually working on a production.   Students may get credit for being in a show (see: Performance), working Front of House (FOH) example: House Manager, Publicity Agent, Ticket Seller, Usher or supporting the production backstage (see: Technical).

Requirements : Although the three main areas available for Practicum Credit have their own specific types of requirements, the overall / general requirements are the same: 39 hours per credit (1 credit=39, 2 credit = 78, 3 credits = 117).   Theatre Practicum is an “open enrollment course” meaning you may register anytime throughout the semester without additional late fees.   Students may also take 1-3 credits per semester per level of practicum.   Because of this, especially if you are unfamiliar with the time commitments of working in the Theatre, it is recommended you register for a small amount of credits and you can add more throughout the semester if you decide you can truly put in the work required to fill more credits.

Timesheets Should be recorded and stored in the appropriate shop/area of production work.   In the case of running crew positions: typically one production running crew position (example: Board Operator) is equal to 1 credit of Theatre Practicum…in this case, time sheets for the running crew position are not necessary.   If the student registers for more than one credit, they should not their running crew position on the bottom of the time sheet they keep in the shop.

Performers should get prior approval from both the Director and Instructor of Record for the size of the role and the appropriate number of credits.   Also, a journal or record may be required.   Performers, Designers and Directors in Lab Productions (Winter Shorts) should always get prior approval from the instructor for credits in production – credits for Lab Productions are not always granted, and are determined on a case-by-case basis.

Advice : Students have often completed 3 credits of practicum in half a semesters’ time.   Other students, however, due to work, poor time management skills, overly active social lives, or personal commitments sometimes come up very short.   For Technical practicum credits it is strongly suggested that you put in most (if not all) of your hours prior to the mainstage show for the current semester opens.   Once the mainstage opens, work in the shop slows down and the job tasks will be less interesting, and the hours the shop(s) are open will become reduced.   Get done early so you will have an easier time with your other finals!

Course Policies : If you are cast in a production (performance) or accept the duties of a running crew (backstage) person, other people will become reliant on you to be there to perform your job.   You will be trained (either through rehearsals as a performer) or during “Tech Weekend” (as a running crew person), making you hard to replace.   Therefore, you will be expected to be on-time (ready to work when the call is set; not in jacket eating, for example).   A separate schedule is available for running crew positions and performances at this meeting…or see the Technical Director for copies.   Rehearsals for performers prior to “Tech Weekend” are set (usually weekly) by the production Stage Manager, and although not all actors are called to each rehearsal: accepting a role is a major time commitment.   A rough schedule will be posted on the bulletin board (“call board”) near the scene shop – check with it daily for rehearsal updates & potential conflicts.

       If you accept a role or running crew position: being late (even once) may adversely affect your grade!

Grading Guidelines : These are general guidelines used when grading is decided:

“A” = Completed all expected hours. Student was on-time, had a positive attitude, worked well with others, would try their best to complete tasks assigned.   Was not lazy.

“B” = Was within 5 hours per credit of expected hours (at least 34, 73, or 112 respectively). May have been late on occasion, was not disruptive, did not abandon projects undone without informing you of its status.   May have had “off days” but was generally reliable.   Missed Production call, but called in with enough time for you to find a replacement for them.

“C” = Was within 7 hours per credit of expected hours (at least 32, 71 or 110 respectively).   Student was late occasionally.   Negative attitude, but completed most work assigned.   Caused a few problems, but was O.K. for most part.   Missed Production call, but called in.

“D” = Was within 10 hours per credit of expected hours (at least 29, 68 or 107 respectively).   Student was late a great deal.   Negative attitude, sometimes disruptive.   Did not usually complete work assigned.

“F” = Was more than 10 hours per credit short of expected hours (less than 29, 68 or 107 hours respectively).   Late often or did not show up.   Negative attitude.   Missed Production call and did not call in.   Disruptive.

Theatre Practicum TechnicalSince no structured teaching takes place within the practicum format, the primary objectives are to develop previously acquired skills through participating in producing theatre and to develop new skills through on-the-job training in the production process.

The student may choose one of the following areas in which to concentrate his/her work or may combine two or more of these areas (as agreed upon in consultation with unit heads);

1. Scenery

a. construction and finishing

b. running crew

2. Properties

a. building and acquisitions

b. running crew

7. Production Staff

a. stage management

3. Lighting

a. hanging and focusing

b. running crew

4. Costumes

a. construction, hair dressing

b. wardrobe mistress & running crew

c. makeup crew

5. Sound

a. creating and recording

b. running crew

6. Publicity, Box Office, House Management

Job description available at box office

The student must keep a time sheet and accurately record the number of hours completed on a regular basis. Each Running Crew position is equal to 1 credit of practicum. Since production work is seasonal, the student is reminded that the approach of production deadlines often demand a more concentrated use of time; a written schedule will be maintained, keeping in mind that the hours cannot be completely equally spaced throughout the semester. If a student does not complete the required number of hours for registered credits, (s)he may receive an unsatisfactory or failing grade for the course. Student commitment and quality of work, as well as the student’s attitude towards learning will be examined upon the assignment of grades.

Theatre Practicum PerformanceCredit is awarded for participation as a performer in UAF mainstage productions. Credit will vary from 1 to 3, depending on: a) size of role; b) length and difficulty of rehearsal process. Student must inform the production director of their intention to receive credit for their role, and to learn if the director requires journals or written documentation supporting the research the student does.   Student should do a similar check with the instructor of record after checking that the director is willing to supervise the student for credit.

Credit may occasionally be granted for “Lab Theatre” productions (Winter Shorts) – but the student must petition a faculty advisor for their role / production before signing up for credit (must be pre-approved). In these cases; credits will rarely exceed 1 or 2.

Again: it is the student’s responsibility to learn exactly what is expected of them to get credit for working on a production.   “Just showing up” is not enough for college credit.

ADA: The Office of Disability Services implements the Americans with Disabilities Act (ADA), and insures that UAF students have equal access to the campus and course materials. We will work with the Office of Disabilities Services (203 WHIT, 474-7043) to provide reasonable accommodation to students with disabilities.

All in the Timing

“All in the Timing” by David Ives, directed by Stephan Golux
March 23-April 1, 2012

Cast (in order of Appearance)
SURE THING
BILL Tyler McClendon
BETTY Stephanie Sandberg
WORDS, WORDS, WORDS
SWIFT Marley Horner
KAFKA Tiana Hanson
MILTON Chris Mertes
THE UNIVERSAL LANGUAGE
DAWN Heather Warren
DON Andrew Cassel
YOUNG MAN Chioke Buckley
PHILIP GLASS BUYS A LOAF OF BREAD
WOMAN #1 Stephanie Sandberg
WOMAN #2 Tiana Hanson
PHILIP GLASS Chris Mertes
BAKER Tyler McClendon
THE PHILADELPHIA
AL Andrew Cassel
WAITRESS Heather Warren
MARK Chioke Buckley
VARIATIONS ON THE DEATH OF TROTSKY
TROTSKY Marley Horner
MRS. TROTSKY Codi Burk
RAMON Chris Mertes
Scenic Designer: Adam Gillette
Costume & Makeup Designer: Bethany Marx
Costume Designer: Sure Thing & Words, Words, Words Ariadne Wattum
Lighting Designer: Tom Creek
Stage Manager: Nicki Karl
Assistant Stage Managers: Jordan Guinn, Lachlan Gillispie

Fairbanks Daily News-Miner review (342k)
Fairbanks Daily News-Miner publicity article (588k)
UAF Sun Star (student newspaper) review (307k)

The Winter’s Tale

 WTPoster5WebThe Winter’s Tale

by William Shakespeare
Directed by Stephan Golux
April 22 – May 1, 2011

Cast (in order of Appearance)
ARCHIDAMUS (Counselor to Polixenes) Daniel Thoman
CAMILLO (Counselor to Leontes) Chris Mertes
POLIXENES (King of Bohemia) Sambit Misra
LEONTES (King of Sicilia) Andrew Cassel
HERMIONE (Queen to Leontes) Hadassah Nelson
MAMILLIUS (Prince of Sicilia) Jason Chausse
SERVANTS (to Leontes) Melissa Buchta, Tiana Hanson
LADY (Attendant to Hermione) Becca Bieber
EMILIA (Attendant to Hermione) Codi Burk
SICILIAN LORDS Sam McKiernan, Thomas Petrie
ANTIGONUS (Counselor to Leontes) Pedro Lizardi
OFFICER Ryan Flaherty
PAULINA (Wife to Antigonus) Siri Tuttle
CLEOMENES (Sicilian Lord) Daniel Thoman
DION (Sicilian Lord) Dion Torres
MARINER Chris Mertes
SHEPHERDESS Tiana Hanson
CLOWN (Son of Shepherdess) Ryan Flaherty
TIME Becca Bieber
AUTOLYCUS (Bohemian Rogue) Melissa Buchta
FLORIZEL (Prince of Bohemia) Dion Torres
PERDITA (Beloved of Florizel) Grace McCarthy
MOPSA (Young Shepherdess) Becca Bieber
DORCAS (Young Shepherdess) Codi Burk
FESTIVAL GUESTS Thomas Petrie, Daniel Thoman
SERVANT (to the Shepherdess) Sam McKiernan
CREW
Director: Stephan Golux
Scenic & Lighting Designer: Rhi Johnson
Technical Director, Master Electrician, Props Master: Adam Gillette
Scene Shop Staff: Carl L. Sage
Carpentry Crew: Tom Creek, Eileen Gitter, Sambit Misra, Hadassah R. Nelson
Electrics Crew: Deirdre Adams, Becca A. Bieber, Rhi Johnson, Chris J. Mertes, Carl L. Sage
Vocal Coach: Carrie Baker
Costume & Makeup Designer, Choreographer: Bethany Marx
Costume Shop Manager: Jerene Mosier
Dresser: Ari Wattum
Costume Construction: Heather Curry, Heidi Konttinen, Lena LeRay, Grace McCarthy, Chris Mertes, Ari
Wattum
Composers: Melissa Buchta, Ryan Flaherty
Dance Captain: Becca Bieber
Lightboard Operator: Nicki Karl
Stage Running Crew: Jeremy Cannone, Carl L. Sage
Stage Manager: Jason Ginter
Assistant Stage Manager: Sam German
Box Office Manager, Public Relations: Kim Eames
Box Office Staff: Heather Lynch
Poster Design & Production Advisor: Kade Mendelowitz
House Managers: Mallory Bishop, Laura Schlutt

 

Would you care to read the Publicity piece from the Fairbanks Daily News-Miiner (pdf – 1.2 meg)?
Would you care to read the Review from the Fairbanks Daily News-Miner (pdf – 250k)?

Can Can Plays the Bay at Nice

Can Can Plays the Bay at Nice production poster

Production poster

Can Can Plays the Bay at Nice

a collection of One-Acts
November, 2010

CAN CAN by Romulus Linney
PLAY by Samuel Beckett
THE BAY AT NICE by David Hare

Director: Stephan Golux
Set Design: Kade Mendelowitz
Lighting Design: Rhi Johnson
Costume Design: Bethany Marx
Stage Manager: Becca Bieber

 Cast (in Order of Appearance)
CAN CAN
Ex-GI Chioke Buckley
Housewife Bindu Gadamsetty
Young Woman Grace McCarthy
Country Woman Crysta Parks
Can Can production photo

Can Can Left-Right: Bindu Gadamsetty, Crysta Parks, Grace McCarthy & Chioke Buckley

PLAY
Woman 1 Elizabeth Allen
Woman 2 Jenna Weisz
Man Brian Lyke
Play production photo

Play Left-Right:Jenna Weisz, Brian Lyke, Elizabeth Allen

THE BAY AT NICE
Valentina Hadassah R. Nelson
Sophia Codi Burk
Assistant Curator Thomas Petrie
Peter Pedro Lizardi
Bay of Nice production photo

The Bay at Nice Clockwise: Thomas Petrie (in doorway), Pedro Lizardi, Codi Burk, Hadassah R. Nelson

Director: Stephan Golux
Scenic Designer, Technical Advisor, Poster Design: Kade Mendelowitz
Scene Shop Supervisor & Master Electrician: Adam Gillette
Scene Shop Staff: Brian Lyke, Carl L. Sage
Lighting Designer: Rhi Johnson
Carpentry Crew: Deirdre Adams, Melissa Buchta, Andrew Cassel, Joclyn Cook, Nicki Karl, Hadassah R. Nelson, Mary Pastro, Daniel Thoman, Jenna Weisz
Electrics Crew: Deirdre Adams, Becca A. Bieber, Kathryn D. Chamberlain, Jason Ginter, Tiana Hanson, Chris J. Mertes, Paul R. Rios, Carl L. Sage
Costume & Makeup Designer: Bethany Marx
Costume Shop Manager: Jerene Mosier
Sound Designer: Stephan Golux
Sound Engineer: Adam Gillette
Vocal Coach: Carrie Baker
Lightboard operators: Andrew Cassel, Jason Ginter
Soundboard operator: Joclyn Cook
Stage Running Crew: Deirdre Adams, Jeremiah Cannone, Nicki Karl
Stage Manager: Becca Bieber
Assistant Stage Managers: Andrew Adlesperger, Jason Ginter, Laura Schlutt
Dresser: Sam German
Costume Construction: Ben Deering, Lena LeRay, Heather Olson, Paul R. Rios, Carl L. Sage, Ariadne Wattum
Box Office Manager: Kim Eames
Box Office staff: Paul Ríos, Sarah Seifert
House Manager: Sambit Misra

Three Penny Opera

Three Penny Opera

By Bertolt Brecht
Music by Kurt Weill
Produced by the UAF Department’s of Theatre & Music
Stage Director Thomas Riccio
Musical Director John Hopkins
April 11-20, 1997
Lee H. Salisbury Theatre

Scenic Designer Kade Mendelowitz
Costume & Makeup Designer Tara Maginnis
Lighting Designer Dale F. Kohlmetz
Sound Designer Dustin Grimes
Technical Director Kade Mendelowitz
Stage Manager Karen Gaborik
Genevieve Elterman (Assistant Stage Manager)

Calvin Alden (Police Constable Smith)
Eve Bird (Polly Peachum)
Sean Brean (Macheath)
Nell Chapman (Molly)
Eric Dickman (Ed)
Steve Dixon ()
Annie Dobbs (Dolly)
Tony Evans (Matt of the Mint)
Rosey Gallagher (Old Whore)
Brett Good (Tiger Brown)
Gus Grindel (Rev. Kim, Policeman)
Lucile Hackett (Betty)
Tami Holland (Lucy Brown)
Karl Kalen (Mr. Peachum, the King of the Beggers)
Joshua Kleinfeld (Walter Dreary)
Kate Koehler-Platten (Beggar, Whore)
Michael Matson (Sawtooth Bob)
Justin Mitchell (Jimmy)
Steve Mitchell (Ballad Singer)
Meridith Rude (Beggar, Whore)
Cris Stone (Jenny Diver)
Parker Thompson (Filch)
Diana Williams (Beggar, Whore)