By Allen Nevins and Nancy Borgenicht
June 30 - Runs throughout the summer
SLAC.Sparks: VOYEUR rehearsal research
"Here comes the year that was,
We'll tell is like it was.
Laugh at the news. No way to lose,
If you laugh it away."
Alexis Baigue spends his 10th summer in SATURDAY'S VOYEUR 2010. He also appeared in: GOODNIGHT DESDEMONA (GOOD MORNING JULIET), staged readings of MOTHER COLLEGE, THE LIVELY LAD, BUNBURY, THE CANCER DIARIES, CHARM, PROPHETS OF NATURE, and this autumn's upcoming ANGELS IN AMERICA (Salt Lake Acting Company), DEAR WORLD (Sundance Summer Theatre), BEYOND THERAPY, THE SEX HABITS OF AMERICAN WOMEN (Pygmalion Productions), THE BOYS IN THE BAND (Wasatch Theatre), ANASTASIA (StageRight), SURFIN' SAFARI (Desert Star Playhouse), JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS (TheatreWorks West), NO EXIT (Symeon Studio), WIT (Emily Company), SUMMER AND SMOKE, CABARET, RHINOCEROS, QUEEN CHRISTINA, ANTIGONE, THE RIMERS OF ELDRITCH, LOYALTIES (University of Utah), YOU CAN'T TAKE IT WITH YOU, THE TREE OF LACE (Salt Lake Community College), readings of THE UNDERPANTS, THE VIOLET HOUR, THE LAST SUNDAY IN JUNE, MY NAME IS RACHEL CORRIE (Utah Contemporary Theatre), Iasella's WISH UPON, BOX KITE (Avalon Isle), Wessels' RECTUM!, Cahill's CUP, (First Unitarian Church), and Beecher's THE IMMACULATE ABORTION (U of U). Q Salt Lake's readers voted him 'Most Faaabulous Actor'.
Stephanie Chace Bass is so excited to be performing with the Salt Lake Acting Company for the first time! She is having so much fun being in SATURDAY'S VOYEUR, and feels privileged to be working with such an amazing cast. Stephanie has also performed in the Pioneer Theatre's A CHORUS LINE, The Dark Horse Company Theatre's REEFER MADNESS, and The Egyptian Theatre Company's CABARET, and A FUNNY THING HAPPENED ON THE WAY TO THE FORUM. Stephanie is a professional figure skater, and coaches at the Park City Ice Arena. She would like to thank her wonderfully supportive family.
Ashley Gardner Carlson is thrilled to be making her SLAC debut! Favorite Utah theatrical credits include: JEKYLL AND HYDE, STEEL MAGNOLIAS, and KISS ME KATE (Rodgers Memorial Theatre), SINGIN' IN THE RAIN, RAGTIME, 42ND STREET, and THE SCARLET PIMPERNEL (Hale Centre Theatre) and MISS SAIGON and A CHORUS LINE (Pioneer Theatre Company). Other regional credits include: THE SOUND OF MUSIC (Main Street Players, Los Angeles), HELLO DOLLY!, (Moonlight Amphitheatre, San Diego), BYE BYE BIRDIE (The Lawrence Welk Resort, San Diego), THE SOUND OF MUSIC and JEKYLL AND HYDE (Starlight Musical Theatre, San Diego) and the original cast of THE LEGEND OF SLEEPY HOLLOW (Avo Playhouse, San Diego). TV/Film: Bring it On (with Kirsten Dunst) and Good Man Down (a Disney Channel original movie starring Ryder Strong). Ashley earned a Bachelor's Degree from the University of Utah in Communications and an MBA from Westminster College. Currently she works as the Music and Theatre Arts Administrator for Westminster, teaches dance and choreographed the Westminster Players latest production of RED NOSES.
Steven Fehr is very pleased and grateful to return to the Salt Lake Acting Company for another edition of SATURDAY'S VOYEUR. In addition to performing in last year's installment at SLAC, Steven has also performed at Pioneer Theatre Company in such shows as ROMEO AND JULIET, A MIDSUMMER NIGHT'S DREAM, THE LIGHT IN THE PIAZZA, and MY FAIR LADY; the Old Lyric Repertory Company in such shows as BLOOD BROTHERS, THE BOYS NEXT DOOR, and THE LION IN WINTER; the Egyptian Theatre Company in such shows as SWEENEY TODD and LITTLE SHOP OF HORRORS; and numerous shows at the Desert Star Theatre, the Great American Melodrama, and the Melodrama Musical Theatre. Steven also played Sal Antonucci in the Las Vegas company of TONY AND TINA'S WEDDING at the Rio Hotel and Casino and had the pleasure of playing Rooster to Sally Struther's Miss Hannigan in ANNIE at the Nevada Conservatory Theatre. Steven would like to thank IHU, Mom, his family, and God for all that they do for him. Steven is a proud member of Actors' Equity.
Kent Harrison Hayes is over the moon excited about joining the family at SLAC for his 4th SATURDAY'S VOYEUR! "The experience of working with such a wonderfully talented group of people is an actors dream." Following VOYEUR '09, Kent wrote, directed and starred in SONGS FROM THE STAGE: A CONCERT IN KAYENTA, at a theatre under the stars in southern Utah. He then produced and directed the stage version of the holiday classic A CHRISTMAS STORY, at the Electric Theater in St. George. Some of Kent's other credits include the Pioneer Theatre production of MY FAIR LADY, CRAZY EIGHTS, FIDDLER ON THE ROOF, HMS PINAFORE, GEORGE M!, MUCH ADO ABOUT NOTHING, GODSPELL, CANDIDE and PIPPIN. TV credits include featured roles in Star Trek: Deep Space Nine, as well as character voices in the animated series, Robotech. He has also voiced characters in the theatrical release, Robotech: The Shadow Chronicles and scored and performed the vocals for two animated features for Nickelodeon TV; Peter of Placid Forest and The Adventures of Manx Mouse. Kent is also an artist and will be showing his photo collage work in Salt Lake City throughout the summer. He is a proud member of AEA, SAG, AFTRA and Songwriters Guild of America.
Justin Ivie is a proud member of Actors' Equity who is thrilled to be a part of SATURDAY'S VOYEUR 2010. Justin recently appeared at SLAC as Jones in TOO MUCH MEMORY, and has twice before been part of the madness of SATURDAY'S VOYEUR. His other acting credits include numerous appearances with Pioneer Theatre Company, Utah Musical Theatre, Egyptian Theatre Company, and many other others - both locally and in Chicago. In addition to acting, Justin is the Producing Director of Walk-Ons, Inc. - a professional theatre company dedicated to bringing affordable, live performances to underserved audiences. He has directed three seasons of The Senior Theatre Project - which tours short plays (written by, for, and about seniors!) to community senior centers and residence facilities. This winter, Justin directed JACOB MARLEY'S CHRISTMAS CAROL for OurSpace Theatre Company. A graduate of Weber State University, Justin earned his MFA in Acting at Northern Illinois University. He has taught theatre and communications at LDS Business College, NIU, Triton College, and Weber State. Justin also designs scenery and theatrical masks, writes an occasional play, and sometimes even plays the banjo (when he's pretty sure no one is listening).
Shannon Musgrave is thrilled to be returning to SATURDAY'S VOYEUR after playing Uhadda Freebe in last year's show. Since then, Shannon has appeared in SCHOOL HOUSE ROCK (Grand Theatre), GO, DOG. GO! (Salt Lake Acting Company), 25th ANNUAL PUTNAM COUNTY SPELLING BEE (Pinnacle Acting Company) and most recently in 42nd STREET at Pioneer Theatre Company. Shannon is a graduate of Weber State University, where she earned her BA in Musical Theatre. Offstage, Shannon is part of SLAC's Communications and Audience Development team and loves being part of this fantastic company. Enjoy the show!
Victoria Elena Nones will be graduating from the University of Utah in 2011 with a BFA in Stage Management and a BA in Gender Studies. She is an alumnus of Tuacahn High School for the Performing Arts and AMDA Los Angeles. Victoria is thankful to be making her way back onto the stage after a 3 year hiatus from performing musical theatre, and is feeling super maverick-y and excited about her SLAC debut. She directed THE VAGINA MONOLOGUES at the U of U 2010, as well as directs/owns a local burlesque troupe in SLC (BackDoor Burlesque). Credits include: Marys Deity in THE LILY'S REVENGE at Sundance Institute's Summer Theatre Lab, Mayzie La Bird in SEUSSICAL!, and Lead Singer/Dance Captain for TWIST THE NIGHT AWAY.
Jesse Pepe is thrilled to be returning to VOYEUR for the second year! Previous SLAC credits include SATURDAY'S VOYEUR 09, DARK PLAY OR STORIES FOR BOYS, and SIX YEARS. He recently finished his second year at Weber State University, majoring in musical theatre. Other recent credits include Giuseppe Naccarelli in THE LIGHT IN THE PIAZZA, and Faas Brinkerhoff in Jim Christian's new musical, SLEEPY HOLLOW. He also played Eugene in BRIGHTON BEACH MEMOIRS as part of the Neil Simon Festival. City Weekly recently honored him with Best Up-and-Coming Actor of Salt Lake in their yearly Arty Awards. A Brighton High School graduate, he is honored to be the Speech/Drama Sterling Scholar state winner of '08. He is so lucky and humbled to be a part of this incredible cast, as well as one of the best longstanding traditions this state currently has. Enjoy!
Jeanette Puhich is very happy to return to SLAC after appearing most recently in SATURDAY'S VOYEUR 2008, THE WATER PROJECT, SWIMMING IN THE SHALLOWS and as Haley Walker in BAD DATES. Other SLAC credits include: GUNMETAL BLUES, NAPOLEON'S CHINA, MERE MORTALS, THE RIDE DOWN MOUNT MORGAN, THE BEARD OF AVON and CABBIES, COWBOYS AND THE TREE OF THE WEEPING VIRGIN, as well as several runs of SATURDAY'S VOYEUR. Other Utah credits include: Yitzak in HEDWIG AND THE ANGRY INCH for Plan-B Theatre, Rosie in BYE BYE BIRDIE at the Grand Theatre, Janet in THE ROCKY HORROR SHOW at the Institute of Terror and ALL IN REALLY NEED TO KNOW I LEARNED IN KINDERGARTEN. Jeanette is originally from Seattle, Washington where she performed at Pioneer Square Theatre, The Group Theatre, A Contemporary Theatre, Tacoma Actor's Guild and The Cabaret de Paris. Jeanette also works in the television, voice-over and film industry, having been seen in the film Mobsters and Mormons and most recently was cast as the Beehive Hair Woman in National Lampoon's Bag Boy. Most recently, she played a small role in the new Jared Hess film Gentleman Bronco. Jeanette received a degree in Theatre Arts from the University of Idaho.
Brock Smith is happy to be seen in his first production with the Salt Lake Acting Company and he is thrilled to be working in such a supportive and creative environment. He has been performing for Utah audiences since 1997. Brock went to Youth Theater at the U and was active in the Youth Theater Conservatory as well studied Film Acting at SLCC. Theater credits include Willey Metcalf in SPOON RIVER ANTHOLOGY at Wasatch Theater Company, Thomas McKean in 1776 at Rogers Memorial Theater and Dr. Scott in a touring ensemble of THE ROCKY HORROR SHOW. Brock has also appeared in television and motion pictures as a Waiter in Everwood, Sneiur Zalman in The Yankles and most recently as Breathless Man in For Robbing the Dead.
Aaron Swenson is unbelievably excited to return to the SLAC stage for his sixth SATURDAY'S VOYEUR after seven years away. In addition to his turns in VOYEUR and in BAT BOY: THE MUSICAL at SLAC, Aaron has been in numerous productions at the Desert Star Playhouse in Murray, the Egyptian Theatre Company in Park City, and Pygmalion Productions in Salt Lake City. Most notably, Aaron appeared as Hedwig Schmidt in Plan-B Theatre Company's award-winning production of HEDWIG AND THE ANGRY INCH in 2003 and again in 2006. Favorite roles include Mickey in BLOOD BROTHERS, Neville Landless in THE MYSTERY OF EDWIN DROOD, and Hot Blades Harry in URINETOWN: THE MUSICAL. When he's not performing, Aaron works as the Wardrobe Supervisor at Pioneer Theatre Company in Salt Lake City.
Allen Nevins (Playwright) has been writing for SATURDAY'S VOYEUR the last 20 years. He came to the Salt Lake Acting Company in 1989 as the Literary Manager and in 1990 he formed a writing and business partnership with Nancy Borgenicht. In 1993, their partnership, Saturday's Voyeur, Inc., became the management company and the Executive Producers of the Salt Lake Acting Company, for which they received the UAF Mayors Award for the Performing Arts and also the Governors Award for the Arts. As Executive Producers they expanded and re-built the Upstairs Theatre, designed and built the Chapel Theatre as an alternative performing space, unionized SLAC's acting pool and re-instituted SATURDAY'S VOYEUR as the annual summer fundraiser for the Salt Lake Acting Company. In his 12 years as an Executive Producer, the Salt Lake Acting Company produced over 70 full-length plays, 40 public readings, and developed multiple new works for the American stage. Since his retirement in 2005, he has focused his talents on maintaining SATURDAY'S VOYEUR as an outlet for discourse, dissent, irreverent humor, cheap shots at elected officials; and of course, political in-correctness in all its forms. He'd like to thank Rep. Carl Wimmer for replacing Sen. Chris Buttars as the most ridiculous legislator on planet Utah and for all the Tea Baggers in the Patrick Henry Caucus for making "all our differences so painfully obvious."
Nancy Borgenicht (Playwright) has been part of The Salt Lake Acting Company since 1974. She served as Co-Executive Producer with Allen Nevins from 1993-2005 and as Interim Executive Producer for the 2009-2010 Season. She received the Mayor's Award for the Arts in 1999 and accepted, for SLAC, the Governor's Award for the Arts in 2001. As an actor, she has appeared in SLAC productions of MISS MARGARIDA'S WAY, HUNTING COCKROACHES, ON THE VERGE OR THE GEOGRAPHY OF YEARNING, HEDDA GABLER, KENNEDY'S CHILDREN, SYLVIA PLATH: A DRAMATIC PORTRAIT, THE IMPORTANCE OF BEING EARNEST, and EL GRANDE DE COCA COLA. Her directing credits for SLAC include ANGELS IN AMERICA, WHITE MAN DANCING, OLEANNA, WOMEN AND WALLACE, CABBIES, COWBOYS AND THE TREE OF THE WEEPING VIRGIN, and SATURDAY'S VOYEUR from 1993 to 2003. She conceived and created SATURDAY'S VOYEUR in 1978.
Cynthia Fleming (Director/Choreographer/ Executive Producer) SATURDAY'S VOYEUR 2010 marks Cynthia's 14th year as choreographer of the infamous musical satire and 1st year as Director. As a choreographer for SLAC, favorites include: GO, DOG. GO!, BAT BOY THE MUSICAL, and Water Lilies from CABBIES, COWBOYS, AND THE TREE OF THE WEEPING VIRGIN. As a choreographer and performer, she has worked professionally for over thirty years, performing in the Broadway, National and International companies of A CHORUS LINE. Cynthia has worked with Salt Lake Acting Company for the past fifteen years: first, as a choreographer; second, as the Box Office Manager; later, as the Director of Audience Services. Prior to her appointment as joint Executive Producer with Keven Myhre, she worked as the Creative Director of Communications and Audience Development, leading the Communications Team and overseeing the Box Office and House Management. Beyond attaining and retaining subscribers and single ticket buyers, the team strives to celebrate and honor the play, the artists, and the audience, complimenting Salt Lake Acting Company's mission to develop and produce vital new work.
Kevin Mathie (Musical Director, Arranger, Sound Design, Keyboards) is currently the resident Musical Director at the Grand Theatre. His recent directing and conducting credits include BINGO THE MUSICAL, SCHOOLHOUSE ROCK LIVE!, FOUR GUYS NAMED JOSE, MUSICAL OF MUSICALS THE MUSICAL, CABARET, MY FAIR LADY, NUNSENSE, SHEAR LUCK, SONG OF SINGAPORE, ALWAYS...PATSY CLINE, MAN OF LA MANCHA, GODSPELL, I DO! I DO!, WIZARD OF OZ, CHILDREN OF EDEN, and ANNE OF GREEN GABLES, only to name a few. This is also his sixth SATURDAY'S VOYEUR. He has worked for many years as a local musician, musical director, composer and arranger. Audiences may also have seen Kevin in various productions at Salt Lake Acting Company, Egyptian Theatre Company in Park City, Pioneer Theatre Company and Rodgers Memorial Theatre. As a composer for theatre, Kevin has produced complete original vocal scores for SHEAR LUCK (The Grand Theatre), RUMPELSTILTSKIN (Utah Musical Theatre, et al.), and JACK AND THE BEANSTALK (Utah Musical Theatre, et al.). He has also written incidental scores for Salt Lake Acting Company's TWO- HEADED and VOICES IN THE DARK, The Grand Theatre's OUR TOWN, and Weber State University's DANSE MACABRE. As a composer for film, Kevin's music won "Best Musical Score" in last year's 48 Hour Film Festival for the comedy short, S.H.A.T.
Keven Myhre (Set Design, Executive Producer) was chosen to receive the Mayor's Artist Award in the Performing Arts for 2009. Keven was awarded the 2008 City Weekly Award for directing THE CLEAN HOUSE and MOONLIGHT AND MAGNOLIAS at Salt Lake Acting Company. His other directing credits at SLAC are THE OVERWHELMING, RABBIT HOLE, I AM MY OWN WIFE, BAD DATES, KIMERBLY AKIMBO, GOING TO ST. IVES, WATER LILIES, THE MEMORY OF WATER, TWO-HEADED, THE BEAUTY QUEEN OF LEENANE, GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE, C'EST MOI in MERE MORTALS, and THREE DAYS OF RAIN. Keven has designed all of SLAC's sets and many of the costumes for the last sixteen years. He also designed sixteen sets for The Grand Theatre, including ALWAYS...PATSY CLINE, JOHNNY GUITAR, MY FAIR LADY, SONG OF SINGAPORE, MORNING'S AT SEVEN, and GODSPELL. ACCORDING TO COYOTE, WEST SIDE STORY, CROW AND WEASEL, and SOUTH PACIFIC were designed for Sundance Theatre. His designs have also been seen at Pioneer Memorial Theatre, Utah Musical Theatre, Egyptian Theatre, Kingsbury Hall and the Babcock Theatre. His work for the Utah Arts Festival includes site design for the 20th Anniversary. He received a BFA from the University of Utah and a MFA in Theatre from the University of Michigan.
James M. Craig (Lighting Design) has designed the lighting for 35+ shows at SLAC since 1997, most recently for CHARM, THE CARETAKER, MASTER CLASS, SATURDAY'S VOYEUR 2009, END DAYS, SIX YEARS, BILLION DOLLAR BABY, ICE GLEN, THE WATER PROJECT. James has also designed lights for Plan-B Theatre, Utah Contemporary Theatre, Utah Musical Theatre, The Egyptian Theatre Company, Peery's Egyptian Theatre, Odyssey Dance Theatre, The Grand Theatre, Weber State University, The Emily Company, Georgia Shakespeare Festival, Virginia Stage Company, The Generic Theatre, Little Theatre of the Rockies, Lyric Opera Ensemble, Coachella Valley Theatre and Theatre Inc. Currently James is the Technical Director for the Park City Performing Arts Foundation. James holds a B.S. in Theatre from Weber State University, and is a member of United Scenic Artists Local 829.
Brenda Van der Weil (Costume Design) as always, Brenda is happy to be working for SLAC. Brenda is part of the design faculty for the University of Utah Theatre Department. She designs regularly for that department as well as for Pioneer Theatre and for SLAC. Recent works include CHRISTMAS STORY, NOISES OFF, THE FOREIGNER and YOU CAN'T TAKE IT WITH YOU for Pioneer Theatre Company; TROJAN WOMEN, DEATH OF A SALESMAN, THE COUNT OF MONTE CRISTO and COMEDY OF ERRORS for Alabama Shakespeare Festival; THE CAUCASIAN CHALK CIRCLE for the Babcock Theatre, and CHARM, MASTER CLASS, SIX YEARS, THE CLEAN HOUSE, ROUNDING THIRD and END DAYS for SLAC. She also designed several of the recent SATURDAY'S VOYEUR productions, including SATURDAY'S VOYEUR 2009 and SATURDAY'S VOYEUR 2008, and all but one of the University of Utah's Classical Greek Festival productions for the last eighteen years. Before moving to Utah, Brenda also worked at the Seattle Opera, the Santa Fe Opera, and the Utah Shakespearean Festival.
John L. Geertsen (Production Stage Manager) is thrilled to continue with SLAC after completing the world premiere of CHARM. Starting his career in television, his associate producer and coordinator credits that include the MTV Movie, VH1 Fashion, My VH1 and Big In award shows as well as Paul McCartney's Driving USA Tour. Time spent with the Fox networks made him embrace his love of live theatre. Previous Stage Management credits include The 2009 U.S. Tour of the Royal Ballet School, Salt Lake Acting Company's SEXSTING and SATURDAY'S VOYEUR 2007 through 2009, Pioneer Theatre Company's A CHORUS LINE, THE LIGHT IN THE PIAZZA and MY FAIR LADY, The Egyptian Theatre Company's SWEENEY TODD as well as Los Angeles productions of FUNNY BUSINESS, THE STAR WARS TRILOGY IN 30 MINUTES for George Lucas and the celebrity driven charity event WHAT A PAIR! John is a proud union member of AEA.
Jacob Johnson (Assistant Stage Manager) is happy to be returning to SLAC for his fifth production of SATURDAY'S VOYEUR, his first behind the scenes. He was the producer and emcee of the popular Cast Party SLC cabaret series for SLAC. As a performer, he has been seen in many local theatres, including Pioneer Theatre Company, Hale Center Theatre, The Grand Theatre, Off-Broadway Theatre, and Rodgers Memorial Theatre, as well as many other throughout Utah and California. He is a proud member of Actor's Equity Association since 2005.
The Trib says: "...one of the funniest, most politically savvy 'Voyeurs' in years. I've often said that this annual musical satire is best when it sticks to the culture shock that living in Utah often becomes, and this 'Voyeur' does just that."
Des News says: "'Saturday's Voyeur' is filled with sharp writing from Allen Nevins and Nancy Borgenicht and anchored by an all-around solid cast. Aaron Swenson's Tonto, Kent Harrison Hayes' Orrin Hatch, Victoria Elena Nones' Sarah Palin and Voyeur veteran Alexis Baigue, in particular, deliver standout performances."
City Weekly says: "The entire 12-member ensemble throws so much energy into Saturday’s Voyeur that the production’s charms become hard to resist."
And here's what our audiences are saying...
(Let us know what YOU think - )
by Allen Nevins & Nancy Borgenicht
June 30 - August 29, 2010
Playwright Nancy Borgenicht, Director/Choreographer Cynthia Fleming, Set Designer Keven Myhre, and Cast Member Shannon Musgrave discuss Salt Lake Acting Company's upcoming production of SATURDAY’S VOYEUR with SLAC’s Daisy Blake, Andra Harbold, Una Pett, & Becky Santti.
September 16 - October 11
Directed by John Vreeke
Starring Joe Cronin, Daniel Beecher, Matthew Ivan Bennett
In memory of one of the great playwrights of our time. An emotional roller coaster and a modern masterpiece.
"Directing a Pinter play is like working with the top language expert in the English language...no one knows how to put together sentences and pauses better than Pinter. The experience of The Caretaker is not a comfortable, romantic one. It pulls the audience into an emotional roller coaster as it depicts the realities of human nature and presents a not so pretty picture of times gone by and our times. The complexity of the play, Pinter's masterful use of dialogue, and the depth and perception shown in Pinter's themes all contribute to The Caretaker's consideration as a modern masterpiece. How often do you get to do a 'modern masterpiece'?"
Directed by John Vreeke
With Joe Cronin, Daniel Beecher, Matthew Ivan Bennett
DANIEL BEECHER (Aston) is happy to be returning to SLAC. His last full production with SLAC was almost 15 years ago, when he played Antoine in AN EMPTY PLATE IN THE CAFÉ DU GRANDE BOEUF. Born and raised in Salt Lake, Dan attended the University of Utah’s Actor Training Program. While at the U, Dan played John in SUMMER AND SMOKE, Bassanio in MERCHANT OF VENICE, Carl Magnus in A LITTLE NIGHT MUSIC, Snug in A MIDSUMMER NIGHT’S DREAM, and what feels like innumerable other parts, mostly in the Babcock Theater.
Elsewhere around town, Dan has been seen in several productions at Pioneer Theatre Company including A VIEW FROM THE BRIDGE, ROSENCRANTZ AND GUILDENSTERN ARE DEAD, KING LEAR, MACBETH, THE THREE MUSKETEERS, and PETER PAN (in which he played Nana the dog and the crocodile- favorites). He played Orlando in AS YOU LIKE IT, Tybalt in ROMEO AND JULIET, Sebastian in TWELFTH NIGHT, and both Banquo and Macduff in MACBETH all at Salt Lake Shakespeare. Other local credits include THE SEAGULL at the Rose Wagner, and DIRTY BLONDE with Utah Contemporary Theatre.
Outside of Utah, Dan studied at the Chautauqua Institution in New York, where he played Orsino in TWELFTH NIGHT, and several parts in THE DINING ROOM. Film and television credits include Incident At Dark River with Helen Hunt and Mike Farrell, and several independent films including Vapid Lovelies which he also co-wrote and associate produced, and which has been accepted into several film festivals internationally.
MATTHEW IVAN BENNETT (Mick) is the Resident Playwright of Plan-B Theatre Company, with whom he had a sold-out season in 08- 09, including the premiers of DI ESPERIENZA and BLOCK 8—the latter of which received a grant from the National Endowment for the Arts. Three radio plays of his, FRANKENSTEIN, LAVENDER and EXILE, have been broadcast nationally through XM and KUER. He participated in the Utah Shakespearean Festival’s New American Playwright’s Project in 2008 and his first play, THE WHITE LIGHT OF TERRENCE, received awards at the American College Theatre Festival.
He’s also acted with Utah Shakes, playing John in PETER PAN on the mainstage, and playing Puck (MIDSUMMER) and Grumio (SHREW) on the educational tours. Matt has also acted and written for Circle Theatre, Chicago Shakespeare, and Hunger Artists in California. He holds a Bachelors’ of Theatre Arts from Southern Utah University.
JOE CRONIN (Davies) is making his third appearance at SLAC, having appeared in 2005-06 as Ken Carpenter in MAN FROM NEBRASKA by Tracy Letts and in 2004-05 as Nathan in the world premiere of MADGASCAR by J. T. Rogers. He is a founder of Portland’s Artists Repertory Theatre, where he played Ben in BUTLEY, Norman in THE DRESSER, Piet in A LESSON FROM ALOES and Tobias in A DELICATE BALANCE. At Portland’s Civic Theatre he played Owen in TRANSLATIONS and Eliot in PRIVATE LIVES. At Portland’s New Rose Theatre he played T.S. Eliot in TOM AND VIV. At the Bradford Playhouse in Yorkshire, England he played Chris in THE MILK TRAIN DOESN’T STOP HERE ANYMORE. He toured theatres in Scotland as the Widow Twanky in the Panto ALADDIN. He has played Julius Caesar, Sid Davis in AH, WILDERNESS!, Leonato in MUCH ADO ABOUT NOTHING and Thor in MORNING’S AT SEVEN at the Utah Shakespearean Festival. At Portland Repertory Theater he played Harry in HOME and Charley in THE FOREIGNER. At Salem Repertory Theatre, he played Clarence in IT’S A WONDERFUL LIFE and Yvan in ART.
HAROLD PINTER (Playwright) was born in Hackney, London, in 1930. He was educated at Hackney Downs Grammar School and trained at the Royal Academy of Dramatic Art and Central School of Speech and Drama. His plays include THE ROOM (1957), THE BIRTHDAY PARTY (1958), THE DUMB WAITER (1959), THE CARETAKER (1960), THE LOVER (1962), THE HOMECOMING (1965), NO MAN'S LAND (1975), MOUNTAIN LANGUAGE (1988), MOONLIGHT (1993), ASHES TO ASHES (1996) and CELEBRATION (2000), first performed with THE ROOM at the Almeida Theatre in London. His adaptation of Marcel Proust's novel REMEMBRANCE OF THINGS PAST was performed at the National Theatre in London in 2000. He adapted many of his stage plays for radio and television and he wrote the screenplays to a number of films including THE SERVANT (1963), THE QUILLER MEMORANDUM (1965), THE GO-BETWEEN (1970), THE LAST TYCOON (1974) and THE COMFORT OF STRANGERS (1989), adapted from Ian McEwan's novel. He directed many productions of his own plays as well as plays by other writers, including James Joyce, Noel Coward, Tennessee Williams, David Mamet and Simon Gray, and acted on stage, film, television and radio. He was awarded a CBE in 1966, the German Shakespeare Prize in 1970, the Austrian State Prize for European Literature in 1973 and the David Cohen British Literature Prize in 1995, and held honorary degrees from the Universities of Reading, Glasgow, East Anglia and Bristol, among others. In 2001 he was awarded the S.T. Dupont Golden PEN Award by the English Centre of International PEN. WAR (2003), is a collection of eight poems and one speech inspired by the subject of conflict. Harold Pinter was married to the writer Lady Antonia Fraser and lived in London. In 2005, he was awarded the Nobel Prize for Literature. He died in December 2008.
JOHN VREEKE (Director) During the last decade John lived and worked in Washington DC. He directed the critically acclaimed and Helen Hayes nominated production of THE LAST DAYS OF JUDAS ISCARIOT at H Street Theater/Forum Theater and BOOM for Woolly Mammoth and received a Helen Hayes nomination for director. He also directed THE K OF D, by Laura Schellhardt for Woolly Mammoth and received positive critical notice and an extended run of full houses for his re-invention of FIDDLER ON THE ROOF for Olney Theater. He directed Karen Zacharius’s new children’s play called CHASING GEORGE WASHINGTON for the Family Theater at the Kennedy Center. He directed MARTHA JOSIE AND THE CHINESE ELVIS for Woolly which received four Helen Hayes nominations, including director and production. Also for Woolly and Theatre J he directed the production of Kushner’s HOMEBODY/KABUL and OUR LADY OF 121ST STREET at the Kennedy Center. He has two Helen Hayes Nominations for his adaptation and direction of LADY CHATTERLEY’S LOVER for Washington Shakespeare Company and Ari Roth’s adaptation of BORN GUILTY for Theater J. During his time in DC he’s also directed the critically acclaimed productions of Albee's TINY ALICE and Wole Soyinka’s DEATH AND THE KINGS HORSEMAN for WSC, Ariel Dorfman’s DEATH AND THE MAIDEN, a new novel/play by Joyce Carol Oates, THE TATTOOED GIRL and the world premiere of Richard Greenberg’s BAL MASQUE at Theater J, Michael Hollinger’s OPUS and RED HERRING for Everyman Theatre, ONE GOOD MARRIAGE and FOR THE PLEASURE OF SEEING HER AGAIN at Metro stage and Colleen Wagner’s THE MONUMENT for Theater Alliance. Also, for Forum at H Street he recently directed Carol Churchill’s DRUNK ENOUGH TO SAY I LOVE YOU. He directed Chris Stezin’s THIS PERFECT WORLD for Charter Season, a co-production with the Source Festival of. This past season he directed HEROES for Metro Stage and a new adaptation of Chekhov’s THE SEAGULL for Theater J in DC. He will direct a national tour for the Kennedy Center of CHASING GEORGE WASHINGTON, DYING CITY for the Public Theater in Seattle and GRUESOME PLAYGROUND INJURIES for Woolly Mammoth. During the nineties in Seattle he was the associate producer and casting associate for the CBS TV Series Northern Exposure. John received his MFA degree in theatre while directing his thesis productions in the U of U Babcock Theatre and for Theater 138. For more go to www.johnvreeke.com.
October 14 - November 8
Directed by David Mong
Starring Anne Cullimore Decker
Diva Maria Callas teaches us about opera, dedication to craft, and the mysteries of life. Drop dead funny.
"You can go home again. In 1998 I was asked to direct SLAC's production of Master Class. It was one of my first experiences as a director and, as it turned out, it was pretty damned successful. This, I credit largely to McNally's remarkable script, a very hardworking, talented, courageous cast and set of designers and, most importantly Anne Cullimore Decker. She was absolutely breathtaking in her commitment to and innate understanding of the daunting role of Maria Callas. We had a wonderful, frightening, rewarding, hairpulling, transformational time. All of the things working in theatre should be. Ten years later we have a chance to do it again. I'm older and not a lot wiser, but a chance is afforded to revisit this vibrant and vast field of richness again, with Ms. Decker....I'm at least wise enough to say....YES!"
ANNE CULLIMORE DECKER(MARIA CALLAS) has performed on nearly every stage in Utah. She has a long history of SLAC credits, including THE CLEAN HOUSE, RABBIT HOLE, K-MILLE, MASTER CLASS, THREE TALL WOMEN, and the world premieres of SEEING THE ELEPHANT and MADAGASCAR. She recently performed at Pioneer Theatre Company in YOU CAN’T TAKE IT WITH YOU, and at the Grand Theatre in THE SPITFIRE GRILL and MORNING’S AT SEVEN. She also has been seen at the Utah Shakespearean Festival in MORNING’S AT SEVEN and MY FAIR LADY. With Utah Symphony/Opera, she has performed in THE GONDOLIERS, THE MERRY WIDOW and A LITTLE NIGHT MUSIC. She received the 2009 Governor’s Individual Merit Leadership in the Arts Award for her extraordinary example of artistic dedication and excellence on-stage and off, as well as The Governor’s Mansion Artist Award. She crosses many boundaries as an actor, director, and educator.
NATALIE BLACKMAN(SOPRANO—SOPHIE) is a Senior in the Actor Training Program at the University of Utah where she is the recipient of an Honors at Entrance scholarship and holds a 4.0 GPA. She is also a classically trained soprano, and trained with Circle in the Square Theatre School and the American Musical and Dramatic Academy, both in Manhattan.
At the U, she’s been seen in URINETOWN, MEDEA, THE CRIPPLE OF INISHMAAN, TREASURE AND RING ROUND THE MOON. She appeared in A FUNNY THING … FORUM at the Grand Theatre and The Egyptian Theatre’s production of THE MUSIC MAN where she served as Dance Captain to choreographer Janet Muse Gray. Natalie made her feature film debut in THE JERK THEORY last winter and is represented by McCarty Talent.
DR. PAUL DORGAN (THE ACCOMPANIST) is an Adjunct Professor in the School of Music at the University of Utah where he teaches classes for singers, and coaches singers and pianists. A native of Ireland, Dr. Dorgan studied at the Dublin College of Music; at the Mozarteum in Salzburg; and at the Ohio State University, where he earned his Doctor of Musical Arts degree. Dr. Dorgan has published numerous articles on operatic subjects, has adjudicated for the Metropolitan Opera Auditions and for NATS, and lectures and presents master classes for singers and accompanists throughout the US. He was associated with the Irish National Opera and, in America, with the Cincinnati Opera and with Virginia Opera, among other companies. In 1992 he became Principal Coach at Utah Opera, where he helped establish the Young Artist and Studio Artist programs and instituted “Preludes”, a series of pre-performance talks. He has performed as soloist and accompanist in Europe, Canada and the US, and performs frequently in Salt Lake City as a concerto soloist, chamber musician and accompanist.
SHANE HAAG(TENOR–TONY) studies with the acclaimed tenor Dr. Robert Breault at the University of Utah where he is currently pursuing his bachelor’s degree in vocal performance. Most recently, Shane has performed with the Salt Lake Symphony as a tenor soloist in excerpts of RIGOLETTO and LA CENERENTOLA and with Utah Lyric Opera Ensemble as Laurie from Adamo’s LITTLE WOMEN.
Other recent performances include the title role in Bernstein’s CANDIDE where he was hailed as delivering a “powerful” and “utterly convincing” performance by Edward Reichel of the Deseret News. He was also the tenor soloist in Murray Symphony’s MESSIAH as well as Beethoven’s CHORAL FANTASY and Bach’s SAINT MATTHEW’S PASSION with the University of Utah’s Philharmonia and Choirs. Shane has also performed the role of Hermosa in THE ISLAND OF TULIPATAN with Zero Budget Productions and Gastone from LA TRAVIATA with La Musica Lirica under maestro Joseph Resigno. You can also see Shane this January in the chorus of Utah Opera’s CARMEN and as Hilarion in Zero Budget Productions’ performances of PRINCESS IDA.
STEFANIE LONDINO(SOPRANO—SHARON) is a recent graduate of the Actor Training Program at the University of Utah. A native of New Jersey, her Utah credits include Much Ado About Nothing and Tristan and Yseult at the Babcock Theatre; Wasatch Theatre Company’s CABARET; Hale Centre Theatre’s AIDA; and, most recently, Pioneer Theatre Company’s DIAL ‘M’ FOR MURDER and ROMEO AND JULIET.
Ms. Londino spent two summer seasons with Starlight Mountain Theatre in Idaho, and received the David P. Gardner and Kennecott Scholarships through the ATP.
JOSH MARTIN(STAGEHAND) is making his stage debut as The Stagehand in SLAC’s production of MASTER CLASS. He has been on the technical crew at SLAC for the past three seasons in the role of Master Electrician. He was previously M.E. for the Grand Theatre.
TERRENCE MCNALLY(Playwright) has received four Tony Awards, two Guggenheim Fellowships, a Rockefeller Grant, the Lucille Lortel Award, the Hull-Warriner Award, and a citation from the American Academy of Arts and Letters. He has been a member of the Council of the Dramatists Guild since 1970 and has served as vice-president since 1981. His most recent credits include the plays UNUSUAL ACTS OF DEVOTION, DEUCE, SOME MEN, DEDICATION OR THE STUFF OF DREAMS and THE STENDHAL SYNDROME. His Tony Awards were for his plays MASTER CLASS and LOVE! VALOUR! COMPASSION! and his books for the musicals RAGTIME and KISS OF THE SPIDER WOMAN. His other plays include CORPUS CHRISTI; A PERFECT GANESH; LIPS TOGETHER, TEETH APART; THE LISBON TRAVIATA; FRANKIE AND JOHNNY IN THE CLAIR DE LUNE; and IT’S ONLY A PLAY, all of which began at the Manhattan Theatre Club. Earlier stage works include BAD HABITS, THE RITZ, WHERE HAS TOMMY FLOWERS GONE?, AND THINGS THAT GO BUMP IN THE NIGHT, NEXT and the books for the musicals CHITA RIVERA: THE DANCER’S LIFE, THE FULL MONTY, A MAN OF NO IMPORTANCE and THE RINK. For San Francisco Opera he wrote the libretto for an opera based on Sister Helen Prejean’s DEAD MAN WALKING, with music by Jake Heggie. Mr. McNally has written a number of TV scripts, including Andre’s Mother, for which he won an Emmy.
DAVID MONG(Director) most recently directed A SLIGHT DISCOMFORT for SLAC and has also directed ICE GLEN, DUKE OF THE WEST in THE WATER PROJECT, SWIMMING IN THE SHALLOWS, DUST EATERS, LOBBY HERO, FROM RALPH @ PHILLY.COM FR JONAH @ SLC.COM and THE UNSETTLING for 2001’s CABBIES, COWBOYS AND THE TREE OF THE WEEPING VIRGIN, GUN-SHY, LAST LISTS OF MY MAD MOTHER, FOREPLAY in MERE MORTALS and 1998’s MASTER CLASS. David was Literary Manager at SLAC from 1994 to 2008, also producing the New Play Sounding Series and directing a number of those readings. He spent eighteen years in Seattle, Washington working as a professional actor. In that time he performed at nearly all of the northwest theatres; as well as regionally at New Mexico Rep, Virginia Stage Company and the Westbeth Theatre Space in New York. David was a member of the Human Ensemble Theatre for a number of years before leaving Salt Lake, where he directed, acted and wrote a couple plays.
KEVEN MYHRE(Set Design, Producing Director) is in his 16th season as Salt Lake Acting Company’s (SLAC) Producing Director and Resident Designer. He was chosen to receive the Mayor’s Artist Award in the Performing Arts for 2009. Keven was awarded the 2008 City Weekly Award for directing THE CLEAN HOUSE and MOONLIGHT AND MAGNOLIAS at Salt Lake Acting Company. His other directing credits at SLAC are THE OVERWHELMING, RABBIT HOLE, I AM MY OWN WIFE, BAD DATES, KIMERBLY AKIMBO, GOING TO ST. IVES, WATER LILIES, THE MEMORY OF WATER, TWO-HEADED, THE BEAUTY QUEEN OF LEENANE, GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE, C’EST MOI in MERE MORTALS, and THREE DAYS OF RAIN. Keven has designed all of SLAC’s sets and many of the costumes for the last sixteen years. He also designed sixteen sets for The Grand Theatre, including ALWAYS…PATSY CLINE, JOHNNY GUITAR, MY FAIR LADY, SONG OF SINGPORE, MORNING’S AT SEVEN, and GODSPELL. ACCORDING TO COYOTE, WEST SIDE STORY, CROW AND WEASEL, and SOUTH PACIFIC were designed for Sundance Theatre. His designs have also been seen at Pioneer Memorial Theatre, Utah Musical Theatre, Egyptian Theatre, Kingsbury Hall and the Babcock Theatre. His work for the Utah Arts Festival includes site design for the 20th Anniversary. He received a BFA from the University of Utah and a MFA in Theatre from the University of Michigan.
JAMES M. CRAIG(Lighting Design) has designed the lighting for 35+ shows at SLAC since 1997, most recently for THE CARETAKER, SATURDAYS VOYEUR
2009, END DAYS, SIX YEARS, BILLION DOLLAR BABY, ICE GLEN, and THE WATER PROJECT. James has also designed lights for Plan-B Theatre, Utah Musical Theatre, The Egyptian Theatre Company, Peery’s Egyptian Theatre, Odyssey Dance Theatre, The Grand Theatre, Weber State University, The Emily Company, Georgia Shakespeare Festival, Virginia Stage Company, The Generic Theatre, Little Theatre of the Rockies, Coachella Valley Theatre and Theatre Inc. Currently James is the Technical Director for the Park City Performing Arts Foundation. James holds a B.S. in Theatre from Weber State University, and is a member of United Scenic Artist Local 829.
BRENDA VAN DER WIEL(Costume Design) As always, Brenda is happy to be working for SLAC. Brenda is part of the design faculty for the University of Utah Theatre Department. She designs regularly for that department as well as for Pioneer Theatre and for SLAC. Recent works include NOISES OFF, THE FOREIGNER and YOU CAN’T TAKE IT WITH YOU for Pioneer Theatre Company; TROJAN WOMEN, DEATH OF A SALESMAN, THE COUNT OF MONTE CRISTO and COMEDY OF ERRORS for Alabama Shakespeare Festival; THE CAUCASIAN CHALK CIRCLE for the Babcock Theatre, and SIX YEARS, THE CLEAN HOUSE, ROUNDING THIRD and END DAYS for SLAC. She also designed several of the recent SATURDAY’S VOYEUR productions, including SATURDAY’S VOYEUR 2009, and all but one of the University of Utah’s Classical Greek Festival productions for the last eighteen years. Before moving to Utah, Brenda also worked at the Seattle Opera, the Santa Fe Opera, and the Utah Shakespearean Festival.
DAVID EVANOFF(Sound Design) is owner operator of David Evanoff Sound Designs. His recording studios have been recording and producing music for film, TV and special events for over 20 years. David has produced and written musical entertainment from coast to coast including Disneyland, Universal Studios Theme Park Florida, The Orange Bowl and Parade and The 2002 Olympic Games.
ARIKA SCHOCKMEL (Stage Manager) is pleased to be stage managing again, having last S.M.’d A SLIGHT DISCOMFORT with David Mong also at SLAC. Other SM credits include Mike Dorrell’s TALKING WALES III for Utah Contemporary Theatre and A CHRISTMAS CAROL at USU. Arika is a proud member of Actors Equity, most recently seen as an actor in SATURDAY’S VOYEUR 2009. Besides acting, she is a USU trained artist and designer, having designed props, makeup or dressed sets for SLAC, ETC, Old Lyric Repertory Co., USU, Utah Festival Opera, Pyg, and Smoke Productions, to name a few. Arika is also the director of Commodity del’Arte~ the Acting Artists Boutique, located at SLAC.
ACTORS’ EQUITY ASSOCIATION(AEA), founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence.
Reading & Listening Recommendations from MASTER CLASS Director David Mong, Actor Anne Cullimore Decker, Accompanist Paul Dorgan & more. . .
Callas at Juilliard: The Master Classes
By Maria Callas & John Ardoin
Amadeus Press, 1998
Callas: Images of a Legend
Schirmer/Mosel, August 20, 2007
Maria Callas Remembered
By Nadia Stancioff
Da Capo Press, May 2000
Maria Callas: Sacred Monster
By Stelios Galatopoulos
Simon & Schuster, 1998
Maria Callas: The Woman Behind the Legend
By Arianna Stassinopoulos Huffington
Cooper Square Press; 1st Cooper Square Press Ed edition, December 25, 2002
Maria Meneghini Callas
By Michael Scott
Northeastern University Press, Boston in arrangement with Simon & Schuster, Ltd., 1991
Greek Fire: The Story of Maria Callas and Aristotle Onassis
By Nicholas Gage
Knopf; First edition. Edition, October 3, 2000
By Terrence McNally
Dramatists Play Service, Inc., 1996
Terrence McNally: A Casebook
By Toby Silverman Zinman
Volume 22 of Casebooks on Modern Dramatists
Taylor & Francis, 1997
A note from Dr. Paul Dorgan
As for recordings, there are hundreds of them on various labels. She was contracted to EMI and for that label she recorded most of her great roles, some of them twice; after her death, EMI bought many of the "live" recordings of her performances at La Scala, cleaned up the sound, and reissued them. But buyer beware! These recordings were made in the 50s and 60s, so the sound is not the greatest; this is especially true of the "live" recordings. But having said that, Callas’ greatest singing is on the early "live" stuff from La Scala, bad sound, audience coughs and all!
Callas: A documentary plus bonus
John Ardoin, writer; Franco Zeffirelli, narrator
Bel Canto Society, 1978
October 17-25, 2009: Macbeth by Guiseppe Verdi
The Metropolitan Opera: Live in HD
October 10, 2009: Tosca – Giacomo Puccini
November 7, 2009: Turandot – Giacomo Puccini
December 4 - December 27
Directed by Jerry Rapier
Musical Director Dave Evanoff
Choreographed by Cynthia Fleming
In the run up to Christmas, the company will make history with its first play for children, GO, DOG. GO! Adapted from the book by P.D. Eastman that has charmed children for nearly 50 years.
"Children are the most honest audience one could ask for. There is nothing like a child's laugh. And when you get a whole bunch of 'em going, well there's nothing better. I'm excited to direct Go Dog Go! because it will be fun - a lot of fun - to bring this classic children's book to life onstage for children (and their young-at-heart parents and grandparents). Colorful dogs at work. And at play. Doing what people do. A joyful romp through the building blocks of language, relationships, diversity and...fun! What could be better at the holidays?"
COLLEEN BAUM (MC Dog) has been seen at Salt Lake Acting Company in END DAYS, the premiere of SEXSTING and as Izzy in RABBIT HOLE; as well as in THE WATER PROJECT, KIMBERLY AKIMBO, CABBIES, COWBOYS & THE TREE OF THE WEEPING VIRGIN. She has also performed at Pioneer Theatre Company in THE HEIRESS, YOU CAN'T TAKE IT WITH YOU and LOST IN YONKERS; as well as Plan-B Theatre Company's TRAGEDY: A TRAGEDY, ANIMAL FARM, WAR OF THE WORLDS,THE LARAMIE PROJECT, THE LARAMIE PROJECT: 10 YEARS LATER, AN EPILOGUE, SLAM and THE BANNED PLAYED ON. YOURS, ANNE, DEAF DAY and THE BEST CHRISTMAS PAGEANT EVER at the Egyptian Theatre Company as well as BLOOD BROTHERS, THE SERVANT OF TWO MASTERS, THE UNEXPECTED GUEST and GOODNIGHT DESDEMONA, GOOD MORNING JULIET at the Old Lyric Repertory Company. Ms. Baum is a member of Actor's Equity Association.
DUSTIN BOLT (Red Dog) is excited to be appearing in his second show at SLAC after being seen in this year’s SATURDAY’S VOYEUR. He received his BS in Musical Theatre from Weber State University where he studied under Jim Christian and Tracy Callahan. Past credits include: SCHOOLHOUSE ROCK, LIVE! (George), SATURDAY’S VOYEUR ’09 (Helika/Security), THE LARAMIE PROJECT (Dennis Shepard and others), SWEENEY TODD (Tenor Trio), RAGTIME (Younger Brother), MUSICAL OF MUSICALS: THE MUSICAL (Sir Phantom Jitter), TITANIC (Barrett), SEUSSICAL THE MUSICAL (Horton), YOU'RE A GOOD MAN, CHARLIE BROWN (Charlie Brown), ASSASSINS (John Hinckley Jr.) and MACBETH (Porter) (which performed in the Kennedy Center for the Performing Arts for Shakespeare in Washington). Following GO, DOG. GO!, Dusting will be seen in Pinnacle Acting Company’s production of THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE as Leaf Coneybear. As well as performing he owns his own photography business (Lightning Bolt Photography). Dustin would like to thank his parents and Andrew for their love and constant support.
DEENA MARIE MANZANARES (Blue Dog) is a graduate of the Atlantic Theater Co. in NYC training also includes Juilliard and NYU's CAP21. Recent highlights include Olivia in INFANTRY MONOLOGUES with Meat and Potato, Ida in SKIN IN FLAMES with Salt Lake Acting Co. and Jenny Sutter in WELCOME HOME JENNY SUTTER with Pygmalion Productions. Musical roles include Audrey in LITTLE SHOP OF HORRORS and Lola in DAMN YANKEES. Locally Deena has also worked with ETC, PTC and HCT. She also writes and performs sketch comedy on the web and has been featured on G4 TV's Attack of the Show as well as named a Best of the Beehive (The Comedienne) and a Best of Utah (Media & Politics) last year. After GO, DOG. GO! Deena will be seen in AMERIGO with Plan B (April 2010). Proud member of Actors Equity Association.
SHANNON MUSGRAVE (Hattie/Spotted Dog) is thrilled to be returning to SLAC's stage after spending the summer performing and having the time of her life in SATURDAY’S VOYEUR. Shannon was most recently seen performing in SCHOOL HOUSE ROCK LIVE! at the Grand Theatre, where she also appeared in MUSICAL OF MUSICALS: THE MUSICAL. Other favorite roles include Juliet in Pinnacle Acting Company's production of ROMEO AND JULIET, Catherine in WAITING FOR THE PARADE, Helene in SWEET CHARITY, and Hermia in A MIDSUMMER NIGHT’S DREAM all at Weber State University, where Shannon earned her BA in Musical Theatre. She has also taught movement, dance and acting classes at the Children's Theatre and at North Davis Junior High. After GO, DOG. GO! Shannon will be performing in Pinnacle Acting Company’s 25TH ANNUAL PUTMAN COUNTY SPELLING BEE. Shannon is also very happy to be working as part of SLAC's wonderful Communications and Audience Development team.
JAY PERRY (Yellow Dog) had his debut at SLAC in last season’s DARK PLAY. A native of Salt Lake, Jay attended the University of Utah’s Actor Training Program and also trained at the Neighborhood Playhouse in New York. His was most recently seen in RADIO HOUR: ALICE at Plan-B Theatre Company. Other regional credits include INFANTRY MONOLOGUES for Meat and Potato Theatre, GUTENBERG! THE MUSICAL! for Plan-B and also for the Hippodrome State Theatre in Gainesville, FL, TWELFTH NIGHT at Salt Lake Shakespeare, Plan-B's FACING EAST in which Jay appeared twice in Salt Lake (2007 Arty Award-Best Theatre Performance-Facing East Ensemble), at Theatre Rhinoceros in San Francisco, and Off-Broadway at the Atlantic Theatre in New York. Jay has performed in TRAGEDY: A TRAGEDY, THE ALIENATION EFFEKT, two SLAM!'s and five installments of RADIO HOUR (Plan-B), A THOUSAND CLOWNS (The Grand Theatre), A STREETCAR NAMED DESIRE (Pioneer Theatre Company), and THE COMPLEAT WORKS OF WLLM SHKSPR ABRIDGED (Salt Lake Shakespeare). In addition to performing, Jay has taught at the Theatre Arts Conservatory, directed STUDENT SLAM (TAC) and mentored young actors at Spyhop.
NATHAN SHAW (Green Dog) received his BFA from the University of Utah, Department of Modern Dance in 2004. He is currently beginning his fourth season with Repertory Dance Theatre. He is also a member of SB Dance where he was most recently seen as Henri the law school dropout coffee barista. He has been honored to be a founding member of Salt Lake’s newest dance company, RawMoves. For the past two summers, he has served as the official dance coach for the 2008 and 2009 Crested Butte Music Festival. Highlights of his performing career include RENARD choreographed by Charlotte Boye-Christensen for the Utah Symphony & Opera, and HOUSE OF TIMOTHY by Natosha Washington which won the Best Performance award at the American College Dance Festival. When not performing, he is diligently following around his three dogs with a pooper scooper…
JERRY RAPIER (Director) happily returns to SLAC. He is in his tenth season as Producing Director of Plan-B Theatre Company. In 2007, he was ranked 6th on The Salt Lake Tribune's list of Utah's Top 25 Cultural Power Brokers. In 2008, he received Salt Lake City's Mayor's Artist Award in the Performing Arts. In 2009, he was named an Alternative Pioneer by City Weekly.
Jerry would like to dedicate his work on this production to his mother, Alberta Lee Rapier, who passed away earlier this year. She was an LCSW focused on play therapy, a method in which a therapist uses a child's fantasies and the symbolic meanings of his or her play as a medium for understanding and communication with the child.
DAVID EVANOFF (Musical Director/Musician Dog) has been a musician and musical director for a life time. David has been musical director for SATURDAY’S VOYEUR and BAT BOY THE MUSICAL here at The Salt Lake Acting Company. He has also been musical director for projects at The Egyptian Theater including JESUS CHRIST SUPERSTAR and TOMMY. For Plan-B Theater he was the musical director for HEDWIG AND THE ANGRY INCH. David has directed projects from coast to coast including Disneyland, Universal Studios, the Orange Bowl and here locally for the 2002 Winter Olympics. David is the owner of Sound Designs Studio, where he writes and produces music for film, TV and special events.
CYNTHIA FLEMING (Choreographer) has worked professionally for over thirty years, which includes performing in the Broadway, National, and International companies of A CHORUS LINE and has acted, directed, and choreographed a variety of professional theatre and dance productions in Salt Lake City. She is the company choreographer at SLAC, her favorites include 13 productions of SATURDAY’S VOYEUR, BAT BOY THE MUSICAL, and WATER LILIES from CABBIES, COWBOYS, AND THE TREE OF THE WEEPING VIRGIN. In addition to her choreography work, she oversees SLAC’s four-member Communications Team, who create all marketing and communications material for the Company and oversee box office activities, keeping the play, the artists, and the audience at the heart of their work.
KEVEN MYHRE (Set Design, Producing Director) is in his 16th season as Salt Lake Acting Company’s (SLAC) Producing Director and Resident Designer. He was chosen to receive the Mayor’s Artist Award in the Performing Arts for 2009. Keven was awarded the 2008 City Weekly Award for directing THE CLEAN HOUSE and MOONLIGHT AND MAGNOLIAS at Salt Lake Acting Company. His other directing credits at SLAC are THE OVERWHELMING, RABBIT HOLE, I AM MY OWN WIFE, BAD DATES, KIMERBLY AKIMBO, GOING TO ST. IVES, WATER LILIES, THE MEMORY OF WATER, TWO-HEADED, THE BEAUTY QUEEN OF LEENANE, GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE, C’EST MOI in MERE MORTALS, and THREE DAYS OF RAIN. Keven has designed all of SLAC’s sets and many of the costumes for the last sixteen years. He also designed sixteen sets for The Grand Theatre, including ALWAYS…PATSY CLINE, JOHNNY GUITAR, MY FAIR LADY, SONG OF SINGAPORE, MORNING’S AT SEVEN, and GODSPELL. ACCORDING TO COYOTE, WEST SIDE STORY, CROW AND WEASEL, and SOUTH PACIFIC were designed for Sundance Theatre. His designs have also been seen at Pioneer Memorial Theatre, Utah Musical Theatre, Egyptian Theatre, Kingsbury Hall and the Babcock Theatre. His work for the Utah Arts Festival includes site design for the 20th Anniversary. He received a BFA from the University of Utah and a MFA in Theatre from the University of Michigan.
JESSE PORTILLO (Lighting Design) is happy to work with the Salt Lake Acting Company. Recent productions include RADIO HOUR: ALICE and BLOCK 8 with Plan-B Theatre Company, as well as productions for Pygmalion Theatre Company, the Grand Theatre, and the Egyptian Theatre in Park City. Jesse has recently joined the faculty of the University of Utah Department of Theatre.
K.L. ALBERTS (Costume Design) Previous designs at Salt Lake Acting Company include THE CARETAKER, DARK PLAY, THE OVERWHELMING, MOONLIGHT AND MAGNOLIAS, I AM MY OWN WIFE, SEXSTING, RABBIT HOLE, THE BEARD OF AVON and GROSS INDECENCIES. For Pioneer Theatre Company, K.L.’s designs include MISS SAIGON, THE PRODUCERS, LES MISERABLES, METAMORPHOSES, RAGTIME, PHANTOM and the world premieres of LAUGHING STOCK and DUMAS’ CAMILLE. K.L. has also designed AH WILDERNESS!, HAY FEVER, THE MATCHMAKER and FIDDLER ON THE ROOF for the Utah Shakespearean Festival.
SARAH RAE MOHR (Production Stage Manager) previously stage managed SLAC’s productions of THE CARETAKER, SATURDAY’S VOYEUR 2009, END DAYS, DARK PLAY, SIX YEARS, THE OVERWHELMING, SATURDAY’S VOYEUR 30TH ANNIVERSARY, THE CLEAN HOUSE, SKIN IN FLAMES, BILLION DOLLAR BABY, MOONLIGHT AND MAGNOLIAS, SATURDAY’S VOYEUR 2007 and ROUNDING THIRD. She is a graduate of the University of Utah with a BFA in Stage Management. Some of her favorite shows that she has stage managed include SANTALAND DIARIES and PROJECT FABULOCITY with Tooth and Nail Theatre, SHEAR LUCK with The Grand Theatre, THE CLEAN HOUSE and ROUNDING THIRD with Salt Lake Acting Company and THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) with Salt Lake Shakespeare.
GO, DOG. GO! In the Room
Director Jerry Rapier, Musical Director Dave Evanoff, Choreographer Cynthia Fleming, and Interim Executive Producer Nancy Borgenicht discuss Salt Lake Acting Company's upcoming production of GO, DOG. GO! with SLAC's Communications Team: Daisy Valentine Blake, Andra Harbold, Shannon Musgrave, Becky Santti and Executive Artistic Director, Jason Bruffy .
SLAC to NANCY BORGENICHT. So, our first question is for you, Nancy. Can you tell us why GO, DOG. GO!? Why a kid's show at SLAC?
Ms. BORGENICHT. I just thought -- I had no place to take my grandchildren. I wanted my grandchildren to see something good. I also stole it from the Arden Theatre in Philadelphia. It's exactly like SLAC: it does similar kinds of plays. It gets Edgerton grants. [Playwright] Michael Hollinger is from the Arden -- we've done a number of his plays [productions: INCORRUPTIBLE, AN EMPTY PLATE IN THE CAFE DU GRAND BOEUF; New Play Sounding Series: RED HERRING, TINY ISLAND, INCORRUPTIBLE]. The Arden does two plays for children a year: one for younger kids, one for older kids. Over ten years, it's just evolved into a huge, wonderful thing. I mean, Philadelphia is a bigger city -- four million people is a lot, but I have family and kids there, and they love it -- so I just stole it. (Laughter) There's no professional theatre for kids in the state of Utah. That doesn't mean there isn't good work, but it's different. It's a different experience when it's done full out -- and it just was time, and the right thing to do. That's all I can say.
SLAC to JERRY RAPIER, DAVE EVANOFF and CYNTHIA FLEMING. And could you three lovely people now introduce yourselves and tell how you got involved with this project.
Mr. RAPIER. I'm Jerry Rapier. And I was thinking about this the other day. Nancy and I were having lunch about something else, and she mentioned to me that [GO, DOG. GO!] was happening, and I said, "I'd love to direct that play." And she said, "Really???" (Laughter) And then she e-mailed me about an hour later and said, "Okay." (Laughter/laughing) It was the easiest pitch ever! (Laughter)
Ms. BORGENICHT. So when someone says, "Who'd you have to sleep with to get that?", you can just go, "No -- "
Mr. RAPIER. -- I'll say, "Nancy." (Laughter) Think about that for a little bit. (Laughter)
Ms. BORGENICHT. It was because of your love. And you've done it. You gave me reasons.
Mr. RAPIER. I love children's theatre. I think Sundance dissolving its children's theatre program a couple of years ago really did leave a gap in our community for professional children's theatre -- and you can kind of feel it. And putting my other viewers on, as a producer, I just think it's a brilliant audience development tool; get people in the theatre from a very early age.
Ms. BORGENICHT. Which doesn't mean there will be crossover to anything else -- that's not why you do it, but your point is: if you go to the theatre 18 and under, you'll make it a part of your life. If you don't, you won't.
Mr. RAPIER. Yes, it's audience development in the broader sense -- build that passion for live performance. I love doing children's theatre. I haven't done anything in a while -- it's been -- four years? -- since I've directed a play for kids, but I love the energy of watching kids watch theatre that is for them. There's nothing like it. They are the most brutal audience on the planet (laughter), but it's also the most rewarding to hold their attention. It's the ultimate challenge as an artist to really reach them.
Ms. BORGENICHT. It's interesting what you said about Sundance. When did they stop?
Mr. RAPIER. I think it's about five years now.
Ms. BORGENICHT. I thought it was longer...
Ms. FLEMING. It feels longer.
Mr. RAPIER. I'm trying to think -- it may have been longer...
Ms. FLEMING. Five is the new ten. (Laughter)
Ms. BORGENICHT. I think it's been closer to ten.
Mr. RAPIER. Has it really?
Ms. BORGENICHT. What do you mean about the gap and the loss? That's interesting.
Mr. RAPIER. This expectation of a certain level of children's theatre that could be counted on -- and also a certain presence and level of artistic excellence.
Ms. BORGENICHT. That's what I'm talking about. You can take your kids to some things here, but it's not the same.
Mr. RAPIER. Even without paint on them, you walk into that theatre right now and you see those giant doghouses that Keven [Myhre] has built, and it just puts a smile on your face. (Laughter) There's a different energy. I think we can all get a little jaded about the importance of our work, and when it just is reduced to pure entertainment and pure -- joy, really -- you just kind of -- (Laughs). Listening to the recording Dave made, reading through the script, and just trying to prepare for it -- looking at all the props Keven has built -- it reminds you of how basic it should all be -- not to get caught up in your own importance -- because in a way, we're the least important people involved. In this process, it's the kids that matter the most.
CYNTHIA FLEMING to DAVE EVANOFF. And I think you came next.
Mr. EVANOFF. Maybe so. (Laughter)
Ms. FLEMING to Mr. RAPIER. Didn't you have a conversation with Dave after Nancy said you could direct?
Mr. RAPIER. Well, that was part of that whole conversation, "Is Dave going to do it???"
Mr. EVANOFF. I said yes. (Laughter) I'm Dave Evanoff, and I was happy to come back and do a project at SLAC -- kids, adults, whomever -- I was excited -- initially, right off the bat -- to be asked, and now, I'm really excited. Once I had a score in my hand and a script, it took on a life of its own for me musically. I just want to bring a musical polish to it. Whoever the audience is, I want it to be as good musically as it can possibly be, and so that's what I want to do for these guys.
SLAC to Mr. EVANOFF. Have you worked on children's theatre before, Dave?
Mr. EVANOFF. I've done children's television, and I've written music and even directed children's television for KSL, back in the day, but I've never done live stage --
Mr. RAPIER. -- He has, however, played a dog in a musical -- (Laughter)
Mr. EVANOFF. Thanks.
Mr. RAPIER. (Laughing) I'm just saying --
Mr. EVANOFF. Five years ago. The new ten. (Laughter) Glad to be aboard.
Ms. FLEMING. And I'm Cynthia Fleming. Working on the Communications team, I was one of the first to hear that Nancy wanted to bring a children's show to SLAC, and then we went and saw it [GO, DOG. GO!] at BYU. In terms of involvement, this has never been said out loud, but I guess I'm the Resident Choreographer. Anybody who wants to choreograph is welcome here. (Laughing/laughter) I'm not the only one, but Nancy was kind enough to ask, "Well, do you want to do it?" "Yeah, I do. Because I've never worked on -- well yes, I have worked on children's shows for thirteen years choreographing SATURDAY'S VOYEUR. (Laughing/laughter) In a way it was a new challenge, but as I'm thinking more and more about it, it's the same. I am approaching this as if there are people out there paying $150 a ticket and their intelligence level is off the charts. So that's my approach; it's very much the same. It will be interesting to see how that translates. That's the pre-rehearsal work we're doing -- creating the stories.
Mr. RAPIER. I think you're tapping right into it -- what Nancy was talking about earlier about a certain level... People tend to assume that children's theatre is simple, less important, takes less work, is less valid. All of those things are completely false. This show is going to kick six actors' asses. (Laughter/laughing) It's hard work. It's hard work to do it honestly and not condescendingly -- (to Ms. FLEMING) and the phrase you and I have been throwing around is "fake energy" --
Ms. FLEMING. Yes.
Mr. RAPIER. -- You can't falsify it. It has to come from a genuine place or kids tune out, and if kids tune out, their parents are going to tune out, and it's not going to be a rewarding family event. And it should be. We have every piece to make it that, so... (to SHANNON MUSGRAVE, who is playing Hattie in GO, DOG. GO) No pressure, Shannon! (Laughing/laughter)
Ms. MUSGRAVE. (Laughing) No -- I can't wait!
SLAC. And why GO, DOG? What's special about GO, DOG. GO! that we picked this one for our first children's show?
Ms. BORGENICHT. I would say that it's sort of everyone's "favorite book", from sort of 1960 on. Everybody remembers the party. (Laughter) Not everybody. How do you say that? People who have kids my age. It's got a good recognition factor -- so lots of people have read it, and it's lots of people's favorite book from lots of ages. It's also a book that's good from age 3 to 103, it's not just a thing for 4 year olds. It's broader. It's a book that leaves so much to the imagination, that that's what the play has to do. It allows people like Dave, and Jerry, and Cynthia, and the actors to create their own thing, but this book doesn't tell you how dogs work or what they work or how they play or what they do or how there's really a boat on water -- all these things -- so it lets us do what SLAC does best. And it's consistent with our mission -- keep it thoughtful, challenging, in the imagination. Also, it's just exuberant and joyful. It was also the first play that my granddaughter in Philadelphia saw at the Arden [Theatre], and they raved about it. So, it came from there.
SLAC to Mr. RAPIER. Tying into that, Jerry, can you talk a little bit about the challenges of working a show that has so little dialogue in it? (Both laughing)
Mr. RAPIER. All 85 words of it? (Laughter) So, my approach has always been text-based, and that's just not going to fly... (Laughter) I'm really excited. From the onset, we were all onboard with the same idea that we were looking for a different kind of actor, maybe, for this show then what you'd normally look for: actors who were triple threats, of course, but it was looking for six actors who could function as one actor: a true sense of ensemble, a true sense of fearlessness. The idea that they'll play with each other -- that we can all play together -- so that we can create something that does exactly what Nancy was talking about: we invite the audience to play with us. I couldn't be happier with the cast we have because I think that's the element that makes them special and right for this show. I'm excited to just approach something in a completely different way than I've ever been able to before -- because we have to.
SLAC. You have a really interesting mix of people that you've cast. From someone who's background is primarily in dance to --
Mr. RAPIER. It is really exciting. Nathan Shaw from RDT who's been dying to do some theatre again; he actually started in musical theatre. He's an amazing modern dancer, and it's an opportunity to go back to what he started doing as a performer. And then we have Colleen Baum who's MC [in GO, DOG. GO!] who is trained in theatre for youth; she has a Masters from BYU. Actually, she's excited because this is the first time since she's started working as a professional actor, that she's had the opportunity to meld her professional life with the training that she has. In that respect, separate from acting, it was very evident from her audition just how perfect that match is. And then, an actor I've worked with an awful lot, Jay Perry, who actually has zero fear (Laughter) as an actor. I think that's really uncommon. It really is uncommon to have no fear of trying anything, and I think Shannon and Dustin and Deena are right there with him -- that idea of being willing to play -- and we take the best of the play and make a production out of it. (Dog barking outside) That's rather appropriate.
SLAC. We planned that. (Laughter) Can you give us a little taster of some of the things we're going to see when we come to see the show?
Mr. RAPIER. Well...
Ms. BORGENICHT. How are you going to do the party? Do you know yet? Everybody wants to know.
Mr. RAPIER. The party. I'm really kind of anti audience involvement normally -- or the idea of mixing the playing space with audience seating, but I think this play has to include the audience all of the time. It's really freeing to be able to look at it that way. When you're 3, there are no rules as to where the stage has to end and the audience has to begin, so why not make everything everything and play with the boundaries a little bit? With that in mind, the hope is that the party is literally the entire theatre, and we climb the tree towards the audience so that everyone is invited to be part of the dog party. (Laughter)
SLAC. (Laughing) Oh, I have goosebumps!
Mr. RAPIER. I hope on December 4th, that's what's actually going to happen!
SLAC to Mr. RAPIER and Ms. FLEMING. In conjunction with that, can I ask how much you have in your heads of what you'd like to see versus how much you're going to ask the actors to bring in and collaborate with you?
Mr. RAPIER. That's what we're [Director Jerry Rapier, Choreographer Cynthia Fleming and Music Director Dave Evanoff] doing this week -- working before we start rehearsals to figure that out. More than ever -- or more than what I'm used to doing at least, we have to include the actors in that process.
Ms. FLEMING. I would like to come as prepared as possible but always be open to changing it. My hope for our work this week is that we find the story -- or stories. I choreograph completely from an actor's point of view: your leg goes out, there's a reason why you extended that leg out; you don't just extend your leg out. Ever. I have to have a reason. Those few times that I have choreographed when somebody's just given me a piece of music, I have to create the story. I hope that we can make up the stories this week so that I come come prepared so we don't all sit there wondering, "What are we going to do here?" Hopefully with the start of these numbers -- and this is usually how it happens when I work -- an actor will take that and go, "Oh! But this..."and I'll go, "Okay, then this..."
"Oh, but that..."
"Okay, now we're going to rearrange the whole thing." But we begin with the story.
Mr. RAPIER. I think a basic framework is the ideal situation. We're going from point A to point B, but help us get there. The great thing about the adaptation [of GO, DOG. GO!] is that the story builds to a recognizable picture in the book -- and then we build to another recognizable picture. The more I've been working on the script, the more I realize they're not randomly chosen [images] because they'll stage better than another image; they're the images that people are incredibly familiar with and are the touchstones. People ask about the boat a lot.
"How many kinds of wheels will the dogs be on?" Somebody asked me that the other day.
"How do they move?"
"How do the cars work?"
People really do want to know.
Ms. BORGENICHT. They know the book.
Mr. RAPIER. When I was first asked to do the show, I went to the bookstore and said, I need GO, DOG. GO!, and the girl -- without even thinking -- led me to a Beginner Books Display. It's not just, "we kind of know this book"; there's a constant interest in the book. I love what you were saying earlier, Nancy, about a certain generation being familiar with the book; what I'm finding is if you had children in the sixties -- it was 1963 when the book was published -- then your children, it was new for them -- and their children, it's new for them. Even though it's been around for a long time, it's new for each generation.
SLAC. And little kids do know it. When we were at the Avenues Street Fair, we were handing out fliers, and their eyes would just light up. We would say, "We're doing a play called GO, DOG. GO! and they would go, (hushed, in wonder) "I know that book." (Laughter) They're so excited.
Ms. FLEMING. They all say the same thing, "I know that book!"
SLAC. They know it's for them. (Laughter)
Ms. BORGENICHT. That's a really good point to remember -- the reason why. I know that book.
Mr. RAPIER. And one of the things we've been talking about doing, and one I think will be really helpful for us, is having kids in rehearsal when we get to a point where there's actually something for them to watch. Because I think we have a responsibility to them to match their imaginations in some way and get it right. They're the best measure if we're really doing that.
SLAC. And Dave, I know you're going to be in the performances. (Laughing) Are you going to be playing 45 instruments as usual?
Mr. EVANOFF. I am. (Laughter)
Ms. FLEMING. Go, Dave. Go! (Laughter)
Mr. EVANOFF. This score is written for -- awkwardly -- for accordion. (Laughter) As I actually got the score in my hand and tried to play it -- it's not written for accordion. (Laughter) So -- it's just as awkward to try to play it on the piano, so what I decided to do is to create a score for myself, and I will be playing along with my computer, so I will be on accordion, piano, guitars, banjoes, my iphone -- a number of instruments -- and the computer will help to keep it all together. It's based on their score, however it's my arrangement. It's much bigger -- it's cartoony -- it sounds like a Hanna-Barbera cartoon. So...
Ms. FLEMING. It's fantastic -- and we heard it in its early stages. When Dave says he hopes to bring the polish, he does. It will shine.
Mr. EVANOFF. Thank you.
SLAC. This is probably the most important question. Dogs. Do you have any? What are their names?
Mr. RAPIER. I have two dogs. I have the penultimate gay dogs. (Laughter) I have an eight year old chihuahua named Stella and a four year old miniature pinscher named Stanley. They are intentionally Stanley and Stella, and they co-habitate with my cats, Laverne and Shirley. (Laughter) I love my little dogs, and they are so -- animated. (Laughing) My dogs are so animated! Every dog is, in some way -- even if they are low energy, they're animated -- but mine in particular... I have been watching them so much -- it's like I'm obsessed with dogs! (Laughter) It's so funny -- the idea that people would ever suggest that animals -- or pets in particular -- don't have personalities -- or aren't individuals. Because they are very strong personalities and very present in my home, and they have routines, and they have expectations, and they have opinions. It's a lot of fun to watch that happen. It's fascinating tp me how quickly adults forget it, and how easily kids see it.
Ms. FLEMING. What's interesting is that I've been kind of ignoring my dogs in a sense -- well not ignoring, but -- for this play. Because it's not like [Andrew Lloyd Webber's] CATS. They're not all going to come out and get to act like cats. Otherwise, if this was DOGS a la CATS, (laughter) I'd be so into the dogs, and they would dance, everything... But in this play, they have dog ears, but they're not dressed like dogs, and they're not supposed to act like dogs. They're supposed to act like humans, so I've been trying to not watch them. But... I do have four rescue dogs. I have Ashes who's been with us for fourteen years; she's very old and deaf. She's a lasso mix. Next came Dusty -- the hunter -- our cairn terrier; she loves to chase after the raccoons and deer. And then, Jeff went to Kansas and picked up our yorkie, Sienna, who was in a puppy mill, so she had been in a cage for two years. We had to teach her how to walk and everything, but she's just doing great -- but she's insane. They're all insane. (Laughter) Then, our last one is Daisy, a maltese yorkie -- who we rescued because the woman who owned said she got a job and couldn't take care of her -- but I think the truth is she wasn't potty-trained, so... (Laughs) She's our entertainment; she is the life -- otherwise, Jeff and I are old and almost empty nesters, but because of her, we have this life. You watch her, and all of a sudden she has my son's keys in her mouth. She took the clicker the other day, and Jeff couldn't find it. (Laughter) She hides all this stuff -- she is hysterical. They are our other children. (Laughter) I was thinking the other day, how sad in a way, that we can't act like dogs in this play -- I understand why -- because that's not the book, but it would have been fun!
Mr. RAPIER. We'll have the Intermountain Therapy dogs, too. Colleen, who's in the show, also works as the Volunteer Coordinator for Intermountain Therapy Animals, which is a service that offers therapy animals for people with medical needs. I've experienced it first-hand, and it's amazing. The animals are not for the patients; they're for the families of people receiving care -- just to help calm them, soothe them, distract them in a way. Colleen has arranged for us to have dogs --
Ms. FLEMING. -- an hour before the Saturday 3 o'clock performance. At this point. That's where we're starting.
Mr. RAPIER. That's great.
Ms. FLEMING. I'm hoping that once they come, they'll want to come more.
SLAC. Was there theatre like this when you were growing up?
Ms. BORGENICHT. When I was growing up, Vern Adix did theatre at the U, out at Kingsbury Hall. That's sort of has now become the Youth Theatre at the U. But... nothing else.
Mr. RAPIER. There are a lot of performance opportunities around for kids.
Ms. BORGENICHT. For kids -- which is different.
SLAC. What do you remember seeing from when you were a child?
Ms. BORGENICHT. SOUTH PACIFIC. That's what we did -- parents took you to everything.
Ms. FLEMING. I went to the ballet since I was a child. The Royal Theatre came with a touring show -- I remember seeing that. I remember Valley Music Hall as a child, where I saw musicals -- professional musicals. It was professional theatre.
Ms. BORGENICHT. Yes. That's a really good question. Let's think -- Seattle Children's Theatre was first, Minneapolis Children's Theatre, and then Chicago Children's Theatre -- I think as a movement of professional theatre for children, it's pretty new.
Mr. RAPIER. TheatreWorks does national tours. But it's pretty sad that you can name them pretty easily, nationwide.
Ms. BORGENICHT. I did some googling to get a sense of scheduling. You can add to this. The big ones like Seattle, Minneapolis, Chicago...
Mr. RAPIER. Kansas City [Coterie Theatre].
Ms. BORGENICHT. Kansas City. But these are like ten million dollar organizations. They are huge. I don't know if they are even year round.
Mr. BRUFFY. They are, but a lot of those theatres do a lot of booking. A lot of what they'll do is presenting; they'll bring in TheatreWorks or Minneapolis Children's Theatre, specifically, started bringing in a lot of international stuff. They're bringing in a lot of productions from overseas.
Ms. BORGENICHT. And internationally, children's theatre is a much bigger deal.
Mr. DUFFY. Absolutely. And it's more family-focused, family-oriented.
Ms. MUSGRAVE. It's pretty surprising that there's no professional children's theatre in Utah. You'd think this would be a huge market.
Mr. RAPIER. There's a dirth of quality material. The movement really, if you look at Seattle and Minneapolis, is to adapt familiar books for the stage -- because it's difficult to generate quality work that isn't condescending to kids. It's pretty tricky. (Laughs) I'm jealous that you had experiences going to theatre when you were growing up. I grew up in a little town of 700 people -- I grew up in the middle of nowhere. Which is, in itself, a form of theatre (Laughter) but there wasn't anything remotely like this when I was a child, so I value it in a little different way.
Ms. FLEMING. What's interesting, too, is when you tell people we're doing a children's play, they'll say, "Oh, yeah, my daughter wants to get into that..." The assumption is that children are performing. It doesn't come to mind that there are professional actors performing for children, like they would come to see.
Ms. BORGENICHT. It's an interesting question, isn't it? It's a tricky thing. Certainly kids love seeing kids on kids, there's that -- if you can hear and understand them -- if it's good. Like ANNIE or something like that.
Mr. DUFFY. I think they enjoying seeing adults playing children as much as they enjoy a child playing a child. I don't think it changes too much for them as an experience.
Ms. BORGENICHT. Anne [Cullimore] Decker had a question about her grandchildren -- her son wants to come to MASTER CLASS and bring their kids -- like age 8, 10 and 12 -- and what did I think? About the language and... and I'm saying, we've all brought our kids to everything since they were 3, and everybody's fine. Why don't people do that? They don't do that -- this sort of language thing -- they don't hear it, or they've heard it, or -- it's nothing. That's my take. Anne says, "I've taken my kids to MEDEA, and they ask questions, and everything's fine. What we're saying to ourselves is, "Of course, why wouldn't you bring your kids to everything?" Why wouldn't you? I don't know the answer to that. I would. I think that the 8 year is going to like Act Two [of MASTER CLASS] better than Act One; he might get a little twitchy, but not when your grandmother is up on stage! (Laughter) I'm sure an eight year old wouldn't have gotten THE CARETAKER on some level, but you know...
SLAC. The visual world...
Ms. BORGENICHT. Yes. I mean, there's appropriate, and there's appropriate... We were taken to all theatre. We were taken to everything -- PETRIFIED FOREST... Has it changed?
Mr. RAPIER. It seems in our culture here, there's a fear of being inappropriate; so you censor it before you experience it. There's a feeling of being too protective of kids -- I don't have kids of my own, but my godson Gavin, who is 6 years old, would generally like to give notes after seeing a play. (Laughter) They are very perceptive.
Ms. BORGENICHT. Daisy's nephew [McKinley]... (Laughter)
Mr. RAPIER. Yes, Daisy's nephew and my godson are cut from the same cloth. What you said about asking questions -- when I see stuff with children or watch children experience the art, the theme is so apparent to a child. Our baggage gets in the way of our seeing it sometimes as adults, but they can see it clearly, so their questions are much more -- intuitive -- in a way, much more honest, much clearer. Not to get Biblical, but the whole idea of experiencing things as a child would experience them has a lot of merit.
Ms. BORGENICHT. I went to Sweet Candy Company to ask for some support, and I said, "There's no professional theatre for children in the state." And they said, "But what about Hale?" And I said, "They do family theatre, but it's a true community theatre, in the best sense of the world -- this is not disparaging. It's a community theatre. There may be professional actors who work there here and there --
Mr. RAPIER. That's their trumpet call: they are the largest, most successful community theatre in the country.
Ms. BORGENICHT. Which isn't to say their work isn't good, I wasn't saying that -- but it's a mix of quality and a different experience -- between 800 seat experience and this. The intimacy of this theatre experience is a huge plus.
Mr. RAPIER. I think if we do it right, every kid that comes will feel like the play is for them -- and only them. That really should be the experience of quality theatre, whatever you age you are, that's the way it feels -- like it's just being done for you.
Ms. MUSGRAVE. Are we going to have talkbacks for the kids at the show?
Ms. BORGENICHT. I spoke with the head of the Children's Theatre at the Arden -- about what lessons to learn, how they did things, what they paid, how it all was; their recommendation was always have one after every show. That is to say, it's ten minutes immediately at the end of the show. Things are immediately explained that kids will always ask. The kids see the actors on their way out, and they're handed something. That's what works for them; we'll figure out what works for us. We can research what seems best, but kids seem to want that.
Mr. BRUFFY. It's a key part of what we're doing -- especially with the school matinees -- for the professional actors to communicate with the children. Because they've just spent an hour watching the actors perform. The actors have become role models, even for the briefest of moments, and so there needs to be that kind of interaction. There has to be.
Mr. RAPIER. Shannon, you'll be Hattie to them -- and the questions are so interesting.
Ms. BORGENICHT. "How did you make the boat work?"
"How did you make the thing come from the sky?"
"How does the music all come together?"
Mr. BRUFFY. There was a production of ALADDIN a few years ago. The kids weren't as curious about how Aladdin flew -- because they saw the wires. They figured it out. They couldn't figure out how Aladdin got from the deck to the grid. There was a staircase backstage. (Laughter) And they wanted to know about that.
Ms. BORGENICHT. I think the school shows will really tell us how all this happens. As the kids go out, they're handed a bookmark. (Laughing) I was listening to an NPR story on Google this afternoon. The sort of Google master plan to take over the world. (Laughter) Their driving force is that they are a public company, but they give no dividends, and they put like three million dollars into research and long-range planning. This is not about short-term gains for this company. They think that everything they do is a service for free that later will pay off because it is a service. And I thought, "Oh, we're doing Google children's theatre!" (Laughter) This is a $100,000 -- $92,000 undertaking that -- even if it sells out, will not pay for itself -- that is difficult to get funding for this year -- and we're practically giving it away for free to pretty much everyone we see in hopes that there will be this energy, this need. We're just doing it.
Mr. RAPIER. But next year, people will ask, "What are you doing this year?"
Ms. BORGENICHT. I hope this is the beginning of a tradition. At some point, you do have to give it away to get it back.
SLAC. Is there anything else you want to add about why people should see GO, DOG. GO!?
Mr. RAPIER. I think people are always looking for something family-oriented to do during the holidays. It's key that GO, DOG. GO! is running all through the holidays. I think people should come early because they're going to want to come back and bring more people with them; it's the type of experience that you want to share.
Ms. BORGENICHT. Come early because you're going to want to come again!
Mr. RAPIER. And bring more kids with you!
Ms. FLEMING. Even if you don't have kids -- I would be very curious to see what Salt Lake Acting Company does with a children's show. Wouldn't you want to to check it out even if you didn't have kids? Just to see it.
SLAC. Do you remember what your favorite books were from when you were little -- that have that resonance of GO, DOG. GO! -- "I remember that book"? What did you love?
Mr. RAPIER. My favorite book, from the time I was 7 years old, was ANIMAL FARM. (Laughter)
Ms. BLAKE. Mine, too! I read ANIMAL FARM when I was 6.
Ms. BORGENICHT. That's so cool.
Mr. RAPIER. I did have the younger version of GO, DOG. GO! that's only about 12 pages for 3 year olds. I've had it for a very, very long time.
Ms. FLEMING. When I was young, I remember reading myself a children's book; by the time I was in 2nd grade, I was on to novels -- which my brother couldn't believe. (Laughting) But with my own children, it was Richard Scarry and WHERE'S WALDO? -- and the series where you try to find the key, or the dime, or the... Oh, MONKEYS JUMPING ON THE BED. We did have GO, DOG. GO!, but that wasn't one that they kept reading and reading over and over.
Ms. BORGENICHT. You go into kids' bookstores nowadays and you just can't even believe it.
SLAC. Thank you and go GO, DOG. GO!!
Image credits: Go, Dog. Go! by P.D. Eastman, Random House, 1961.
Go, Dog. Go! (ISBN 0-394-80020-6)
Are You My Mother? (ISBN 0-394-80018-4)
A baby bird, fallen from his nest, sets out to find his mother. Illustrated in color.
The Best Nest (ISBN 0-394-80051-6)
Mr. and Mrs. Bird search for a place to build a new nest, only to discover their new one is better.
Flap Your Wings (ISBN 0-375-80243-6)
When Mr. and Mrs. Bird discover a strange egg in their nest they try to hatch it.
The Cat in the Hat Beginner Book Dictionary (ISBN 0-394-81009-0)
Full of ridiculous alligators, foolish bears, and giraffes' uncles all racing around getting involved in nonsensical adventures. The animals' zany antics focus children's attention and help them remember 1,350 basic elementary vocabulary words.
Red, Stop! Green, Go! (ISBN 0-375-82503-7)
What Time Is It? (ISBN 0-375-81362-4)
Sam and the Firefly (ISBN 0-394-80006-0)
Illus. in color. The story of an incredible twosome that "provides interest, suspense and word repetition. Illustrations excellent. Recommended."--(starred) School Library Journal.
Sam and Gus Light Up the Night (ISBN 0-375-82926-1)
Everybody loves lightning bugs And with this interactive adaptation of P. D. Eastman's classic, Sam and the Firefly, Sam and his mischievous friend, the firefly, come to life with a little help from toddlers. With a turn of a wheel, a lift of a flap, and a slide of a tab, the firefly lights up the night, jumps in his jar, and saves the day
Big Dog... Little Dog (ISBN 0-375-82297-6) with additional illustrations by Peter Anthony Eastman
Big Dog . . . Little Dog has been reformatted into a Beginner Book to join P. D. Eastman’s other classics: Go, Dog. Go! and Are You My Mother? This delightful book chronicles a day in the life of Ted and Fred–two dogs who are different in every way, but also the best of friends. An irreverent introduction to the concepts of size, color, and opposites.
My Nest Is Best (ISBN 0-375-83267-X)
Mr. and Mrs. Bird search for a place to build a new nest only to discover their old one is better, in an adaptation of The Best Nest which comes with flaps, wheels, and sliding tabs.
The Alphabet Book (ISBN 0-375-80603-2)
Bamboozled by David Legge
A young girl on her weekly visit to the amazing and unprecedented world of her grandfather’s house feels that something is out of the ordinary but can’t figure out what it is.
Bears on Wheels by Stan and Jan Berenstain
An acrobatic act begins with one bear on a unicycle and ends with twenty-one bears and sixteen wheels flying through the air!
The Digging-est Dog by Al Perkins
When city-dog Duke is adopted by Sammy and taken home to the farm, the country dogs snub Duke because he does not know how to dig.
The Fantastic Drawings of Danielle by Barbara McClintock
A young girl sees the world in a very unique way, and her drawings provide for her and her photographer grandfather when they most need it.
John Jeremy Colton by Bryan Jeffery Leech
A town is completely transformed because one man dares to change the way things are usually done. Extraordinary illustrations and use of text.
Discover a land where things are not as they appear in this collection of photographs where simple objects create entire miniature scenes.
One Lonely Seahorse by Saxton Freymann and Joost Elffers
The images for this sweet underwater counting story about finding friends, are made of vegetables and fruits. Things are not always what they seem.
Seeing Stars by Sharleen Collicott
Two small friends, a toad and a hamster, journey to the stars - underwater- in this unpredictable tale of found objects and imagination.
The Sneetches and Other Stories by Theodor Geisel (Dr. Seuss)
Through wordplay, and the drawings of Dr. Seuss, the Sneetches discover that differences do not make one superior or inferior to another.
Willy the Dreamer by Anthony Brown
Willy, a little gorilla, dreams of adventure and heroism. The illustrations pay homage to great painters and capture a host of quintessential fantasies.
Richard Scarry's Cars and Trucks and Things That Go by Richard Scarry
This book is about objects with wheels that can roll.
Where the Sidewalk Ends 30th Anniversary Edition: Poems and Drawings by Shel Silverstein
Including 12 New Poems!
If you are a dreamer, come in,
If you are a dreamer,
A wisher, a liar,
A hope-er, a pray-er,
A magic bean buyer . . .
Come in . . . for where the sidewalk ends, Shel Silverstein's world begins. You'll meet a boy who turns into a TV set, and a girl who eats a whale. The Unicorn and the Bloath live there, and so does Sarah Cynthia Sylvia Stout who will not take the garbage out. It is a place where you wash your shadow and plant diamond gardens, a place where shoes fly, sisters are auctioned off, and crocodiles go to the dentist.
Shel Silverstein's masterful collection of poems and drawings is at once outrageously funny and profound.
http://www.seussville.com/ Random House site for kids. Includes interactive games, contests, and information on Seuss and his works.
http://www.planetesme.com/ Children's literature resources and storytime ideas.
February 3-February 28, 2010 - Regional Premiere
"TOO MUCH MEMORY is an adaptation of ANTIGONE firmly set in the present. Playwright Keith Reddin and I used this classic play to ask, when a country is in crisis, what are the rights of the individual? Of the government? How are we silenced? How do we lead? How do we maintain democracy? We've just come out of a groundswell of political activism demanding change. We're finding out it isn't so simple, it takes speaking up over and over. I find that where ever and when ever audiences experience TOO MUCH MEMORY, the play mirrors the nuance of our current landscape."
~ Playwright Meg Gibson
AUSTIN ARCHER (HAEMON) is honored to be making his SLAC debut. He has been performing onstage since age four, and is currently a senior in the musical theatre department at Weber State University, anxiously anticipating graduation. He was last seen as Millet in FUDDY MEERS at WSU and the Doctor in A NEW BRAIN with Dark Horse Company Theatre. Before directing a one act production of THE LOTTERY in 2009, he was last onstage at WSU playing various roles in THE LARAMIE PROJECT; Hot Blades Harry in URINETOWN:THE MUSICAL; Lysander in A MIDSUMMER NIGHT'S DREAM, Freddy in PICASSO AT THE LAPIN AGILE, and Donalbain in MACBETH (performed at the Kennedy Center). He spent summers in Jackson Hole where he played Cosmo Brown in SINGIN' IN THE RAIN and Will Parker in OKLAHOMA! at the Pink Garter Theatre. Television and film credits include Touched By An Angel, Everwood, Tennius (film), and Whisper Island (film).
TERI COWAN(EURYDICE) happily returns to SLAC after last appearing here in THE MEMORY OF WATER. Other SLAC credits include FREEDOMLAND, HOW I LEARNED TO DRIVE, INCORRUPTIBLE, NUNSENSE AND NUNSENSE 2, LA CAGE AUX FOLLES, and many readings. She's most recently appeared at Plan-B Theatre in world premieres of EXPOSED, AMERIKA and ALIENATION EFFEKT and AND THE BANNED SLAMMED ON. She's also appeared regionally at Park City's Egyptian Theatre, Utah Musical Theatre, and The Grand Theatre. Her varied career also includes appearances in film and on television, along with extensive spokesperson and voiceover work.
BIJAN HOSSEINI (BARNES) is excited to be in his first production with SLAC. His previous roles on stage include: Jason in MEDEA, the Duke of Cornwall in KING LEAR, Hamlet from Tom Stoppard's 15-MINUTE HAMLET, several voices for the Utah Theatre Artists Company's GOLDEN AGE OF WIRELESS Radio Show, and a rambunctious five-year-old in UTAC's FIRST ANNUAL ELEMENTARY SCHOOL CHRISTMAS SPECTACULAR. He also acts in film, and is represented by Talent Management Group.
JUSTIN IVIE (JONES) is a proud member of Actors' Equity who is thrilled to be a part of TOO MUCH MEMORY. Justin's previous appearances at SLAC include two seasons of SATURDAY'S VOYEUR. His other acting credits include numerous appearances with Pioneer Theatre Company, Utah Musical Theatre, Egyptian Theatre Company, and many other others - both locally and in Chicago. In addition to acting, Justin is the Producing Director of Walk-Ons, Inc. - a professional theatre company dedicated to bringing affordable, live performances to underserved audiences. He has directed three seasons of Walk-Ons, Inc.'s SENIOR THEATRE PROJECT - which tours short plays (written by, for, and about seniors!) to community senior centers and residence facilities. Recently, Justin directed JACOB MARLEY'S CHRISTMAS CAROL for OurSpace Theatre Company. A graduate of Weber State University, Justin earned his MFA in Acting at Northern Illinois University. He has taught theatre and communications at LDS Business College, NIU, Triton College, and Weber State. Justin also designs scenery and theatrical masks, writes an occasional play, and sometimes even plays the banjo (when he's pretty sure no one is listening).
STEFANIE LONDINO(ISMENE) is a recent graduate of the Actor Training Program at the University of Utah where she was a recipient of the David P. Gardner and Kennecott Scholarships. A native and once-again local of New Jersey, she is happy to be back at SLAC after making her debut this fall as Sharon in MASTER CLASS. She has been seen in Pioneer Theatre Company's ROMEO AND JULIET and DIAL 'M' FOR MURDER and Wasatch Theatre Company's CABARET (Fraulein Kost). Favorite University credits include MUCH ADO ABOUT NOTHING (US Beatrice), TRISTAN & YSEULT (Yseult), HAPPY END (The Fly), RUMORS (Cassie). After eight shows and two summer seasons with Starlight Mountain Theatre in Idaho, her favorite roles included SEVEN BRIDES FOR SEVEN BROTHERS (Milly), CRAZY FOR YOU (Tess), STATE FAIR (Emily) and CINDERELLA(Fairy Godmother).
MORGAN LUND(CREON) is a many-time contributor to SLAC. Was last seen with the Actors Theatre of Louisville in GREATER TUNA. A native of Utah, he was raised in Granger and is known by most family and friends as John, having taken the stage name Morgan in 1977 when he left Utah to study and eventually work in the American theatre. He has since worked as a professional actor for 30 years, taking on roles in hundreds of plays; some good and some bad movies; and hundreds (maybe thousands) of radio plays, voice-overs, commercials, video games, etcetera. He has written, directed, and choreographed some very odd forms of entertainment for the American stage, American industry, opera, theme parks, and corporations all around the country. Morgan and his wife Jinni are currently working with the good people of the College of Eastern Utah and Helper & Price Cities to create a center for the performing arts in Carbon County. Favorite Utah roles include: any play written by Julie Jensen, Allen Nevins, or Nancy Borgenicht, and any character directed by Kirstie Gulick Rosenfield, John Caywood, or David Mong.
NICKI NIXON (ANTIGONE) recently earned her Bachelor's degree in Theatre from Weber State University and is proud to be making her debut at SLAC. Some of her favorite roles at Weber include Tess in SIX DEGREES OF SEPARATION, Angie/Dull Gret in TOP GIRLS, and Eve in WAITING FOR THE PARADE. She was also given the opportunity to perform as a Weird Woman in MACBETH at the John F. Kennedy Center for Performing Arts in Washington, DC. She has recently been seen as Michella in The Off Broadway Theatre's TRANSMORFERS and Princess Justine in PUSS 'N BOOTS at the Children's Theatre.
WILLIAM RICHARDSON (STUART) is thrilled to make his SLAC debut with TOO MUCH MEMORY. He has completed his studies and will receive his B.A. in Musical Theatre from Weber State University, roles including Picasso in PICASSO AT THE LAPIN AGILE (Picasso), Moisés Kaufman and others in THE LARAMIE PROJECT, and Villy in THE MUSICAL OF MUSICALS! Regional credits include the region premiere of IRVING BERLIN'S WHITE CHRISTMAS (Conductor/Ensemble) and ALTAR BOYZ (Abraham/Dance Capt.) at the Egyptian Theatre Company, as well as the region premiere of THE PRODUCERS (Convict/Ensemble) and MY FAIR LADY (Charles/Cockney Quartet) at Pioneer Theatre Company. William can be seen next in the Utah Theatre Artists Company's production of BURN THIS, and is a proud Equity Membership Candidate.
LANE RICHINS(CHORUS) is very excited to be a part of TOO MUCH MEMORY. He has been active in the Salt Lake theatre community for a dozen years, having previously performed with SLAC, Pygmalion Productions, The Grand, and Heritage Intermountain Theatre. Lane is the co-founder and Artistic Director of Utah Theatre Artists Company, where he has directed several plays, including I OUGHT TO BE IN PICTURES, THE TURN OF THE SCREW, and 2 ACROSS. His next project will be directing Lanford Wilson's BURN THIS for UTAC, which will run in late April. In May, he will be appearing in SORDID LIVES for Pygmalion Productions.
GWEN DE VEER (U.S. ANTIGONE/ISMENE/EURYDICE) is ecstatic to finally be taking part in a SLAC Production. Originally from Bloomington, IL, she is now a senior in the U of U's Actor Training Program. She has appeared in several Studio and Babcock shows, including THE CRIPPLE OF INISHMAAN, BLOOD WEDDING, THE BAKKHAI, and TIME AND THE CONWAYS. She's also appeared in MY FAIR LADY at Pioneer Theatre Company, and the 32ND ANNUAL 10-MINUTE PLAY FESTIVAL at Heartland Theatre Company (Normal, IL). She would like to say thank you very much to Meg, Keith, and Keven for this opportunity, her faculty and classmates, her parents and roommates for their patience and support, and her boss for giving her even more time off.
MIKE NILSSON (U.S. HAEMON/CREON/JONES) graduated from the University of Utah Actor Training Program. Some of his past roles there include Gerald in TIME AND THE CONWAYS, Joshua in RING ROUND THE MOON, and Claudio in MUCH ADO. He is thrilled to be working at SLAC.
MEG GIBSON (Director/Co-Author) Being a part of the Salt Lake theatre community has been a core part of Meg’s artistic and professional development for over 30 years. While an acting student at the University of Utah she discovered SLAC. She was cast in KENNEDY’S CHILDREN, OLD TIMES, and directed SYLVIA PLATH, A DRAMATIC PORTRAIT. With the Human Ensemble she appeared in HOT’L BALTIMORE and at Theatre 138 she was featured along with Anne Decker in EQUUS. She returned to SLAC in the 90’s under Nancy Borgenicht and Allen Nevins leadership to direct THE RIDE DOWN MT. MORGAN, HYSTERIA and BIG LOVE, twice having the rewarding experience of directing Tony Larimer for whom this season is dedicated. Now, she directs her adapted classic, TOO MUCH MEMORY. Meg directed the World Premiere at the 2008 New York International Fringe Festival where it was awarded Best Play. It subsequently moved to New York Theatre Workshop. Other NY directing credits include, THE BLAVATSKY PROJECT with Work With Dancers at Here, and commissioned adaptation of Susan Glaspell’s, THE VERGE. For Orlando Shakespeare Festival she recently completed a workshop of Kathleen Cahill’s, CHARM. She will return to SLAC this spring to direct the World Premiere of CHARM. She is a graduate of the U. of Utah, the Juilliard Theatre Center and was a Research Fellow at the Yale School of Drama with a concentration on design. She continues to work as an actress, having recently appeared in Daniel Talbott’s SLIPPING at The Rattlestick Theatre Company in NYC. She has worked for The Joseph Papp Public Theatre in six productions, The Atlantic Theater Company, Manhattan Theatre Club,The Next Wave Festival, Mabou Mines, Yale Rep, A.R.T., The Long Wharf, Center Stage, The Huntington, Mark Taper Forum, Williamstown Theatre Festival and Actors Theatre of Louisville, Her numerous television appearances can be seen in cable reruns including all three versions of Law and Order and she will be appear in the upcoming TNT television series, Rubicon. Her film credits include The Night Listener, Che, In the Cut, Simply Irresistible, Dust, Picture Perfect.
KEITH REDDIN (Co-Author) Plays include: LIFE AND LIMB, RUM AND COKE, BIG TIME, NEBRASKA, LIFE DURING WARTIME, BRUTALITY OF FACT, ALMOST BLUE, ALL THE RAGE, FRAME 312, BUT NOT FOR ME, HUMAN ERROR, and THE MISSIONARY POSITION. Adaptations include: BLACK SNOW, THE IMAGINARY INVALID, HEAVEN’S MY DESTINATION, and THE LEES OF HAPPINESS by F. Scott Fitzgerald. Screenplays include: ALL THE RAGE and the cable features THE HEART OF JUSTICE, MILKEN, and BAD GUYS (TNT). His plays have been produced at NY Public Theatre, Manhattan Theatre Club, Playwrights Horizons, The Atlantic Theater, NYTW, The Goodman Theatre, LaJolla Playhouse, Yale Repertory Theatre, Berkeley Rep, Woolly Mammoth Theatre and The Donmar Warehouse in London.
KEVEN MYHRE (Set Design, Producing Director) is in his 16th season as Salt Lake Acting Company’s (SLAC) Producing Director and Resident Designer. He was chosen to receive the Mayor’s Artist Award in the Performing Arts for 2009. Keven was awarded the 2008 City Weekly Award for directing THE CLEAN HOUSE and MOONLIGHT AND MAGNOLIAS at Salt Lake Acting Company. His other directing credits at SLAC are THE OVERWHELMING, RABBIT HOLE, I AM MY OWN WIFE, BAD DATES, KIMERBLY AKIMBO, GOING TO ST. IVES, WATER LILIES, THE MEMORY OF WATER, TWO-HEADED, THE BEAUTY QUEEN OF LEENANE, GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE, C’EST MOI in MERE MORTALS, and THREE DAYS OF RAIN. Keven has designed all of SLAC’s sets and many of the costumes for the last sixteen years. He also designed sixteen sets for The Grand Theatre, including ALWAYS…PATSY CLINE, JOHNNY GUITAR, MY FAIR LADY, SONG OF SINGPORE, MORNING’S AT SEVEN, and GODSPELL. ACCORDING TO COYOTE, WEST SIDE STORY, CROW AND WEASEL, and SOUTH PACIFIC were designed for Sundance Theatre. His designs have also been seen at Pioneer Memorial Theatre, Utah Musical Theatre, Egyptian Theatre, Kingsbury Hall and the Babcock Theatre. His work for the Utah Arts Festival includes site design for the 20th Anniversary. He received a BFA from the University of Utah and a MFA in Theatre from the University of Michigan.
JESSE PORTILLO (Lighting Design) is happy to work with the Salt Lake Acting Company where he designed GO, DOG. GO! earlier this season. Recent productions include RADIO HOUR: ALICE and BLOCK 8 with Plan-B Theatre Company, as well as productions for Pygmalion Theatre Company, the Grand Theatre, and the Egyptian Theatre in Park City. Jesse has recently joined the faculty of the University of Utah Department of Theatre.
K.L. ALBERTS (Costume Design) Previous designs at Salt Lake Acting Company include GO, DOG. GO!, THE CARETAKER, DARK PLAY, MOONLIGHT AND MAGNOLIAS, I AM MY OWN WIFE, SEXSTING, RABBIT HOLE, THE BEARD OF AVON and GROSS INDECENCIES. For Pioneer Theatre Company, K.L.’s designs include MISS SAIGON, THE PRODUCERS, LES MISERABLES, METAMORPHOSES, RAGTIME and the world premieres of LAUGHING STOCK and DUMAS’ CAMILLE. For Meat and Potato Theatre K.L. has designed INFANTRY MONOLOGUES and SHADOWS OF THE BAKEMONO and for the Utah Shakespearean Festival K.L. has designed AH WILDERNESS!, HAY FEVER, THE MATCHMAKER and FIDDLER ON THE ROOF. Upcoming projects include 42nd STREET for PTC and the world premiere of GREAT EXPECTATIONS-THE MUSICAL for USF.
SARAH RAE MOHR (Production Stage Manager) previously stage managed SLAC’s productions of GO, DOG. GO!, THE CARETAKER, SATURDAY’S VOYEUR 2009, END DAYS, DARK PLAY, SIX YEARS, THE OVERWHELMING, SATURDAY’S VOYEUR 30TH ANNIVERSARY, THE CLEAN HOUSE, SKIN IN FLAMES, BILLION DOLLAR BABY, MOONLIGHT AND MAGNOLIAS, SATURDAY’S VOYEUR 2007 and ROUNDING THIRD. She is a graduate of the University of Utah with a BFA in Stage Management. Some of her favorite shows that she has stage managed include SANTALAND DIARIES and PROJECT FABULOCITY with Tooth and Nail Theatre, SHEAR LUCK with The Grand Theatre, THE CLEAN HOUSE and ROUNDING THIRD with Salt Lake Acting Company and THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) with Salt Lake Shakespeare
Let your voice be heard! We want to know what you think of TOO MUCH MEMORY. Send your comments to
Spark noun. a trace or hint | inspiration or catalyst | an ignited or fiery particle, something that sets off a sudden force | anything that serves to animate, kindle, or excite
Antigone by Jean Anouilh
Antigone by Sophocles
Too Much Memory by Keith Reddin & Meg Gibson
The Shifting Point by Peter Brook
Civil Disobedience by Henry David Thoreau
Eichmann in Jerusalem: a report on the banality of evil by Hannah Arendt
Mission: To demand that our leaders provide a livable world for our children and hold ourselves to the same. Peaceful Uprising was formed to train, support and defend those who engage in nonviolent direct action to protect our future from climate change.
Anne Carson on The Poetry Foundation
Peter Brook, Official Website
Charles Mee, the (re)making project
Other plays by Keith Reddin on Doollee.com
SLAC's In The Room interview with playwright/director Meg Gibson and playwright Keith Reddin on January 4, 2010.
At what point does civil disobedience tip into terrorism?
At what point does rule of law turn into tyranny?
Inspired by TOO MUCH MEMORY by Keith Reddin and Meg Gibson
Sunday, February 21 at 5pm- FREE
ROCKY ANDERSON, founder of High Road for Human Rights, served as Mayor of Salt Lake City from 2000-2008. Before serving as Mayor, he practiced law for 21 years and was listed in Best Lawyers in America, served as Chair of the Utah State Bar Litigation Section, was Editor-in-Chief of Voir Dire legal journal, and, through his advocacy, expanded protections for consumers, investors, patients, and incarcerated people.
He served as President of the boards of the Utah affiliate of the American Civil Liberties Union, Citizens for Penal Reform (which he founded), and Guadalupe Education Programs, and as a board member of Planned Parenthood Association of Utah and Common Cause of Utah.
An outspoken human rights, government reform, and environmental advocate, Rocky was named by the Human Rights Campaign as one of the top ten straight advocates in the United States for GLBT equality and is the recipient of the Sierra Club Distinguished Service Award, the EPA Climate Protection Award, the Respect the Earth Planet Defender Award, the National Association of Hispanic Publications Presidential Award, The Drug Policy Alliance Richard J. Dennis Drugpeace Award, the Progressive Democrats of America Spine Award, the Air & Waste Management Association Richard Beatty Mellon Stewardship Award, the League of United Latin American Citizens Profile in Courage Award, the Morehouse College Gandhi, King, Ikeda Award, and the World Leadership Award for environmental programs. Rocky was named by Business Week as one of the top twenty activists in the world on climate change and served on the Newsweek Global Environmental Leadership Advisory Committee.
TIM DECHRISTOPHER became known as Bidder 70 after his act of civil disobedience disrupted a BLM oil and gas auction in December of 2008. He has since helped to start Peaceful Uprising, a group dedicated to demanding a livable future through empowering nonviolent action to stop climate change. He was also one of the founders of the Citizens' Candidate initiative, which used a Craigslist help-wanted ad to recruit progressive candidate Claudia Wright to replace Jim Matheson. Tim now faces two federal felony charges for his act of civil disobedience, and he goes to trial on March 15th in Salt Lake City.
REBECCA HALL, J.D., PhD, is the Economic Justice Coordinator for the Utah Domestic Violence Council. After graduating from U.C. Berkeley's Boalt Hall School of Law in 1989, she represented low income families for seven years in the area of housing law and in anti-discrimination cases. After years of experiencing how the structured patterns of race, class and gender deformed the possibilities of justice through the legal system, it became urgent for her to go back to the study of history of the law and its relation to the creation and maintenance of systems of oppression. She received her Ph.D. at U.C. Santa Cruz in history in 2004, was a Mellon Post-Doctoral Fellow at U.C. Berkeley's Center for Race and Gender, and relocated to Salt Lake City in 2007 after being invited by the law school to be a visiting professor. Her academic research is in the area of historical formations of racialized gender, legal history and current legacies of slavery. She is an activist in the issues of social justice and climate justice, is a member of Salt Lake City's Human Rights Commission and Peaceful Uprising.
MARSHALL THOMPSON After returning from a one-year tour as an Army journalist in Iraq in 2006, Marshall set out to walk the length of Utah for peace. He met many wonderful people along the way. In 2009, he was the recipient of the Gandhi Peace Award from the Gandhi Alliance for Peace. He is married to Kristen Olsen and they have two children, Eliza, 4, and Peter, 2.
TROY WILLIAMS is the public affairs director of KRCL and the executive producer of RadioActive. He is the co-writer of THE PASSION OF SISTER DOTTIE S. DIXON and the director of the forthcoming short film, Eco-gnosis. His article, 'Don't Ask, Don't Tell, Don't Kill' will be appearing in the forthcoming anthology, New Queer Agenda, published by NYU Press. Troy blogs at www.queergnosis.com.
SLAC, 168 W 500 N, SLC, 84103. Tel: 801.363.7522
By Kathleen Cahill
April 14 - May 9
Directed by Meg Gibson
"The humor of Charm is what captivates me. The characters' comic take on their exasperation with that society and its endless rules is what I love. Something had to break and not just a woman's heart for the umpteenth time. I'm humbled by how bad it was for we girls - how far we've come - and aware of frankly, how far we still have to go. The difficulties are just subtler. I never thought I could direct in this lifetime. It was a dream I discarded at 18. I was convinced it was a man's job. Here I am halfway through my life and I'm directing theatre. I think of what Margaret Fuller (19th century feminist, subject of Charm) had to wade through and what I have had to do and there is really no comparison. Her neck was way further out than mine is. And, yet, I do know to the bone how she felt. Like Margaret I know the only way to get on is to have a miraculous tenacity, a hunger for life. I get to renew that quest with Charm."
Sponsored in part by an Edgerton Foundation New American Play Award.
BRIK BERKES (NATHANIEL HAWTHORNE/COUNT O) is honored to be a part of this production and to be making his debut at Salt Lake Acting Company. His recent credits include JULIUS CAESAR (Decius Brutus) and RICHARD III (Richmond, Hastings, Tyrrel) with Georgia Shakespeare, A MAN FOR ALL SEASONS (Henry VIII) and SHERLOCK HOLMES: THE FINAL ADVENTURE (King of Bohemia) at Theatre in the Square, IT'S A WONDERFUL LIFE: A LIVE RADIO PLAY at Theatrical Outfit, as well as THE LITTLE DOG LAUGHED (Mitchell Green) at Portland Center Stage. Brik can also be seen on Good Eats on the Food Network. He would like to thank Kathleen Cahill, Meg Gibson, and Salt Lake Acting Company for this incredible opportunity.
CHERYL GAYSUNAS (MARGARET FULLER) first began to practice the art of unintentional pratfalls at the age of eight. By nine, her vision was finally corrected with glasses and her feet paused in their rapid growth. However, Cheryl had discovered that the laughter and applause her now perfected tumbles received were far more fulfilling than her previous attention-seeking device of whining, and the life of a comedian was chosen. After earning her BFA in attention seeking and pratfalls, with $200 in her pocket and little to no common sense, Cheryl headed off to New York City. On her third audition, she was cast on Broadway in the original production of LA BÊTE. Other Broadway credits include THE MOLIERE COMEDIES: as Celie in THE IMAGINARY CUCKOLD and as Leonore in SCHOOL FOR HUSBANDS; and as Mabel in Sir Peter Hall's production of AN IDEAL HUSBAND. Favorite roles regionally include Sarah in SPINNING INTO BUTTER at Repertory Theatre of St. Louis, Maureen in TIME OF MY LIFE at Williamstown Theatre Festival, Bianca in THE TAMING OF THE SHREW at Westport Playhouse, Molly in THE SMELL OF THE KILL at Cincinnati Playhouse, and Viola in TWELFTH NIGHT, in a venue set up like a free rock concert for thousands of theatre goers in the middle of Boston Commons. Cheryl has been seen or heard on TV in many, many commercials, and has appeared on Law and Order, the first Conan O'Brian show and The Chappelle Show. In Salt Lake City, Cheryl has recently appeared at Pioneer Theatre as the other little old lady next to Annie Mark's in IS HE DEAD? as well as Poppy in NOISES OFF, maids named Marie in THE LADIES MAN and THE HEIRESS, and not so recently Poopay in COMMUNICATING DOORS. Cheryl has various other New York and regional credits, but feels it more important to point out that she almost always ends up wearing a corset in every show she does. She is a proud union member of AEA, SAG and AFTRA, is married to Pioneer Theatre's lovely and talented Production Stage Manager Jeff Williams, and is mother to the delightful and energetic Phoebe Williams, age five. They are all owned by two loved but challenging cats, Bruce and Pete.
CARIANNE H. JONES (ANNA BARKER/SPARKLER) is thrilled to be making her Salt Lake Acting Company debut, and honored to be in such a beautiful piece. Carianne is a native of Utah and has been involved in music and theatre for most of her life. She earned her BA in Musical Theatre from Weber State University, Cum Laude. Since then she has performed at a variety of theatres across the valley. Most recently she was seen on Pioneer Theatre Company's stage as Marie in, IS HE DEAD? Other recent credits include: Marion in THE MUSIC MAN, Philia in A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, (Both performed at the Egyptian Theatre in Park City), Sariah in THE ARK at the Grand Theatre, and Felicity Buttondown in JAMES BLONDE at The Desert Star Playhouse. Carianne would like to thank The Salt Lake Acting Company, Meg Gibson and Kathleen Cahill for this incredible experience, and many thanks to her loving friends and family for their enthusiastic and unwavering support. All my love, Songbird.
JAYNE LUKE (LYDIAN EMERSON/OLD WOMAN/OLD ITALIAN WOMAN) was last seen at SLAC in BOY in 2006 and she is so happy to be back. Roles at SLAC include Kimberly in KIMBERLY AKIMBO, Bella in BIG LOVE (directed by Meg Gibson), Queen Elizabeth in BEARD OF AVON, Nervene/Seattle in Julie Jensen's WHITE MONEY, and various roles in SATURDAY'S VOYEUR 2004 and 2005. She loves this company, this audience and the people who work so hard to produce theatre here. She now embraces the phase of her career playing wonderful character roles including the Old Lady and a Nazi Dancer in THE PRODUCERS at PTC, Carrie Watts in THE TRIP TO BOUNTIFUL at the Grand, Fraulein Schneider in CABARET at the Egyptian, and Mrs. Meers in THOROUGHLY MODERN MILLIE at Hale Center Theater Orem. The best thing about being a character actress is she doesn't have to diet anymore! Her life was changed (for the better) by playing Ruth in Plan-B Theatre Company's production of FACING EAST that played in SLC, San Francisco and Off-Broadway in NYC. She is the Artistic Director of Walk-Ons, Inc. which produces the Senior Theatre Project and takes plays for, by, and about seniors to residential facilities and senior and community centers.
JAY PERRY (GEORGE PARKER/SAM WARD) had his debut at SLAC in last season's DARK PLAY and was last seen in this season's GO, DOG. GO! A native of Salt Lake, Jay attended the University of Utah's Actor Training Program and also trained at the Neighborhood Playhouse in New York. He was also recently seen in RADIO HOUR: ALICE at Plan-B Theatre Company. Other regional credits include INFANTRY MONOLOGUES for Meat and Potato Theatre, GUTENBERG! THE MUSICAL! for Plan-B and also for the Hippodrome State Theatre in Gainesville, FL, TWELFTH NIGHT at Salt Lake Shakespeare, Plan-B's FACING EAST in which he appeared twice in Salt Lake (2007 Arty Award - Best Theatre Performance - Facing East Ensemble), at Theatre Rhinoceros in San Francisco, and Off-broadway at the Atlantic Theatre in New York. Jay has performed in TRAGEDY: A TRAGEDY, THE ALIENATION EFFEKT, two SLAM!'s and five installments of RADIO HOUR (Plan-B), A THOUSAND CLOWNS (The Grand Theatre), A STREETCAR NAMED DESIRE (Pioneer Theatre Company) and THE COMPLEAT WORKS OF WLLM SHKSPR ABRIDGED (Salt Lake Shakespeare). In addition to performing, Jay has taught at the Theatre Arts Conservatory, directed STUDENT SLAM (TAC) and mentored young actors at Spyhop.
MAX ROBINSON (ORESTES BROWNSON) just recently starred in and produced the one-man show JACOB MARLEY'S CHRISTMAN CAROL which won IN magazine's Best Actor, Best New Theatre Company, Best Sound Design and Best Lighting Design. Max has also been seen in over 130 productions at Pioneer Theatre, including MY FAIR LADY, THE PRODUCERS, A MIDSUMMER NIGHT'S DREAM, LES MISERABLES, PAINT YOUR WAGON, THE FOREIGNER, YOU CAN'T TAKE IT WITH YOU, ENCHANTED APRIL, JULIUS CAESAR, DISNEY'S BEAUTY AND THE BEAST, AMADEUS, and THE IMPORTANCE OF BEING EARNEST. Max played Oscar Wilde in GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE at The Studio Theatre in Washington D.C., which earned him a Helen Hayes award nomination. Film and TV credits include Other People's Money, All My Children, One Life To Live, Touched By An Angel, Woody Allen's Shadows and Fog and Disney's Pixel Perfect.
ROBERT SCOTT SMITH (HENRY DAVID THOREAU) Scott is thrilled to be on loan from New York and reuniting with Meg and SLAC. NYC: PERICLES (SLANT). SLC: SWIMMING IN THE SHALLOWS, SIX YEARS, BIG LOVE, BATBOY: THE MUSICAL (Salt Lake Acting Company); PAINS OF YOUTH, SANTALAND DIARIES (Tooth and Nail Theatre); BASH (Plan-B). Film and TV: Blessing, Anima, Guiding Light. Print: The Unfortunate Moment of Misunderstanding (Jim Fiscus). Training: MFA Old Globe Theatre San Diego.
NICHOLAS WUEHRMANN (RALPH WALDO EMERSON) is thrilled to make his debut with SLAC in the same role he performed last fall in Orlando Shakespeare Theatre's workshop production of CHARM. In the past year, he made his NYC cabaret debut in his one man show, WHAT CAN YOU LOSE? at the Duplex Cabaret Theatre and directed European tours of DIE ZAUBERFLÖTE and HÄNSEL UND GRETEL. Other NYC credits include Floyd in FLOYD COLLINS, Rev. Dipper/Uncle Steve in HALLELUJAH BREAKDOWN (E.A.T. Off-B'way), Priest/Preboste in EL GRECO (INTAR Off-B'way) plus several roles with the Orchestra of St. Luke's at Town Hall. Regionally, he has performed Fredrik in A LITTLE NIGHT MUSIC, Malvolio in TWELFTH NIGHT, Cogsworth in BEAUTY AND THE BEAST, The Chairman in THE MYSTERY OF EDWIN DROOD, The Beadle in SWEENEY TODD, Jacques in AS YOU LIKE IT, Merlin/Pellinore in CAMELOT, Gus/Growltiger in CATS, and Fairfax in YEOMEN OF THE GUARD. He has performed with Cleveland Opera, Glimmerglass Opera, Nevada Opera, the Baton Rouge Symphony, Seaside Music Theater, Santa Fe Opera, Mill Mountain Theatre, Virginia Opera, LaMama ETC and the London Symphony Orchestra. A regular with Ohio Light Opera, Nicholas has performed in more than 50 productions there and has directed their productions of THE MERRY WIDOW and COUNTESS MARITZA. He can be heard on OLO recordings (Albany Records) as Falsacappa in THE BRIGANDS and Dr. Tannhauser in THE GRAND DUKE. He can be seen this summer at OLO as Don Medigua in EL CAPITAN and Herbie in GYPSY. Nicholas is an Assistant Professor of Musical Theatre with University of Central Florida where he teaches voice and acting and has directed numerous shows. His production of BABY at UCF gained him a Kennedy Center Award.
DAVID J. BOHNET (U.S. RALPH WALDO EMERSON, NATHANIEL HAWTHORNE/COUNT O) is incredibly thankful for the opportunity to understudy these great characters. He is a recent graduate of the Actor Training Program at the U. Recent credits include Trent Conway in SIX DEGREES OF SEPARATION And Ramon in LOVE! VALOUR! COMPASSION! Both with Wasatch Theatre Company. You may also have seen him in The Babcock Theatre production of MUCH ADO ABOUT NOTHING as Don Pedro, RING AROUND THE MOON as Messerchman, or The Bride Groom in Federico Garcia Lorcas BLOOD WEDDING. He would like to thank Meg and the cast for their patience and especially SLAC and Keven Myhre for this amazing opportunity. Enjoy the show!
DARRIN DOMAN (U.S. ORESTES BROWNSON) has appeared on many stages around the valley. Most recently, he played Cosme McMoon in SOUVENIR with Utah Contemporary Theatre. Other credits include Eddie, et al, JOHNNY GUITAR; Major Holmes, THE SECRET GARDEN; Spike Spauldeen, SONG OF SINGAPORE; Protean, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM; Shem/Ham, CHILDREN OF EDEN; Wally Ferguson, 1940'S RADIO HOUR; Rufus Pervis, THE PIRATED PENZANCE; Robert Livingston, 1776 (Grand Theatre); Agwe, ONCE ON THIS ISLAND (Heritage Theater) and Simon Zelotes, SAVIOR OF THE WORLD (Conference Center Theater). Other work at SLAC includes Charlotte von Mahlsdorf (U.S.), I AM MY OWN WIFE and Ben, SATURDAY'S VOYEUR 2005. Darrin also has credits as musical director and enjoys singing with the Utah Chamber Artists. To support his theater 'habit,' Darrin works as a speech/language pathologist at the University of Utah Hospital. He enjoys teaching voice lessons, with a special interest in rehabilitating injured vocalists.
HEIDI HACKNEY (U.S. MARGARET FULLER, LYDIAN EMERSON/ OLD WOMAN/ OLD ITALIAN WOMAN, ANNA BARKER/SPARKLER) is thrilled to have CHARM as her first SLAC performance. Heidi is a graduate of the Actor Training Program at the University of Utah, she also holds a Psychology degree. Heidi has appeared in Pioneer Theatre's productions of OTHELLO (U.S. Emilia) and LOST IN YONKERS (U.S. Bella). Favorite University theatre credits include: CAUCASIAN CHALK CIRCLE, ON THE RAZZLE, THE PILLOWMAN, BIRDCATCHER IN HELL, Bonnie in HURLYBURLY, Duchess of York in RICHARD III, Isabella Bird/Joyce/Mrs. Kidd in TOP GIRLS, and Blanche DuBois in A STREETCAR NAMED DESIRE for which she received a Kennedy Center Irene Ryan Award nomination. Heidi has also worked in local independent films and commercials. She is a teacher for Youtheatre at the U's summer session and is represented by McCarty Talent.
BIJAN J. HOSSEINI (GEORGE PARKER/SAM WARD, HENRY DAVID THOREAU) is excited to be back at SLAC. He was last seen here as Barnes in TOO MUCH MEMORY also directed by Meg Gibson. Other previous roles on stage include: Jason in MEDEA, the Duke of Cornwall in KING LEAR, Hamlet from Tom Stoppard's 15-MINUTE HAMLET, several voices for the Utah Theatre Artists Company's GOLDEN AGE OF WIRELESS Radio Show, and a rambunctious five-year-old in UTAC's FIRST ANNUAL ELEMENTARY SCHOOL CHRISTMAS SPECTACULAR. He also acts in film, and is represented by Talent Management Group.
KATHLEEN CAHILL(Playwright) has received many awards for her work, including the Jane Chambers Playwriting Award, a Connecticut Commission on the Arts Playwriting Award (twice), a Massachusetts Artists Foundation Award, a Rockefeller Grant, a National Endowment for the Arts New American Works Grant, and a Drama League Award. Her plays include THE STILL TIME(Georgia Rep/Porchlight Theatre, Chicago), WOMEN WHO LOVE SCIENCE TOO MUCH (Porchlight), HENRI LOUISE AND HENRY (Cleveland Public), SLAM (Plan B Theatre, UT), and the screenplay DOWNTOWN EXPRESS, a film for David Grubin Productions in NY. With composer Michael Wartofsky she wrote the book and lyrics for THE NAVIGATOR and FRIENDSHIP OF THE SEA; with Deborah Wicks LaPuma she wrote DAKOTA SKY (Olney Theatre), WATER ON THE MOON (Signature Theatre readings), and CAPTIVATED (Kennedy Center New Works Festival). Other musical works include the opera CLARA, FATAL SONG, and A TALE OF TWO CITIES: PARIS AND BERLIN IN THE TWENTIES (all Maryland Center for the Performing Arts). Ms. Cahill earned her MFA in Writing for Music-Theatre from NYU's Tisch School of the Arts, and her BA in English Literature from Northeastern University. She works as writer/senior editor for Masterpiece Theatre on PBS. After premiering at SLAC, CHARM will be produced at Orlando Shakespeare.
MEG GIBSON (Director) For Salt Lake Acting Company Meg has directed BIG LOVE, HYSTERIA, THE RIDE DOWN MT. MORGAN, and, most recently, her co-created adaptation of Antigone, TOO MUCH MEMORY. She directed the World Premiere at the 2008 New York International Fringe Festival where it was awarded Best Play. It subsequently moved to New York Theatre Workshop. Other NY directing credits include, THE BLAVATSKY PROJECT with Work With Dancers at Here, and a commissioned adaptation of Susan Glaspell's, THE VERGE. Last fall she collaborated with Orlando Shakespeare Festival on a workshop of Kathleen Cahill's, CHARM. She is a graduate of the U. of Utah, the Juilliard Theatre Center and a Research Fellow at the Yale School of Drama with a concentration on design. She continues to work as an actress, having recently appeared in Daniel Talbott's, SLIPPING at The Rattlestick Theatre Company in NYC. She has performed in six plays at the Joseph Papp Public Theatre and worked with Manhattan Theatre Club, Playwrights Horizons, The Atlantic Theater Company, The Next Wave Festival, The Mark Taper Forum, The Huntington Theatre, ART at Harvard, Yale Rep., Long Wharf, Center Stage, The Williamstown Theatre Festival and Actors Theatre of Louisville. She can be seen in cable reruns of all three versions of Law and Order, Sex and the City and can be seen in the upcoming TNT television series, Rubicon. Her film credits include Che, The Night Listener, Picture Perfect, Dust.
SLAC is grateful to Utah Humanities Council for generously funding our free panel discussion on Sunday, April 25 at 5pm. The Utah Humanities Council promotes understanding of human traditions, values, and issues through informed public discussion.
The discussion is inspired by the protagonist of CHARM, Margaret Fuller- a contemporary and muse of the great writers of her day, Henry David Thoreau, Ralph Waldo Emerson and Nathaniel Hawthorne. Margaret was an author, editor, journalist, literary critic, Transcendentalist, and women’s rights advocate. She helped educate women by hosting a series of ‘Conversations’ which empowered them to read, think, and discuss important contemporary issues. Her ground-breaking writings, particularly her landmark book ‘Woman in the Nineteenth Century’, stirred generations to follow her lead.
In ‘The Margaret Fuller Problem’, we will take up some of the questions raised in CHARM- Whom does history remember, whom does it forget, and why? Why do few people know about this guiding light for the first wave of feminism? If the great minds of the Transcendentalist movement were riveted by Margaret Fuller, why don’t we know more about her and her work? How have other feminists of the past shaped us? How do young people today regard the early feminist movement?
BETSY BURTON co-founded the independent King's English Bookshop with then-partner Ann Berman in 1977. After Berman left in 1981, Burton ran the store alone until 1988, when Barbara Hoagland became a partner. Burton and Hoagland were named among Utah Business Magazine's 'Risk Takers, 30 Women to Watch,' and theirs was selected Business of the Year by the National Association of Women Business Owners. Burton is a member of the Board of Directors of the American Booksellers Association and the American Independent Business Alliance, and is the co-chair of Local First Utah. She was awarded Bookseller of the Year by the Mountains and Plains Booksellers Association in 2001, and her book 'The King's English: Adventures of an Independent Bookseller' was chosen Book of The Year in non-fiction by the Utah Arts Council in 2003. She is married and has two adult children.
KATHLEEN CAHILL has received many awards for her work, including the Jane Chambers Playwriting Award, a Connecticut Commission on the Arts Playwriting Award (twice), a Massachusetts Artists Foundation Award, a Rockefeller Grant, a National Endowment for the Arts New American Works Grant, and a Drama League Award. Her plays include THE STILL TIME (Georgia Rep/Porchlight Theatre, Chicago), WOMEN WHO LOVE SCIENCE TOO MUCH (Porchlight), HENRI LOUISE AND HENRY (Cleveland Public), SLAM (Plan-B Theatre, UT), and the screenplay DOWNTOWN EXPRESS, a film for David Grubin Productions in NY. With composer Michael Wartofsky she wrote the book and lyrics for THE NAVIGATOR and FRIENDSHIP OF THE SEA; with Deborah Wicks LaPuma she wrote DAKOTA SKY (Olney Theatre), WATER ON THE MOON (Signature Theatre readings), and CAPTIVATED (Kennedy Center New Works Festival). Other musical works include the opera CLARA, FATAL SONG, and A TALE OF TWO CITIES: PARIS AND BERLIN IN THE TWENTIES (all Maryland Center for the Performing Arts). Ms. Cahill earned her MFA in Writing for Music-Theatre from NYU's Tisch School of the Arts and her BA in English Literature from Northeastern University. She lives in Utah, and works as writer/senior editor for Masterpiece Theatre on PBS. After premiering at SLAC, CHARM will be produced at Orlando Shakespeare.
SYDNEY CHEEK-O'DONNELL is Assistant Professor of Theatre History and Head of the Theatre Studies program at the University of Utah, where she teaches the History of Theatre, Dramaturgy, Theatre and Theory, and Directing. Dr. Cheek-O'Donnell's ongoing research interests include feminist performance analysis and Italian theatre. Her articles, book and performance reviews have been published in Review, Theatre Journal, New Theatre Quarterly, and Seattle Opera Magazine, as well as in two recently published volumes of essays. She currently serves as the Associate Editor of Review. In addition, Dr. Cheek-O'Donnell works as a production dramaturg in professional and academic theatre. Recent dramaturgy credits include 42nd STREET, MISS SAIGON, THE HEIRESS, and CHICAGO (Pioneer Theatre Company), and CHARM (SLAC). She earned a BA at Carleton College and a PhD in Theatre History and Criticism at the University of Washington.
JANN HAWORTH was one of the few women closely associated with the Pop Art Movement in Great Britain throughout the 1960s. She aims in her work to establish a synthesis between apparent opposites, employing a clear, accessible visual language with an overt gender baseline. Ms. Haworth's work has been featured in a number of recent large-scale exhibitions with the resurgence of interest in the Pop Art period, including Pop Art UK, Modena, Italy (2004); Art and The 60's, The Tate Great Britain (2004); British Pop, Bilbao, Spain (2005) [together with the BBC program]; and Pop Art 1956-1968, Rome, Italy (2007). Recent solo shows include The Mayor Gallery, London (2006), Salt Lake City Library (2008), and Galerie Du Centre (2008). She is currently showing in Wolverhampton Pop Art Gallery (through April 2010). Ms. Haworth was a contributor to three public works projects in Salt Lake: The 337 Project, SLC Pepper (also Project Director), and the 'On Broadway' Mural. In addition to the unusual distinction of being a female Pop artist, Ms. Haworth was the Co-Designer for the Beatle's Sgt. Pepper album cover, for which she received a Grammy.
TAMRIKA KHVTISIASHVILI is a host of RadioActive on KRCL, a PhD student in Linguistics, and co-owner of Blue Plate Diner. She was born in Tbilisi, Georgia, former Soviet Union and came to the United States at age 15. She received her BA in filmmaking and continues to make and collaborate on short films. She likes to spend her free time with her charming husband and 15-year-old daughter. Together they like to watch foreign films, go to the theater, see live music, travel and talk politics.
SLAC's In The Room conversation with CHARM playwright Kathleen Cahill and director Meg Gibson on March 2, 2010.
Spark noun. a trace or hint | inspiration or catalyst | an ignited or fiery particle, something that sets off a sudden force | anything that serves to animate, kindle, or excite
American Bloomsbury: Louisa May Alcott, Ralph Waldo Emerson, Margaret Fuller, Nathaniel Hawthorne, and Henry David Thoreau: Their Lives, Their Loves, Their Work
By Susan Cheever
Simon & Schuster, 2007 (Paperback)
The 1850s were heady times in Concord, Massachusetts: in a town where a woman's petticoat drying on an outdoor line was enough to elicit scandal, some of the greatest minds of our nation's history were gathering in three of its wooden houses to establish a major American literary movement. The Transcendentalists, as these thinkers came to be called, challenged the norms of American society with essays, novels, and treatises whose beautifully rendered prose and groundbreaking assertions still resonate with readers today. Though noted contemporary author Susan Cheever stands in awe of the monumental achievements of such writers as Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, Herman Melville, and Louisa May Alcott, her personal, evocative narrative removes these figures from their dusty pedestals and provides a lively account of their longings, jealousies, and indiscretions. Thus, Cheever reminds us that the passion of Concord's ambitious and temperamental resident geniuses was by no means confined to the page....
The Woman and the Myth: Margaret Fuller's Life and Writings
By Bell Gale Chevigny
Northeastern University Press, 1993 (Paperback) Alternate Formats
This new edition of this classic and influential book features recently recovered writings about Fuller by her contemporaries and additional selections from Fuller's writings, including previously unpublished excerpts from her journals.
The Blithedale Romance
By Nathaniel Hawthorne
Penguin Classics, 1983
Renowned 19th-century author Nathaniel Hawthorne writes fully in his own time, not haunting his characters with the American past as in his more famous works THE HOUSE OF SEVEN GABLES and THE SCARLET LETTER. Published in 1852, THE BLITHEDALE ROMANCE remains a captivating work about politics, love, the supernatural, and idealism, written with Hawthorne's sharp wit and deep intelligence.
The Scarlet Letter
By Nathaniel Hawthorne
Penguin Classics, 2002
Set in the harsh Puritan community of seventeenth-century Massachusetts, this tale of an adulterous entanglement resulting in an illegitimate birth engendered the first true heroine of American fiction.
Introduction by Nina Baym
Notes by Thomas E. Connolly
Walden and Other Writings
By Henry David Thoreau
Modern Library, 2000
With their call for "simplicity, simplicity, simplicity!", for self-honesty, and for harmony with nature, the writings of Henry David Thoreau are perhaps the most influential philosophical works in all American literature. The selections in this volume represent Thoreau at his best. Included in their entirety are Walden, his indisputable masterpiece, and his two great arguments for nonconformity, Civil Disobedience and Life Without Principle. A lifetime of brilliant observation of nature--and of himself--is recorded in selections from A Week On The Concord And Merrimack Rivers, Cape Cod, The Maine Woods and The Journal.
Louisa May Alcott: The Woman Behind Little Women
By Harriet Reisen
Henry Holt and Co., 2009
Louisa May Alcott portrays a writer as worthy of interest in her own right as her most famous character, Jo March, and addresses all aspects of Alcott's life: the effect of her father's self-indulgent utopian schemes; her family's chronic economic difficulties and frequent uprootings; her experience as a nurse in the Civil War; the loss of her health and frequent recourse to opiates in search of relief from migraines, insomnia, and symptomatic pain. Stories and details culled from Alcott's journals; her equally rich letters to family, friends, publishers, and admiring readers; and the correspondence, journals, and recollections of her family, friends, and famous contemporaries provide the basis for this lively account of the author's classic rags-to-riches tale. This revelatory portrait will present the popular author as she was and as she has never been seen before.
Concord Quartet: Alcott, Emerson, Hawthorne,Thoreau, and the Friendship That Freed the American Mind
By Samuel Agnew Schreiner
John Wiley & Sons Inc, 2006
From the start of transcendentalism and America's intellectual renaissance in the 1830s, to the Civil War and beyond, the story of four extraordinary friends whose lives shaped a nation.
The American Transcendentalists: Essential Writings
by Lawrence Buell
Modern Library Classics from Random House, 2006
Transcendentalism was the first major intellectual movement in U.S. history, championing the inherent divinity of each individual, as well as the value of collective social action. In the mid-nineteenth century, the movement took off, changing how Americans thought about religion, literature, the natural world, class distinctions, the role of women, and the existence of slavery. Edited by the eminent scholar Lawrence Buell, this comprehensive anthology contains the essential writings of Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and their fellow visionaries. There are also reflections on the movement by Charles Dickens, Henry James, Walt Whitman, Louisa May Alcott, and Nathaniel Hawthorne. This remarkable volume introduces the radical innovations of a brilliant group of thinkers whose impact on religious thought, social reform, philosophy, and literature continues to reverberate in the twenty-first century.
Margaret Fuller: A Brief Biography with Documents
By Eve Kornfeld
Bedford/St. Martin's, 1996
As a well-known editor and journalist, Margaret Fuller (1810-1850) questioned the conventional boundaries that circumscribed American society in the first half of the nineteenth century. This collection of her letters, essays, poems, and journalism reveals a woman who developed a feminist and humanist vision that transcended class, racial, national, and gender borders.
American Sympathy: Men, Friendship, and Literature in the New Nation.
By Caleb Crain
Yale University Press, 2001
"A friend in history", Henry David Thoreau once wrote, "looks like some premature soul". And in the history of friendship in early America, Caleb Crain sees the soul of the nation's literature.
In a sensitive analysis that weaves together literary criticism and historical narrative, Crain describes the strong friendships between men that supported and inspired some of America's greatest writing -- the Gothic novels of Charles Brockden Brown, the essays of Ralph Waldo Emerson, and the novels of Herman Melville. He traces the genealogy of these friendships through a series of stories. A dapper English spy inspires a Quaker boy to run away from home. Three Philadelphia gentlemen conduct a romance through diaries and letters in the 1780s. Flighty teenager Charles Brockden Brown metamorphoses into a horror novelist by treating his friends as his literary guinea pigs. Emerson exchanges glances with a Harvard classmate but sacrifices his crush on the altar of literature -- a decision Margaret Fuller invites him to reconsider two decades later. Throughout this engaging book, Crain demonstrates the many ways in which the struggle to commit feelings to paper informed the shape and texture of American literature.
Emerson: The Mind on Fire
By Robert D. Richardson
University of California Press, 1996
Ralph Waldo Emerson is one of the most important figures in the history of American thought, religion, and literature. The vitality of his writings and the unsettling power of his example continue to influence us more than a hundred years after his death. Now Robert D. Richardson Jr. brings to life an Emerson very different from the old stereotype of the passionless Sage of Concord. Drawing on a vast amount of new material, including correspondence among the Emerson brothers, Richardson gives us a rewarding intellectual biography that is also a portrait of the whole man.
The Portable Margaret Fuller
By Margaret Fuller and Mary Kelley
An anthology of the writings of Margaret Fuller (1810-1850), American editor, essayist, poet, teacher and author. An associate of Emerson, Thoreau and William Henry Channing at the Brook Farm Community in Massachusetts, Fuller edited the transcendentalist journal "The Dial", and became the first woman journalist for the "New York Tribune". This book includes the texts "Summer on the Lakes" and "Women in the Nineteenth Century" in their entirety, a selection of criticisms, her despatches from Italy for Horace Greeley during the Italian Revolution, and selected correspondence. Mary Kelley has edited and prefaced the collection with a critical introduction, and provided chronology and notes.
"My Heart is a Large Kingdom": Selected Letters of Margaret Fuller
By Robert N. Hudspeth, Margaret Fuller
This single-volume selection of the letters of Margaret Fuller affords a unique opportunity for renewed acquaintance with a great American thinker of the Transcendentalist circle. The letters represent Fuller at all stages of her life and career, and show her engaged as literary critic, as translator and as champion of German literature and thought, as teacher, as travel writer, as literary editor, as journalist, as feminist, as revolutionary, as wife and mother. "My Heart Is a Large Kingdom", unlike previous collections, includes only letters transcribed from Fuller's manuscripts and does not reproduce correspondence known only from printed sources and copies in hands other than Fuller's.
Among the recipients of the letters in this generous selection are such literary and cultural figures as Bronson Alcott, Elizabeth Barrett Browning, Arthur Hugh Clough, Ralph Waldo Emerson, Giuseppe Mazzini, Giovanni Angelo Ossoli (Fuller's husband), George Ripley, and Henry David Thoreau. Taken together, the letters serve as a chronicle of Fuller's lifetime and provide glimpses into her thoughts and feelings during the years of the "Conversations", Dial, and the revolution in Rome.