October 12-November 6, 2011
Director John Caywood
Featuring Darrin Doman, Nell Gwynn, Zack Phifer, Christy Summerhays
Winner of the 2009 Tony Award for Best Play and 2009 Olivier Award for Best New Comedy
SLAC opens its 2011/2012 Season with the best of the best in theatre, bringing this Olivier Award and six-time Tony Award winning comedy centered around two sets of upper middle class parents having a cordial meeting in reaction to a neighborhood brawl between their sons. When rum replaces coffee and fragile egos crack, the conversation goes from civilized to savage.
The New York Times describes God of Carnage as "a satisfyingly primitive entertainment with an intellectual veneer".
When parents parent you on parenting, the only thing left standing is the set.
DARRIN DOMAN (Alan Raleigh) is delighted to be back on stage at the Salt Lake Acting Company, having made his SLAC debut as Ben in SATURDAY'S VOYEUR 2005. Subsequent SLAC credits include Charlotte von Mahlsdorf (understudy) in I AM MY OWN WIFE, vocal coach for THE CLEAN HOUSE and multiple appearances in SLAC's New Play Sounding Series—Reader, A MAN ENTERS; Dad, TRENCH COAT IN COMMON; Bart, THE THUGS; Mike, 14 and Reader, MAMMOTH. Darrin has performed on various stages around the valley. He played Cosme McMoon in SOUVENIR for Utah Contemporary Theatre. At the Grand Theatre, he played 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. Another of Darrin's favorite roles is Agwe-God of Water in ONCE ON THIS ISLAND at the Heritage Theater. He has also performed at the Conference Center Theater (Simon Zealotes, SAVIOR OF THE WORLD). Regionally, Darrin has appeared at the Capitol Theater and Warehouse Theater in Washington State and what was formerly the Pink Garter Theater in Wyoming. International credits include appearances on stages in Russia, Finland, Spain and South Korea. Additionally, Darrin has been musical director for productions of CAPTAIN BREE AND HER LADY PIRATES, HONK! and ONCE ON THIS ISLAND (Youth Theater at the U), YOU'RE A GOOD MAN CHARLIE BROWN—in which he also appeared as Schroeder—and THE KING AND I (Roger's Memorial Theatre). He was also assistant musical direct for CHILDREN OF EDEN (The Grand Theatre) and has credits as pianist for productions of NUNSENSE and INTO THE WOODS. In his "free" time, Darrin sings with the Utah Chamber Artists. He works full-time at the University of Utah Hospital and is pursuing a quest to see the 7 Wonders of the Modern World—5 down, 2 to go. Thanks to all those who helped make this production possible with special thanks to each of you in the audience for being here. Enjoy the show!
NELL GWYNN (Veronica Novak) is so happy to be back on stage at SLAC! She made her SLAC and regional debut last year playing the Angel and others in ANGELS IN AMERICA, and followed that up by playing Ann/Emily in last seasons "The Persian Quarter". NYC credits include; CANDY & DOROTHY (GLAAD New Media Award Winner, Best Off-Off Broadway), KISS & CRY (Innovative Theatre Award Nomination, Best Supporting Actress, GLAAD New Media Award Nomination, Best Off-Off Broadway) COUNSELOR AT LAW (Lucille Lortel Award Winner, Best Revival), THE ORESTEIA, Charles Mee's BIG LOVE, PIECEWORK, and THE BIG FUNK, to name a few. Regional Shakespeare credits include; Beatrice in MUCH ADO ABOUT NOTHING, Mistress Ford in THE MERRY WIVES OF WINDSOR, Adriana in COMEDY OF ERRORS, Celia in AS YOU LIKE IT, Lady Macbeth, Maria in TWELFTH NIGHT and Regan in KING LEAR. She also starred in the short film, "Red Flag", which has been seen at festivals around the country, taking the Audience Award for Comedy at the Palm Springs Film Festival and most recently screening at the SAG Foundations Short Film Showcase in NYC. Many thanks to this creative team & to Dan & Daniela!
ZACK PHIFER (Michael Novak) is thrilled to be back on the boards again after years of concentrating on filmwork. After graduating from the U of U in the Acting Emphasis Program, he headed to Los Angeles where he appeared in over 150 commercials, 50 television shows and many films. Some favorite projects were "Murphy Brown", "Seinfeld", "Get Shorty" and "Romy and Michelle's High School Reunion". He will be seen in the upcoming film "Constant Companion" shot in Utah. Zack is grateful for SLAC for this opportunity.
CHRISTY SUMMERHAYS (Annette Raleigh) - is so happy to be back at SLAC! She was seen last season playing Harper in "Angels in America" and is thrilled to be working with another wonderful group of people on another exceptional play. Christy has been an active member of the acting community in Salt Lake for many years enjoying a varied career that includes work in film and television, directing commercials, operas and plays and of course acting with many of Salt Lake's wonderful theaters. She was most recently seen in Plan B's production of "Mesa Verde". New York credits include: Rosalind in "As You Like It" and Foedora in "The Wild Ass's Skin". She received her training at The American Academy of Dramatic Arts. This one's for you Dad.
YASMINA REZA (Playwright) is a French playwright and novelist, based in Paris, whose works have all been multi-award-winning, critical and popular international successes, produced worldwide and translated into 35 languages. She has written seven plays (CONVERSATIONS AFTER A BURIAL, THE PASSAGE OF WINTER, "ART," THE UNEXPECTED MAN, LIFE X 3, A SPANISH PLAY, GOD OF CARNAGE, HOW YOU TALK THE GAME) and 6 novels ("Hammerklavier," "Une Desolation (Desolation)," "Adam Haberberg," "Dans la Luge d'Arthur Schopenhauer," "Nulle Part" and "L'Aube, le Soir ou la Nuit (Dawn Dusk or Night)"). Films include: "Le Pique-Nique de Lulu Kreutz," directed by Didier Martiny and "Chicas," written and directed by the author.
CHRISTOPHER HAMPTON (Translator) plays, musicals, and translations have garnered three Tony Awards, two Olivier Awards, four Evening Standard Awards, and the New York Theatre Critics Circle Award. Prizes for his film and television work include an Academy Award, two BAFTAs, a Writer's Guild of America Award, the Prix Italian and a Special Jury Award at the Cannes Film Festival. His plays for the Royal Court include TREATS, SAVAGES, THE PHILANTHROPIST, UNCLE VANYA, TOTAL ECLIPSE, MARYA and WHEN DID YOU LAST SEE MY MOTHER? Other plays include EMBERS, THREE SISTERS, ART, SUNSET BOULEVARD, THE TALKING CURE, ALICE'S ADVENTURES UNDER GROUND, WHITE CHAMELEON, TALES FROM HOLLYWOOD, DON JUAN COMES BACK FROM THE WAR, TALES FROM THE VIENNA WOODS, AN ENEMY OF THE PEOPLE, THE WILD DUCK, HEDDA GABLER, LIFE X 3, TARTUFFE, LES LIAISONS DANGEREUSES, THE UNEXPECTED MAN, and CONVERSATIONS AFTER A BURIAL. Hampton's plays have been performed at the Royal Shakespeare Company, the Almeida, the Royal National Theatre, and both on West End and Broadway. His television credits include "The Ginger Tree," "Hotel du Lac," "The History Man," and "Able's Will." He has written the screenplays for "Atonement," "Imagining Argentina," "The Quiet American," "The Secret Agent," "Mary Reilly," "Carrington," "Total Eclipse," "Dangerous Liaisons," "Wolf at the Door," "The Good Father," "The Honorary Consul," "Tales from the Vienna Woods," and "A Doll's House."
JOHN CAYWOOD (Director) – returns to SLAC after directing Saturday's Voyeur six times, most recently in 2009. Other strange but funny SLAC projects include Batboy: The Musical and Incorruptible. John has spent twenty-one years on staff at the University of Utah, fourteen with Pioneer Theatre Company and seven at Kingsbury Hall. He has directed in most of Utah's professional venues including The Egyptian Theatre Company in Park City where he was artistic director for two seasons, Pioneer Theatre Company, Sundance Summer Theatre, The Grand Theatre, Tuacahn Amphitheatre and Utah Musical Theatre. John appreciates the comedy in God of Carnage due to his most challenging assignment to date: four year old daughter Presley Jo.
JAMES M. CRAIG (Lighting Design) - has designed the lighting for 40+ shows at SLAC since 1997, most recently for SATURDAY'S VOYEUR 2011, CIRCLE MIRROR TRANSFORMATION, BOOM, ANGELS IN AMERICA, and CHARM. 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, U of U Youth Theatre, U of U 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. Find out more at http://about.me/jamesmcraig.
K.L. ALBERTS (Costume Design) - is in his 14th season with the Salt Lake Acting Company. Favorite productions include ANGELS IN AMERICA, PART 1: MILLENNIUM APPROACHES, GO, DOG. GO!, BILLION DOLLAR BABY, MOONLIGHT AND MAGNOLIAS, I AM MY OWN WIFE, RABBIT HOLE, THE BEAUTY QUEEN OF LEENANE, THE BEARD OF AVON and GROSS INDECENCY. For Pioneer Theatre Company, K.L.'s designs include WHITE CHRISTMAS, 42ND STREET, 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 GREAT EXPECTATIONS-THE MUSICAL, AH WILDERNESS!, HAY FEVER, THE MATCHMAKER and FIDDLER ON THE ROOF.
JOSH MARTIN (Sound Design) – is delighted to be designing GOD OF CARNAGE. Most recently he co-designed SATURDAY'S VOYEUR 2011. In addition, he is the Master Electrician here at the Salt Lake Acting Company.
SANDRA SHOTWELL (Dialect Coach) is a professional actress and dialect coach She received an M.F.A. in Acting from The American Conservatory Theater in San Francisco, an Advanced Diploma in Voice and Speech from the Central School of Speech and Drama in London, and is a Certified Laban-Bartenieff Movement Analyst. She is very pleased to return to SLAC after dialect coaching last season's THE PERSIAN QUARTER. She has dialect coached for Pioneer Memorial Theatre, including: BLACK COMEDY, TWELVE ANGRY MEN, Charles Morey's THE YELLOW LEAF, HUMBLE BOY, VERTICAL HOUR, THE DEAD, THE REAL THING, DANCING AT LUGHNASA, ROUGH CROSSING, PICASSO AT THE LAPIN AGILE, CRIPPLE OF INISHMAAN, PLAYBOY OF THE WESTERN WORLD, LAST NIGHT AT BALLYHOO, O PIONEER!, and ST JOAN. Her film-television acting credits include Touched by an Angel, Night Sins, The Long Road Home, Detention High, The Luck of Irish and Anya's Bell, and she is the voice of TRAX for the north-south line. Sandra is a professor with the University of Utah Department of Theatre, teaching acting, voice, speech, text, and dialects, and she loves being a foster "mom" for dogs with the Humane Society of Utah.
JANICE JENSON (Stage Manager) is excited to be returning to Salt Lake Acting Company after Stage Managing SATURDAY'S VOYEUR and CIRCLE MIRROR TRANSFORMATION. ASM credits include THE LEGEND OF TIMPANOGOS, (Utah Regional Ballet), CINDERELLA, MY FAIR LADY, & 42ND STREET (Tuacahn), and MESA VERDE (Plan-B). Stage management credits include: TICK, TICK...BOOM!, REEFER MADNESS, A NEW BRAIN, THE BEST LITTLE WHOREHOUSE IN TEXAS (Dark Horse), SAM I WAS (SLAC Fringe Festival), HAIR, FAME, THE AWESOME 80'S PROM, RENTED CHRISTMAS, and DANNY AND THE DEEP BLUE SEA (Egyptian). She is a graduate of BYU and was selected as a USITT 2008 Stage Management Mentee, where she stage managed The History of Drag.
November 2-December 4, 2011 | World Premiere
Director Alexandra Harbold
With Joyce Cohen, Terence Goodman, Amanda Mahoney, Deena Marie Manzanares, Jesse Peery
Semi-autobiographical and wildly-whimsical, (a man enters) is a an odyssey about love - and then what happens.
Peter Montgomery Curtis is famous: he won a Nobel Prize for his work in artificial intelligence; he is married to a perfect woman who is always right; he hasn't seen his children from his first marriage in twenty years.
Now it's his mother's 90th birthday, and Rosie, his daughter, is attempting to create the perfect party for his homecoming.
JOYCE COHEN (Terry) has appeared on Broadway (ONCE A CATHOLIC), Off-Broadway (JOHN FERGUSON, DIAMOND STUDS, LIVING AT HOME) and at Regional Theatres around the country. Most recently (HUMBLE BOY, the Public Theatre; HAMLET, BLACK COMEDY, Pioneer Theatre Company; FOXFIRE, THE SECRET GARDEN (Utah Shakespeare Festival). Favorite SLAC appearances: THE MEMORY OF WATER, SWIMMING IN THE SHALLOWS, THE BEAUTY QUEEN OF LEENANE. TV/Film Credits include: HIGH SCHOOL MUSICAL, SLC PUNK, ADVENTURES OF FOOD BOY, THE DANCE, TOUCHED BY AN ANGEL (6 episodes), READ IT AND WEEP, INDEPENDENCE DAY, PIRATES OF THE GREAT SALT LAKE, UNABOMBER: THE TRUE STORY.
TERENCE GOODMAN (Peter) Broadway and First National Tour credits include: the original production of JESUS CHRIST SUPERSTAR, DAMN YANKEES with Gwen Verdon and Ray Walston, and as Capt. Smith in TITANIC. Off-Broadway: KELLY, JIGSAW, JUST ONE WORLD, and OEDIPUS PRIVATE EYE. Major regional: GREAT EXPECTATIONS at Godspeed Opera, ELLIOT NESS IN CLEVELAND for Hal Prince/Denver Center, 12 ANGRY MEN, THE DIARY OF ANNE FRANK, OUR TOWN and as Billy Flynn in CHICAGO for The Pioneer Theatre Company. Motion Picture starring roles: Ode to Billy Joe, Final Rinse, Who done It, 95ers:Echos, and Nitro Circus. Series regular on Days of Our Lives. Over 35 guest star TV appearances from Lavern and Shirley, Threes Company to Hill St. Blues and Minute Men. Masters Degree in Direction and the proud father of Jack Patrick Goodman.
AMANDA MAHONEY (Rosie) holds a B.A. in Theatre from Idaho State University and an M.F.A. in Acting from Wayne State University in Detroit. She also studied at the Moscow Art Theatre in Russia and taught acting at Western Kentucky University. She has acted professionally with The Hilberry Repertory Company, Idaho Shakespeare, Kentucky Repertory Theatre, and Old Lyric Repertory. Favorite past roles include Constanze in AMADEUS, Eliza Doolittle in PYGMALION, the title role in A.R. Gurney's SYLVIA, Eva Geringer in AND THEN THEY CAME FOR ME, and Regan in KING LEAR. She is currently developing a one-woman show, MEAN LIPSTICK, based on the life of baseball player Jackie Mitchell.
DEENA MARIE MANZANARES (Dana) is a graduate of the Atlantic Theater Co. Acting School in NYC. Training also includes NYU's CAP21 and Juilliard. Among NYC credits are Witch/Mom in AMAZING ADVENTURES OF ARTHUR (Atlantic Theater Company) and Darlene in BALM IN GILEAD (Atlantic 453). Deena Marie returns for her fifth SLAC production having previously been seen as Shirin/Azedeh in THE PERSIAN QUARTER, Blue Dog in GO, DOG. GO!, Ida in SKIN IN FLAMES, and Sara in BOY. Local credits include Plan B, Egyptian Theatre Co., Pygmalion Productions, Pioneer Theatre Co, Meat & Potato, Hale Centre Theatre and others. Recent highlights include Christina in the staged reading of A DOLL HOUSE translated by Eric Samuelsen (PLAN-B) and Sheila in HAIR (ETC). You may have also seen her as various characters or filling in as afeature reporter on the KUTV2 morning show. Deena Marie writes and performs sketch comedy on the web and has been featured on G4TV's "Attack of the show" and MTV's "It's on with Alexa Chung". She also creates and appears in a weekly video for the Salt Lake City Weekly website. Recipient, Salt Lake Magazines Best of the Beehive (The Comedienne), and City Weekly's Best of Utah (Media/Politics). Next up is THE THIRD CROSSING with PLAN-B Theatre Company, which runs in March 2012. She is a proud member of Actors Equity. www.deenamarie.biz
JESSE PEERY (Milo) was last seen as Court in The New Works Theatre Machine's world premiere of RIDE ME: A PLAY WITH CRUEL INTENTIONS. He was also privileged to be part of the cast for the recent celebrity reading of SOME MEN at the Rose Wagner Performing Arts Center with special guest Terrence McNally. Other regional roles include Austin in TRUE WEST for Wasatch Theatre Company, the Head Nurse for Pygmalion Theatre's WELL, Danny in DANNY & THE DEEP BLUE SEA for the Egyptian Studio Theatre in Park City, and Pale in the Utah Theatre Artists Company production of BURN THIS. Jesse is currently directing for this December's Page-To-Stage Festival presented by the Utah Association of Regional Theatres. He earned his B.F.A. from the Actor Training Program at the University of Utah and has been a repertory artist for the Juilliard Conservatory in Chautauqua, New York.
ELAINE JARVIK (Playwright) Elaine Jarvik has spent most of her Utah writing career trying to report the facts, first for the Deseret News and more recently as a freelance journalist. Now she is thrilled that, as a playwright, she gets to make stuff up. Her short play "Dead Right" was produced at the 2008 Humana Festival of New American Plays in Louisville. Last season, her full-length play "The Coming Ice Age" was produced by Pygmalion Theatre Co. She would like to thank her daughter and co-writer Kate Birch; her son Tyler and daughter-in-law Tanya, who saved this play several times along the way; director Andra Harbold for her keen vision and imagination; dramaturg Heather Helinsky for her important insights; and Keven Myrhe and Cynthia Fleming of the Salt Lake Acting Company for giving this play a chance.
KATE JARVIK BIRCH (Playwright) is a visual artist who loves writing as much as she loves painting, and being a true procrastinator, is happy to ping pong between the two passions. She knew she could die happy when her paintings showed up on the set of Glee. Her essay "Private Parts" was published in the literary journal Isotope in 2008 and her short story "Donald" and essay "Mega Volcanoes" were both chosen as finalists in the 2009 Writer's at Work Fellowship Competition. (a man enters) is Kate's first foray into playwriting and she's happy to report that she only wanted to kill her mother a few times during the writing of this play.
ALEXANDRA HARBOLD (Director, Artistic & Literary Associate) At Salt Lake Acting Company, Andra directed the world premiere of THE PERSIAN QUARTER and New Play Sounding Series readings of T.I.C. (TRENCHCOAT IN COMMON), THE PERSIAN QUARTER and PROPHETS OF NATURE; she acted in CIRCLE MIRROR TRANSFORMATION, SIX YEARS and ICE GLEN. Local directing credits: ROMEO AND JULIET, RABBIT HOLE, THREE DAYS OF RAIN (PAC), and SLAM (Plan-B). Local acting credits: DANCING AT LUGHNASA, HAMLET (Pioneer Theatre Company), LIVING OUT, FAT PIG (Pygmalion Theatre), and THE SEAGULL (Pinnacle Acting Company). Education: BA, Middlebury College; Master's in Performance Studies, University of London Goldsmith's College. Training: SITI Company's Summer Intensive at Skidmore. Upcoming directing projects include BETRAYAL by Harold Pinter (Pinnacle Acting Company) and SLAM (Plan-B Theatre). Evermore thanks to Joe, Cynthia, Keven, Elaine, Kate and the Company of (A MAN ENTERS).
WASATCH TANGO is a nonprofit organization dedicated to promoting Argentine tango in the Salt Lake City area and beyond. The group organizes and sponsors workshops, milongas, practicas, classes, and other tango events, all on a voluntary basis. The club has brought world-class instructors to Utah, including Fabian Salas, Lola Diaz, and Tomas Howlin during the past year. Wasatch Tango (www.wasatchtango.org) welcomes new members. Special thanks to Julianne Basinger and Renne Rodriguez for Argentine Tango choreography.
(a man enters) asks difficult questions with messy answers | Christian Cragun | UTBA | November 200
Salt Lake Acting Company: The entertainment when '(a man enters)' | Blair Howell | November 12, 2011
(a man enters) A Deeply Personal Look at Family | Brandon Burt | Salt Lake City Weekly | November 8, 2011
SLAC's '(a man enters)' carves humor out of family turmoil | Ben Fulton | Salt Lake Tribune | November 5, 2011
Salt Lake Acting Company: Making visible an absent father | Ben Fulton | Salt Lake Tribune | October 28, 2011
Salt Lake Acting Company: (a man enters) | Gavin Sheehan | Gavin's Underground | November 1, 2011
Utah Cultural Alliance Events Blog | October 26, 2011
Based on the book How I Became a Pirate written by Melinda Long and Illustrations by David Shannon
December 9-30, 2011
Director Penelope Caywood
When Braid Beard's pirate crew invites Jeremy Jacob to join their voyage, he jumps right on board. Buried treasure, sea chanteys, pirate curses -- who wouldn't go along?
Come join us for this story of adventure and finding one's own heart - a path that can't be found on any treasure map.
It's going to be an unforgettable musical adventure on the high seas!
AUSTIN ARCHER (Shark Tooth the Pirate) first started performing on the stage at the age of four, and never really cared to stop. Twenty years later, here he is, thrilled to be back with the Salt Lake Acting Company playing Shark Tooth. He has been previously seen on the stage at SLAC as Patty Henry in SATURDAY'S VOYEUR 2011, Haemon in TOO MUCH MEMORY, and Shye in TRENCHCOAT IN COMMON as part of SLAC's New Play Sounding Series. This performance is dedicated to his eight nieces and nephews, who constantly help him to stay silly, and to see the world through the limitless eyes of a child. Enjoy!
ALEXIS BAIGUE (Swill the Pirate) began acting in BRIGADOON, DAMN YANKEES, THE FOREIGNER, and ONCE ON THIS ISLAND at West Jordan High School, YOU CAN'T TAKE IT WITH YOU and THE TREE OF LACE (Salt Lake Community College), SURFIN' SAFARI (Desert Star Playhouse), eleven summers in SATURDAY'S VOYEUR, GOODNIGHT DESDEMONA (GOOD MORNING JULIET), ANGELS IN AMERICA: MILLENNIUM APPROACHES (Salt Lake Acting Company), JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS, SPEAKEASIE (TheatreWorks West), ANASTASIA (StageRight), SUMMER AND SMOKE, CABARET, RHINOCEROS, QUEEN CHRISTINA, ANTIGONE, THE RIMERS OF ELDRITCH, and LOYALTIES (University of Utah), WIT (Emily Company), NO EXIT (SallyFourth), DEAR WORLD (Sundance Summer Theatre), BEYOND THERAPY, THE SEX HABITS OF AMERICAN WOMEN (Pygmalion Productions), THE BOYS IN THE BAND (Wasatch Theatre); staged readings: MOTHER COLLEGE, THE LIVELY LAD, BUNBURY, THE CANCER DIARIES, CHARM, PROPHETS OF NATURE, ANGELS IN AMERICA: PERESTROIKA (S.L.A.C.), THE UNDERPANTS, THE VIOLET HOUR, THE LAST SUNDAY IN JUNE, MY NAME IS RACHEL CORRIE (Utah Contemporary Theatre), WISH UPON, BOX KITE, RECTUM!, CUP, and THE IMMACULATE ABORTION. He received Q Salt Lake's Fabby Award for Actor of the Year in 2008 and Best Performance in 2011.
J. MICHAEL BAILEY (Captain Braid Beard) Started performing at a very young age. As a member of the Bailey Family Singers since he was 8 years old, J. Michael has performed extensively throughout the western United States and Canada. When he was 18 years old he saw THE PHANTOM OF THE OPERA in Los Angeles and it forever changed his life. J. Michael has since worked as an actor for nearly 20 years. Some of his favorite roles include Jean Valjean in LES MISERABLES, Sweeney Todd in SWEENEY TODD, George in SUNDAY IN THE PARK WITH GEORGE, and The Leading Player in PIPPIN. In addition to his life as an actor, J. Michael is a singer/songwriter and has released three studio albums under his own Restless Water Records label. He is excited to be a part of his first SLAC production as well as being in a show his three wonderful kids can enjoy. Mary, you are everything...
RANDALL EAMES (Pirate Pierre) started playing the piano when he was 10 years old. He was in his first play, THE BEST CHRISTMAS PAGEANT EVER, when he was twelve. His singing career started when he was in ninth grade when he sang with his school group, the Syracuse Singers. He performed all through high school and then went on to study theatre in college. He graduated Magna Cum Laude from Weber State University with a degree in Theatre Arts. He is happy to be returning to SLAC's stage after appearing in last season's SATURDAY'S VOYEUR. Some of his favorite roles include: one of the guys in THE COMPLETE WORKS OF WILLIAM SHAKESPEARE ABRIDGED, Flute in A MIDSUMMER NIGHT'S DREAM, Roy Johnson in THE LIGHT IN THE PIAZZA, part of the company of UNDER CONSTRUCTION and Willard in FOOTLOOSE. He would like to thank all of those involved in this process and his friends, family and educators for their endless support.
SHANNON MUSGRAVE (Max the Pirate) is thrilled to be aboard this ship with this fine crew! Shannon began her acting career at age 3 in her living room by doing impressions of Katherine Hepburn, Ed Sullivan, and Ronald Reagan and singing Dolly Parton songs. She started piano lessons at age 7 and started dancing at age 15. Shannon continued her theatrical training after high school and received her BA in Musical Theatre from Weber State University. Since graduating college, Shannon has appeared in numerous local productions. She was last seen on SLAC's stage as Betsy Ross and Kate K. in SATURDAY'S VOYEUR 2011. She also appeared in the 2010 and 2009 versions of VOYEUR and played Hattie, the fabulous pink poodle in SLAC's first children's play, GO, DOG. GO! Last season, Shannon read the role of Dell in the NPSS reading of Kathleen Cahill's COURSE 86B IN THE CATALOGUE. Other local credits include 42ND STREET (Pioneer Theatre Co.), MUSICAL OF MUSICALS and SCHOOL HOUSE ROCK (The Grand Theatre), ROMEO & JULIET and THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE (Pinnacle Acting Co.) She also choreographed THE WIZARD OF OZ and OLIVER! at the Grand Theatre and works as Executive Assistant at the Salt Lake Acting Company. Thanks to Penny, Darrin, and everyone at SLAC for this adventure and to my ever-supportive family!
MICHAEL TAO (Jeremy Jacob) joins this crew for his first show at Salt Lake Acting Company. Michael began his training at the University of Utah Youth Theatre at age 10, where he has appeared as Jim Nasium in THE RINGS AROUND ROSE and as Rufus Bilge in SHOWTIME ON THE SHOWBOAT. In his spare time, Michael enjoys abstract art, plays violin, and writes short stories. He attends West High School
FYNN WHITE (Jeremy Jacob) is happily making his debut at the Salt Lake Acting Company. Fynn is a started his training at age 11 at the University of Utah Youth Theatre where he has appeared as Odysseys in THE FIRE THIEVES and as Gimple in THE WISE MEN OF CHELM. He plays soccer on a competitive team called Impact United. Fynn plays the piano and his favorite subjects are Algebra and Reading. He attends Wasatch Junior High School.
PENELOPE CAYWOOD (Director/Choreographer) is best known for her work with University of Utah's Youth Theatre program where she has been the director for the past 5 years. She has directed a Youth Theatre production every year while with the program and is also responsible for all the educational and outreach programming as well as an association with the Kennedy Center Partners in Education program (along with Kingsbury Hall and the Salt Lake City School District). This summer Penny took 17 Youth Theatre students to perform an original musical which she composed at the Edinburgh Fringe Festival as representatives of the United States. Locally, Penny has choreographed for The Grand Theatre, Utah Opera, Rogers Memorial Theatre, Weber State University; musically directed for Plan-B; and directed at Rogers Memorial Theatre and SLAC. Penny's career in the theatre started when she was 5 years old. She travelled across the country in a youth singing group, sang on children's records, and learned jazz and tap from incredible teachers. While she lived in California, Penny was involved in the creation of a youth theatre company in Palos Verdes called Curtains Up! She was also a very active as an actor in musicals for civic light operas with an occasional job in the pit as a flautist. Penny is so delighted to be working with Salt Lake Acting Company again.
DARRIN DOMAN (Musical Director) Ahoy mateys! Darrin is delighted to be back at work for Salt Lake Acting Company just one week after closing GOD OF CARNAGE in which he performed the role of Alan Raleigh. For HOW I BECAME A PIRATE, Darrin dons his Musical Director hat. Darrin has performed on many stages throughout the Wasatch Front with regional and international appearances to boot (...to boot, to boot, to boot...everybody sing!). Darrin loves music and instruments. He began taking piano lessons when he was 8 years old. A year later, he added voice lessons to his weekly routine. By the time he entered junior high, Darrin was also playing trumpet, saxophone, guitar and his sister's flute—when she wasn't watching. In college, Darrin studied the cello briefly and currently has a goal to learn circular breathing so he can play his didgeridoo properly. Darrin also enjoys theater. He is happy to act and sing on stage or do musical direction and pit-work as a musician. Darrin works full-time at the University of Utah Hospital and is pursuing a quest to see the 7 Wonders of the Modern World—5 down, 2 to go. He enjoys singing with the Utah Chamber Artists and he takes time to enjoy playing the piano now and then. Thanks for coming to the show, ye hearties. Enjoy!
BRENDA VAN DER WIEL (Costume Designer) is happy to be designing again for the young audiences of SLAC. Brenda started sewing when she was 5, although more time was spent with her Mom fixing the machine than with her actually sewing. But she was soon thrilled with how her ideas could come to life, perfected these sewing skills quickly, and has been working ever since. Recent work for ASF includes MUCH ADO ABOUT NOTHING, COMEDY OF ERRORS, THE COUNT OF MONTE CRISTO, DEATH OF A SALESMAN AND TROJAN WOMEN. 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 Salt Lake Acting Company. Recent works in Utah include ALCESTIS and THE BAKKAI for the Babcock Theatre, RENT and CHRISTMAS STORY for Pioneer Theatre Company, EURYDICE and OLIVER! at the Grand Theatre, and CHARM and SATURDAY'S VOYEUR for Salt Lake Acting Company. She has also worked at the Seattle Opera, the Santa Fe Opera, and the Utah Shakespearean Festival.
JOSH MARTIN (Sound Designer) is excited to be part of the third children show at Salt Lake Acting Company. It's always fun doing shows geared toward younger crowds. I wish I had the chance to see theatre when I was younger. I began working and attending performing arts when I was about 15, have not turned back since. I would not trade this lifestyle for anything. Some of my recent work includes SATURDAY'S VOYEUR 2010, SATURDAY'S VOYEUR 2011, GOD OF CARNAGE and (a man enters).
JANET YATES VOGT (Book, Lyrics and Music) has been a writer, composer and lyricist all of her life. She credits her career today to her family's support, the guidance of many wonderful directors and producers, and to her many outstanding teachers – from her first grade teacher who notated Janet's first songs and taught them to the class to sing – to her inspiring piano teachers to her professors at the University of Cincinnati College-Conservatory of Music (CCM), where her studies were centered upon piano performance and music theory. A pivotal moment happened when her writing partner, Mark Friedman, called the CCM placement service looking for a keyboard player for his band -- Janet auditioned, was hired by Mark, and a fruitful partnership began. Both inspired each other to compose, and together they are known nationally and internationally not only for their musical theatre works, but also for their numerous publications in many different musical genres, including vocal music for children and choral works for adults. Janet's educational keyboard books and methods have been translated into French, Japanese and German. A teacher at heart, Janet still coaches piano and voice students, and is a featured speaker and presenter at many national music conventions and events. In 2005, both she and her partner, Mark, were named National Music Educators of the Year. Janet and Mark's collaboration took a career-changing turn one night after they had just completed a large recording project for one of their publishers when Mark turned to Janet and said "I think we should write that musical now." The time was right to finally compose a work in their favorite genre – since between them they had directed, produced, music-directed, acted and played in the pits of numerous shows. A few days later they settled upon ANNE OF GREEN GABLES and they began what continues to be a very fulfilling creative journey. "Anne" has played at many theatres across the country -- most notably as the 2010-2011 holiday show at the Village Theatre in Issaquah, Washington (Robb Hunt, producer), The Barter Theatre in Abingdon VA (Richard Rose, director) and the Victoria Theatre in Dayton, Ohio (Kevin Moore, director). Their Junior Version has entertained audiences at notable children's theatres as well. Janet and Mark's extremely popular musical adaptation of Melinda Long's best-selling children's book HOW I BECAME A PIRATE, was commissioned by First Stage Theatre (Milwaukee) in 2008 and has been rollicking its way across many stages, including Cape Rep, the Des Moines Playhouse, Riverside Theatre, Children's Theatre of Cincinnati, and many more. Their powerful and moving musical, HARRIET AND SAM, captures the times and events of pre and post Civil War America as seen through the eyes of Harriet Beecher Stowe and Mark Twain, and has met with critical acclaim for its timely themes of freedom and human rights. A new work in development, TENDERLY, is based upon the life and career of Rosemary Clooney featuring a two-person cast and was recently work-shopped at the Human Race Theatre (Equity) in Dayton, Ohio as part of the Race's three-show summer musical theatre festival which also featured a new work by prize-winning playwright Brian Yorkey. The debut of TENDERLY was met with critical acclaim and great enthusiasm with audience members moved by Clooney's inner strength and her triumph over the many challenges she faced during her life. Janet and Mark have also penned a humorous, irreverent and satirical look at married relationships with their musical cabaret, WAR GAMES: MARRIAGE ON THE FRONT LINES - lovingly dubbed by critics as the "musical in need of an intervention!" Their holiday show EBENEZER (a musical version of A Christmas Carol) has been delighting audiences for the past five years. SLEEPY HOLLOW: A MUSICAL TALE, commissioned by Kalamazoo Civic Theatre, premiered on Halloween 2010 and has just been added to Columbus Children's Theatre upcoming season. Janet and Mark are represented by Bill Craver, Paradigm Agency, New York and are proud to be part of the TRW family. For more information, log onto www.vogtfriedmancomposers.com.
MARK FRIEDMAN (Book, Lyrics, and Music) Composer, lyricist, and playwright Mark Friedman fell in love with musicals at an early age when he and his brothers built their own theatre in the basement of their home - complete with lighting grid and sound system – performing for family and friends in the neighborhood. With a Bachelors degree in Education and a Master of the Arts, Mark has been a both a successful teacher and educator as well as a musician, vocalist, actor and director. He was the co-founder of Cincinnati's first free Shakespeare Festival in the Park and helped create Peanut Butter Theatre for Children which featured original musicals and a brown bag lunch. Mark produced a touring theatre group for inner-city schools called The Good News Company and toured the country as an actor and musician with the Fountain Square Fools. A composer and studio producer, Mark has many songs and recordings published worldwide in books and catalogs - he has written music, scripted and hosted events for national conventions - and is a sought after speaker at music and education seminars around the country. In 2005, Mark was distinguished as National Music Educator of the Year. For many years, Mark has been successfully writing and composing with collaborator Janet Yates Vogt - and in addition to their musical How I Became a Pirate, they have produced several other works for both adults and young audiences which are playing across the country. Their Anne of Green Gables was produced twice Off-Broadway at the York Theatre, and had successful runs at the Barter Theatre in VA, the Victoria Theatre in OH, and the Village Theatre in WA, among many others. Harriet and Sam, a powerful story capturing the events of Civil War America as seen through the eyes of Harriet Beecher Stowe and hr neighbor Mark Twain, was commissioned by the Harriet Beecher Stowe Festival in 2003. Ebenezer, a musical version of "A Christmas Carol," has been delighting audiences since 2005. Also in 2005, a humorous, and satirical look at married relationships - War Games: Marriage On The Front Lines premiered at the Ensemble Theatre of Cincinnati. How I Became a Pirate was commissioned in 2009 by First Stage Theatre in Milwaukee and has since played to delighted audiences from Cape Cod to Las Vegas. Sleepy Hollow: A Musical Tale, premiered in 2010 at the Kalamazoo Civic Theatre, and a new work in development entitled Tenderly, based on the life and career of Rosemary Clooney, was work-shopped in the summer of 2010 at the Human Race Theatre in Dayton, OH, and is in further development. Mark is a member of the Dramatist Guild and is represented by Bill Craver, Paradigm Agency, New York.
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FYNN WHITE (Jeremy Jacob) is happily making his debut at the Salt Lake Acting Company. Fynn is a started his training at age 11 at the University of Utah Youth Theatre where he has appeared as Odysseys in THE FIRE THIEVES and as Gimple in THE WISE MEN OF CHELM. He plays soccer on a competitive team called Impact United. Fynn plays the piano and his favorite subjects are Algebra and Reading. He attends Wasatch Junior High School.
Salt Lake Acting Company's "How I Became a Pirate" | Rebecca B. Wright | Thrilled by the Thought | December 12, 2011
HOW I BECAME A PIRATE is a fun, funny adventure for all ages | Megan B. Pedersen | UTBA | December 13, 2011
SLAC makes jolly good show of 'How I Became a Pirate' | Ben Fulton | Salt Lake Tribune | December 9, 2011
Salt Lake Acting Company: How I Became a Pirate | Scott Renshaw | City Weekly | December 9, 2011
WSU Grads Pirated Away for SLAC Show | Any K. Stewart | Standard-Examiner | December 11, 2011
Salt Lake Acting Company: Discovering the drama of your inner pirate | Ben Fulton | Salt Lake Tribune | December 1, 2011
SLAC: How I Became a Pirate | Gavin Sheehan | Gavin's Underground | December 8, 2011
SLAC discusses process and pirates with Musical Director Darrin Doman
SLAC. Most of our audience know what a fantastic actor you are after GOD OF CARNAGE, but tell us about yourself as a musical director.
DARRIN DOMAN. The first time I musically directed a show... I'm trying to think when that was. It was back in the Dark Ages.
SLAC. When did you start playing the piano?
DARRIN DOMAN. I started piano lessons with Piccola Wood when I was in the third grade, and she was a very good teacher. In the third grade, I would have been eight. I must have taken to the piano quite quickly, and she would show me off – she chronically told people I was six or five... She told someone I was four once. "I'm eight.." It was like she was trying to make herself look good as a teacher. Apparently I outgrew her, and she referred me onto to Don Royster, and I spent the rest of my junior high years studying under one teacher. He was, interestingly enough, a graduate of Yale. My piano teacher was roommates with Maury Yeston in college, and Maury Yeston, I believe, is still at Yale as a theory teacher or a composition teacher. My piano teacher's doctoral thesis is actually an entry in the New Grove Music Dictionary, which is very prestigious, and here he is in small town in Idaho teaching piano lessons. He can trace his piano lineage back to Bach. We studied together, and I went to college on a performance scholarship to Utah State University. One summer, a friend of mine was in an unfortunate car accident, and he called me from the hospital asking if I would take over as pianist for a production at the Pink Garter Theatre in Jackson, Wyoming. The Pink Garter Theatre is no longer in existence, but for the next three summers, I was involved with the Pink Garter Theatre in some capacity or another – most of the time I was in the pit, but I did run lights and box office and a few other things, so I got a good taste of summer stock theatre and musical theatre in general. One year, the piano player had some lines – it was a murder mystery – and it came to light that the piano player was offing people throughout the night. I was the bad guy. I had some lines, and I got tied up and jabbed with a stick, and it was a good time! And I realized it was more fun being onstage than being in the dark pit, so that's how I started in musical theatre. Performing at the Grand, I had some opportunities to do some assistant musical directing, but my very first gig was at Rogers Memorial Theatre.
SLAC. So singing and acting just came to you naturally?
DARRIN DOMAN. I don't know natural, but I studied voice as well as piano. Piano was my main instrument, but I studied voice as well.
SLAC. When did you start studying voice?
DARRIN DOMAN. When I was very young, but I kind of left it after my voice changed because it was a completely different instrument, so it took me a while to get back into that. I guess it was college again. After years as a performance major on the piano, I developed a stress injury, and I was not going to be able to complete my degree as a performance major, but I did some studies with regard to vocal pedagogy and choral conducting as I finished my speech therapy degree, so I got to study voice at a college level and sing with the college choirs as well. Then I had piano background, vocal pedagogy background, some vocal performance background, coupled with what I'd learned at the Pink Garter Theatre and then in other community theatres, and it all came to the point where someone asked me if I would musically direct a show.
Penny and I met up via Youth Theatre at the U. Our first project together was ONCE ON THIS ISLAND, and we had a good time. She had me back a couple of years in a row. The last project we worked on together was actually a pirate show, CAPTAIN BREE AND HER LADY PIRATES. Imagine a band of lady pirates. It was a scary show. So, Penny and I – and pirates – go way back. We're very familiar with the genre and all the gimmicks.
[Piano is] certainly not for everybody but nobody had to force me into practicing or shake a stick or threaten me in any way. My mother and grandmother were arts-minded and wanted us to learn an instrument, but they said we could pick, and they would help pay for lessons. Since there was already a piano in the house, that's what I leapt for. I was always motivated to practice because it was fulfilling to me to play an instrument.
SLAC. Can you talk more about the music in HOW I BECAME A PIRATE and the process?
DARRIN DOMAN. I've auditioned for plays here at SLAC, and I was fortunate enough to be in VOYEUR 2005, understudy for David Spencer in I AM MY OWN WIFE, numerous New Play Sounding Series readings, but kind of without even pushing the issue, Keven Myhre approached me and asked if I would be interested in directing a show. I had helped with some music with a fundraiser some time ago, and apparently some people were pleasantly surprised – perhaps pleased – with the work I did; I don't know if that had anything to do with it. It was mostly Keven approaching me; I don't know what kind of conversations staff might have had, but I was certainly happy to be picked as the Musical Director. I get along well with children, of which there are two in the cast.
SLAC. And the adult children – of which there are five.
SHANNON MUSGRAVE (a.k.a. Max the Pirate). Or four and me.
DARRIN DOMAN. I'm very careful when I tell people I'm musically directing children's theatre, because Children's Theatre is a confusing term. It could be children acting or it could be adults acting for children. Is there a determination or distinction between the two? I have to be very careful to specify that it is adults acting for children.
SLAC. Does Professional Children's Theatre say anything?
DARRIN DOMAN. I like adding Professional. And of all the theatres around town that do put on musicals, SLAC is the only one that does musicals for a kid audience, and I think that's really terrific. The script is, of course, geared to kids, but there's humor for the adults as well. I really like the "Pirates Dot Arggh" song because it's kind of that conflation of the old and the new. Kids growing up today are all very tech savvy and then you apply that to pirates, and that's kind of fun. I also enjoy the "our teeth are green" song because apparently it's a parental threat. I've talked to more than one parent who's said when their kids don't want to brush, "Do you want to end up with pirate teeth?" So I think it's going to strike a nice chord with kids and adults. As far as the process, I've said before that they call it musical theatre for a reason; there needs to be an emphasis on the music. I can't think of any musical theatre director from Broadway or whatever who is particularly famous. Musical Directors – and even the music in musical theatre – gets a little bit shoved to the side. I think if it's done very well becomes part of the play, and you don't even notice it's a musical. It's only if it's jarring – when it's bad musical theatre that people want to know who the musical director is. So I'm hoping I'm not in that category this time around. As far as coaching the music, I'm all about technique and having a good technique. Some people think that you're an opera singer, or you're a pop singer, or you're a country singer, or you're a Broadway singer, but if somebody has good technique and how to use their voice, then they can span the range. So I'll always do warm ups with some vocal exercises with some specific techniques attached to them to add balance or blend or a flavor to the number and the show. When it comes to pirates, it may be a little ragged and there may be a little more growling than I would normally want. I may not worry about the vowel shaping as much, but crisp diction and good entrances and cutoffs are things I'll be paying attention to. Having worked with Penny before, I know there's a kind of a hierarchy, so I know I'll teach notes and rhythms and lyrics to begin with, and I won't worry too much about cutoffs because Penny so craftily choreographs that she will put movements in that then I can coordinate with cutoffs, and we'll have some sort of body movement that "this is where you put the 't'", "this is where the phrase comes to an end", which is such a wonderful marriage of movement and music. I'm so glad Penny gets that because it makes my job easier, and in reverse, I hope that the things I'm doing are making her job easier as well. She doesn't have to worry about diction and rhythm and notes; I can take care of that. She can do the blocking. I think we've managed to figure each other out and compliment each others' style of directing.
SLAC. Can you speak to the style of the music?
DARRIN DOMAN. I hesitate to call it karaoke music because that sounds a little derogatory, but it is canned music; it is pre-recorded, so you don't have to hire musicians and pay them. That's a nice sort of cost-cutting measure. The musical stylings – there's a ballad; there's a little sort of lazy waltz, there's a sort of calypso, reggae, salsa feel. You get a variet of musical styles mixed all together. So you can see the pirates and the influence of the sea and the ports around the world that shaped their musical interests...
SLAC. We're going deep.
DARRIN DOMAN. Nothing real heavy rock, but a lot of fun stuff.
SLAC. Thank you, Darrin MD!
SLAC sits down with Captain Penelope Caywood and her four year old daughter, Presley the Pirate to discuss 'How I Became a Pirate'
CAPTAIN PENELOPE. For me, HOW I BECAME A PIRATE is a great adventure into the imagination. It's a great trip into what a child imagines a pirate to be. So we get to see all of Jeremy Jacob's ideas about what a pirate is and what a pirate does. Because there are so many characters and so many great possibilities of characters in there – just like in the illustrations in the book, there are so many kinds of pirates. We really get to play with the extremes. For me as a kid, pirates were exciting – they weren't too scary – it was more about the adventure and about being on the open sea and about having funny words to say. And not having anyone to answer to. It's a little like running away to the circus or the carnival. It's running away to be a pirate. There's always, I think, a little part of all of us that wishes we could be really loud, say what we really want to say and just run away. To change your name and have a really cool name that you can make up – like 'Sharktooth' –
PRESLEY THE PIRATE. Aye –
CAPTAIN PENELOPE. – or 'Braid Beard' –
PRESLEY THE PIRATE. Aye –
CAPTAIN PENELOPE. I want to have a pirate name for myself. (To Presley) What is your pirate name?
PRESLEY THE PIRATE. (With a pirate growl) Presley.
CAPTAIN PENELOPE. Arggh. (At Presley's urging) I have done a lot of pirate shows in my life, so I have a lot of pirate paraphernalia, and one of my lucky charms is this pirate duck.
SLAC. That is the coolest duck I have ever seen.
PRESLEY THE PIRATE. Do you have lots of other pirate lucky charms?
CAPTAIN PENELOPE. I do have lots of other pirate lucky charms – pirate earrings, and I've got pirate scarves... (To Presley) You're wearing one on your head. I have pirate band-aids.
PRESLEY THE PIRATE. They're just pretend.
CAPTAIN PENELOPE. They are just pretend, but they just feel good. We even have a pirate skull and crossbones doormat that we've had for a long time. It's just a way to let people know we have got attitude in this house. Presley's first birthday was a pirate birthday party.
SLAC. What's your pirate name?
CAPTAIN PENELOPE. I'd like to be a Captain...
SLAC. You are a Captain.
CAPTAIN PENELOPE. I guess I am. I could even go with Captain Penelope – or Lady Penelope. I'm Lady Penelope! So I'm just excited. Coming to the theatre is like getting on a ship. You can't leave until we let you off. So come aboard, and it will be a mini adventure – and hopefully for the adults it will be all the things we remember from playing pirates, and for the kids it will be some of their ideas of pirates. Ours just happen to sing and dance as well.
(Presley spies edible booty in a glass bowl on the mantle)
CAPTAIN PENELOPE. Your eyes are keen. It's some booty.
SLAC. Presley, what's your favorite part?
PRESLEY THE PIRATE. "Bag the parrot!"
SLAC. That's my favorite part, too!
CAPTAIN PENELOPE. What's your favorite song?
PRESLEY THE PIRATE. All of them!
SLAC. Why should other kids come to see this play?
PRESLEY THE PIRATE. Because I like this play.
SLAC. You do? Is it funny?
PRESLEY THE PIRATE. Yes.
SLAC. What part?
PRESLEY THE PIRATE. "Bag the parrot!"
CAPTAIN PENELOPE. What about...? (She whispers in Pirate Presley's ear. Presley starts to laugh.) She does always laugh when we get to the part, "Your booty?!" What are some things that pirates like to say?
PRESLEY THE PIRATE. (laughing) "Your booty!"
CAPTAIN PENELOPE. What do they say when they're nervous?
PRESLEY THE PIRATE. "Shiver me timbers!"
CAPTAIN PENELOPE. What do they say when they want to say hello?
PRESLEY THE PIRATE. Hello!
CAPTAIN PENELOPE. "Ahoy!"
SLAC. Do you think you would make a good pirate on a ship? It seems like you would.
CAPTAIN PENELOPE. Would you swab the deck?
PRESLEY THE PIRATE. Yeah.
CAPTAIN PENELOPE. What does that mean, when I say, "Swab the deck"?
PRESLEY THE PIRATE. (Wearily) Mop the deck.
CAPTAIN PENELOPE. I'm going to make you swab the deck at home.
PRESLEY THE PIRATE. For real?
CAPTAIN PENELOPE. For real.
SLAC. Presley, what would you tell your friends about the show?
PRESLEY THE PIRATE. I'd tell them about the booty part.
CAPTAIN PENELOPE. You're going to spoil that part?
PRESLEY THE PIRATE. Nooooooo...
CAPTAIN PENELOPE. You can say booty, but just in the pirate way. No other way. (Laughter)
PRESLEY THE PIRATE. I'll try to trick you...
CAPTAIN PENELOPE to SLAC. She's four.
SLAC. What would you like to say to Jeremy Jacobs when you meet him?
PRESLEY THE PIRATE. I'd like to say, "Shiver me timbers."
CAPTAIN PENELOPE. Does it make you feel all nervous inside? Shiver me timbers!
PRESLEY THE PIRATE. No.
SLAC to PRESLEY. Have you been helping your mom prepare for the show?
PRESLEY THE PIRATE. Yes.
CAPTAIN PENELOPE. When I go home and start doing my pirate talk, she appreciates it, so that's helpful. She laughs at all my jokes.
SLAC. Does she show you some of her dance moves?
PRESLEY THE PIRATE. She never shows me her dance moves.
SLAC. So it will be a surprise!
CAPTAIN PENELOPE. What do you think of Mom's shows when you go to see them? Are they good? Are they so-so?
PRESLEY THE PIRATE. I think they are so, so, good!
CAPTAIN PENELOPE. You like my shows better than you like Dad's shows, huh?
PRESLEY THE PIRATE. I like all the shows. I like your shows better, and I like Dad's shows better.
SLAC. How does this play differ from your other pirate shows?
CAPTAIN PENELOPE. One I like about the shows here is that they are not shows that are overdone. 'How I Became a Pirate' hasn't been done very often in Utah – it's a relatively new piece, so you're not fighting with anyone's preconceived notions about the piece. If you do Pirates of Penzance, everybody has a certain idea of how it's going to be, or they might have seen the movie. In this case, we just have the book, and from the book, our play goes all over the place to explore different parts of it, so we really get to create it from scratch, as if we were the first people doing it. I love that about a lot of the work here at SLAC, and about this show in particular. We can go as far as we want to go and play and go crazy about our ideas of pirates.
SLAC to PRESLEY THE PIRATE. Have you been on a boat or a ship?
CAPTAIN PENELOPE. She's never been on a ship. (To PRESLEY) What do you think it feels like to be on a ship?
PRESLEY THE PIRATE. It feels like you're on the sea.
CAPTAIN PENELOPE. (Pointing to the storm at sea in the book) Would you be scared if that happened to you?
PRESLEY THE PIRATE. No.
CAPTAIN PENELOPE. You wouldn't? How come?
PRESLEY THE PIRATE. Because I would tell the mateys that they had to row back to the shore.
CAPTAIN PENELOPE. "Row back to the shore!"
SLAC. It sounds like you would be the Captain then.
CAPTAIN PENELOPE. Do you know how to draw a map?
PRESLEY THE PIRATE. I know how to draw a map.
CAPTAIN PENELOPE. If you had to bury a treasure, where would you bury it?
PRESLEY THE PIRATE. I'd bury it in the back yard. X marks the spot.
SLAC. Thank you, Penny & Presley. Now we get to go up and meet the mateys!
February 8-March 4, 2012
Director Keven Myhre
With Morgan Lund and Ted Powell
A Tony Award-winning play which ignites our passion and creativity as we enter Mark Rothko's head.
"I am here to stop your heart...I am not here to make pretty pictures!"
MORGAN LUND (ROTHKO) last seen here as James in CIRCLE MIRROR TRANSFORMATION is very excited to return to SLAC. Morgan is the Artistic Director of The OtherSide Players a new professional acting company in residence at the Rio Theatre in Helper Utah. They are currently working on their second season at The Rio Theatre and are taking a short production break while they install new seating in the Rio Theaters 280-seat house.Morgan has been a professional actor/writer/producer/director/teacher and artist for 30 years. A strong union member with three U.S. union affiliations, Morgan has worked with LORT Theatres, Film, Television, Radio, Print, Small Business, Corporate America, World Class Opera and Orchestras, Dance Companies, Theme Parks, Universities and Colleges all around the United States and beyond.An actor since 1980 Morgan has appeared in over 200 plays. He has been a resident company member with the prestige's Hilberry Acting Company (1977-80), The Cleveland Play House Resident Acting Company (1980-88). A freelance actor since 1988 he has worked with companies that include Center Stage, Actor's Theatre of Louisville, New City Theatre, Ensemble Theatre, CAT CO, Shakespeare and Company, Dobama Theatre, Porthouse Theater, Pioneer Theatre Company and many more. He has shared the stage with Arthur Miller, Austin Pendleton, Derek Wolcott, Johnny Bolt, Roger Danforth and Tina Packer to name just a few. As a television and film actor, Morgan has been in some very good and some not so good films. He once had three different feature films running on HBO at the same time, in one of which he died...horribly! He has also been a guest artist with the Sundance Film Lab on many occasions and is currently waiting for the release of THE WAYSHOWER a new Indie Film.
TED POWELL (KEN) is a native Philadelphian with a BA in Theatre from Temple University. Credits from Back East include HYSTERIA with Alvin Epstein and reading of JOB (Wilma Theater), the world premiere of THE ECLECTIC SOCIETY (u/s, Walnut Street Theater), HOLIDAY SHOW AT THE SWING CLUB and HOLIDAY SHOW WITH THE SWING CLUB BAND (Theatre Horizon), AS YOU LIKE IT (Shakespeare in Clark Park), LEBENSRAUM (Cape Rep Theatre), GETTING OUT (Simpatico Theatre Project), THE WITCH OF EDMONTON (Rev Theatre Co.), IN ARABIA, WE'D ALL BE KINGS and MONOGAMY (Secret Room Theatre), DROIT DU SEIGNEUR (Commonwealth Classic Theatre Co.), TAKE ME OUT (Plays and Players), RAG AND BONE (Vagabond Acting Troupe), THE GLASS MENAGERIE and NO LONGER WARRIORS (Act Out Theatre), HUGGING THE SHOULDER and ALABAMA, ALABAMA (Rep Theatre), reading of HARPER REGAN (Luna Theater), ONE NIGHT (Equalogy, Inc.), and MYSTERIOUS JOURNEYS: EASTERN STATE PENITENTIARY with The Travel Channel. He is also a musician with a solo outfit called The Study, as well as a playwright, author, and teaching artist. Many thanks to Keven and Cynthia.
JOHN LOGAN (Playwright) received the Tony, Drama Desk, Outer Critic Circle and Drama League awards for his play RED. This play premiered at the Donmar Warehouse in London and at the Golden Theatre on Broadway. He is the author of more than a dozen other plays including NEVER THE SINNER and HAUPTMANN. His adaptation of Ibsen's THE MASTER BUILDER premiered on the West End in 2003. As a screenwriter, Logan had three movies released in 2011: HUGO, CORIOLANUS and RANGO. Previous film work includes SWEENEY TODD (Golden Globe award); THE AVIATOR (Oscar, Golden Globe, BAFTA and WGA nominations); GLADIATOR (Oscar, Golden Globe, BAFTA and WGA nominations); THE LAST SAMURAI; ANY GIVEN SUNDAY, and RKO 281 (WGA award, Emmy nomination
MARK ROTHKO Born Marcus Rotkovitch in the town of Dvinsk, Latvia, then part of the Russian Empire, Mark Rothko immigrated to the United States with his family at the age of ten, settling in Portland, Oregon. A gifted student, Rothko attended Yale University on scholarship from 1921-23, but disillusioned by the social milieu and financial hardship, he dropped out and moved to New York to "bum around and starve a bit." A chance invitation from a friend brought him to a drawing class at the Art Students League where he discovered his love of art. He took two classes there but was otherwise self-taught. Rothko painted in a figurative style for nearly twenty years, his portraits and depictions of urban life baring the soul of those living through The Great Depression in New York. The painter Milton Avery offered Rothko both artistic and nutritional nourishment during these lean years. In the 1930s, Rothko exhibited with The Ten, a close-knit group of nine (!) American painters, which included fellow Avery acolyte, Adolph Gottlieb. Success was moderate at best but the group provided important incubation for the Abstract Expressionist school to come. The war years brought with it an influx of European surrealists, influencing most of the New York painters, among them Rothko, to take on a neo-surrealist style. Rothko experimented with mythic and symbolic painting for five years before moving to pure abstraction in the mid 1940s and ultimately to his signature style of two or three rectangles floating in fields of saturated color in 1949. Beginning in the early 1950s Rothko was heralded, along with Jackson Pollock, Willem deKooning, Franz Kline and others, as the standard bearers of the New American Painting--a truly American art that was not simply a derivative of European styles. By the late 1950s, Rothko was a celebrated (if not wealthy) artist, winning him three mural commissions that would dominate the latter part of his career. Only in the last of these, The Rothko Chapel in Houston was he able to realize his dream of a truly contemplative environment in which to interact deeply with his artwork. RED presents a fictionalized account of Rothko's frustrated first attempt to create such a space in New York's Four Season's restaurant. Rothko sought to create art that was timeless; paintings that expressed basic human concerns and emotions that remain constant not merely across decades but across generations and epochs. He looked to communicate with his viewer at the most elemental level and through his artwork, have a conversation that was intense, personal and, above all, honest. A viewer's tears in front of one of his paintings told him he had succeeded. While creating a deeply expressive body of work and garnering critical acclaim, Rothko battled depression and his brilliant career ended in suicide in 1970.
KEVEN MYHRE (Director, 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 ANGELS IN AMERICA: PARTS 1 & 2, 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 seventeen 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 always happy to work with SLAC, where previous credits include, HOW I BECAME A PIRATE, IF YOU GIVE A MOUSE A COOKIE, GO DOG GO, THE PERSIAN QUARTER and TOO MUCH MEMORY. Jesse has also designed for Pioneer Theater Company, Plan-B Theater, The Grand Theater, Pygmalion Theater and the Egyptian Theatre in Park City. Jesse is a faculty member at the University of Utah Department of Theatre where he teaches courses in Lighting Design, and most recently designed HAIR in the Babcock Theatre.
K.L. ALBERTS (Costume Design) previous designs at Salt Lake Acting Company include GOD OF CARNAGE, BOOM, ANGELS IN AMERICA, PART 1: MILLENNIUM APPROACHES, TOO MUCH MEMORY, GO, DOG. GO!, THE OVERWHELMING, BILLION DOLLAR BABY, DARK PLAY, MOONLIGHT AND MAGNOLIAS, I AM MY OWN WIFE, SEXSTING, RABBIT HOLE, HOLD PLEASE, THE BEARD OF AVON and GROSS INDECENCY. For Pioneer Theatre Company, K.L.'s designs include WHITE CHRISTMAS, 42ND STREET, 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 GREAT EXPECTATIONS-THE MUSICAL, AH WILDERNESS!, HAY FEVER, THE MATCHMAKER and FIDDLER ON THE ROOF.
JOSH MARTIN (Sound Design) is delighted to be working on this production of RED. Select recent work includes, SATURDAY'S VOYEUR 2010, SATURDAY'S VOYEUR 2011, GOD OF CARNAGE, (A MAN ENTERS) and HOW I BECAME A PIRATE. In addition, he is the Master Electrician here at the Salt Lake Acting Company.
PENNY PENDLETON (Stage Manager) is happy to be returning to SLAC. Currently Penny is the Production Manager for Zion Theatre Company, Production Tour Manager for Intermountain's LiVe Assembly. Her most recent credits are Stage Manager for JESUS CHRIST SUPERSTAR (Egyptain Theatre), Assistant Stage Manager SATURDAY'S VOYEUR 2011 (SLAC), Outreach Stage Manager OLIVER BUTTON IS A SISSY, REACHING OUT, TALKING TO MYSELF, MAKING LIFE INTO ART (PCPA Theaterfest). She would like to thank Keven for this amazing opportunity, and Mike James for his continuous support.
CYNTHIA FLEMING (Executive Producer) was first seen at Salt Lake Acting Company in its 1978 production of PIPPIN. Since then she has worn many hats at SLAC – Choreographer, Box Office Manager, Director of Audience Services. She was Creative Director of Communications and Audience Development, leading the Communications Team and overseeing the Box Office and House Management, before taking on her current title of Executive Producer. For 14 years Cynthia has choreographed SLAC's infamous musical satire, SATURDAY'S VOYEUR and last year marked her first as Director. She's choreographed many SLAC productions; her favorites include THE PERSIAN QUARTER, GO, DOG. GO!, BAT BOY THE MUSICAL, and WATER LILIES from CABBIES, COWBOYS, AND THE TREE OF THE WEEPING VIRGIN. Cynthia has been in the world of dance and theatre professionally for 35 years, during which time she performed in the Broadway, National, and International companies of A CHORUS LINE. Cynthia is proud to serve the Salt Lake Acting Company and its mission to develop and produce vital new work.
BWW Reviews: Salt Lake Acting Company's RED illuminates and intrigues, through March 4 | Broadway World | Blair Howell | February 21, 2012
City Weekly Pick | Salt Lake Acting Company: RED | City Weekly | Scott Renshaw | February 15, 2012
RED paints more than just pretty pictures | Utah Theatre Bloggers Association | Andrea Gunoe | February 12, 2012
'Red' charts the crimson muse behind Mark Rothko's method | Salt Lake Tribune | Ben Fulton | February 11, 2012
Salt Lake Acting Company: Red | Gavin's Underground | Gavin Sheehan | February 7, 2012
Salt Lake Acting Company: Drama by brush stroke | The Salt Lake Tribune | Ben Fulton | February 2, 2012
The passion of art: Red coming to Salt Lake Acting Company | Salt Lake City Theater Examiner | Jenniffer Wardell | January 23, 2012
The Artist's Reality: Philosophies of Art
By Mark Rothko, Christopher Rothko, Kate Prizel Rothko
Probably written around 1940–41, this revelatory book discusses Rothko's ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of "American art," and much more.
By Jeffrey Weiss, John Gage, Barbara Novak, Mark Rosenthal, Brian O'Doherty
In their stunning simplicity, the famous colored rectangle paintings by Mark Rothko suggest, evoke, and endlessly enthrall. This richly illustrated book reproduces in full color one hundred of Rothko's paintings, prints, and drawings. The volume features four commentaries by art experts who explore various formal aspects of Rothko's work, interviews with contemporary artists who reflect on Rothko's legacy to post-New York School abstraction, and a chronology of the Russian-born artist's life from 1903 to 1970.
Extended again until March 18, 2012 | World Premiere
Director Robin Wilks-Dunn
Starring Sister Dottie S. Dixon
Friday, March 16 @ 7:30 pm
Saturday, March 17 @ 7:30 pm
Sunday, March 18 @ 1 pm and 6 pm
All performances are sold out. Thank you for your tremendous support!
An activist Mormon mother of a gay son, Sister Dottie loudly and proudly welcomes us into her “Spanish Fark” life as she deals with love, loss, sex tapes, and casserole recipes. In her new play directed by Robin Wilks-Dunn, Sister Dottie weaves in and out of direct contact with the audience and her BFF, Dartsey, exchanging hilarious stories and touching life lessons. Through the use of multimedia, but also through real human connection, DOTTIE – THE SISTER LIVES ON! will take audiences on an unforgettable journey.
CHARLES LYNN FROST (Co-Playwright, Sister Dottie S. Dixon) AEA, SAG, is a native Utahan, LGBT activist & employee, director, certified coach, business leader, civic volunteer, and actor. In 2011--Charles was named Outstanding Performing Artist of the Year, Mayor’s Awards in the Arts/Utah Arts Festival, Q-Salt Lake’s Person of the Year, and Salt Lake’s 1st Unitarian Church Fairly Free Thinker Award. He is currently serving on the Utah Branch Council for Screen Actor's Guild.
Frost has been named/included in:
2011: Best Production, Angels In America
2010: Best Actor, Q-Salt Lake, The Passion of Sister Dottie S. Dixon
2009: Best Performance, Production, Original Play, City Weekly ARTY’s, The Passion of Sister Dottie S. Dixon
2009: Best Actor-Deseret News, The Passion of Sister Dottie S. Dixon
2009: Best Performances, IN This Week Magazine, The Passion of Sister Dottie S. Dixon
2007: Best Actor, Q Salt Lake, Facing East
2006: Best Drama, Deseret News, Facing East
2006: Best Play, Q Salt Lake, Facing East
2007: Best Ensemble, City Weekly, Facing East
2001: Best Actor, City Weekly, The Laramie Project
Theatrical acting credits include; Angels in America (SLAC), The Passion of Sister Dottie S. Dixon (Pygmalion),Facing East (Plan B), A Tuna Christmas (The Grand), The Laramie Project (Plan B), God’s Country, Greater Tuna(SLAC). Regionally: The Foreigner, A Funny Thing Happened..., Prisoner of Second Avenue, The Imaginary Invalid, Harvey, and Semmelweiss-directed by Ed Sherin.
Charles would like to express tremendous thanks to Cynthia Fadel Fleming, Keven Myhre, and the SLAC Family for making this journey amazing! Much love & appreciation to Douglas R. Lott, Dr. Christopher R. Wixom, and the wonderful TEAM DOTTIE sponsors, artistic staff, and supporters. He strongly believes Utah is one of the vital front line trenches of a global transformation that is occurring. Charles would like to dedicate the show to all who've lost their mothers.
CHRISTOPHER R. WIXOM (Co-Playwright) comes from a rich theatrical background having been named Utah's Speech and Drama Sterling Scholar. Past writing collaborations with Charles Frost include Everything You Want to Know About Mormons (video segment for The Passion of Sister Dottie S. Dixon) and Happy Valley: The Musical. Christopher made his regional theatre debut in The Imaginary Invalid and subsequently delighted audiences in such community favorites as Godspell, Noises Off, Peter Pan and Shenandoah. TV appearances include The Sharp Experience, 2011. He has also appeared in industry videos and modeled for both BMW and Mercedez-Benz. Having sold his creative soul to pay bills and travel the world, Christopher now works as a physician and is CEO and President of Pacific Rim Pathology in San Diego, CA.
KENT FROGLEY (Sister Dartsey Foxmoorland) is making his debut at SLAC. He is reprising his character Sister Dartsey Foxmoorland, first brought to life in The Passion of Sister Dottie S. Dixon (Pygmalion Theatre Company). Kent is a graduate of Northwestern University. In his spare time he continues to study classical and jazz piano and serves on the board of the Utah Pride Center and Pygmalion Productions. This performance is for Bill and Troy.
ROBIN WILKS DUNN (Director) is pleased to be back at SLAC again after directing last season's BOOM. She recently directed LAST LISTS OF MY MAD MOTHER and THE GOOD BODY for Pygmalion Theatre Company. Robin is script supervisor, co-writer and director for a children's touring show for the Intermountain LIVE campaign and will direct it again for the Spring tour. Robin has directed several staged readings at SLAC, most recently David Kranes' THE LAST WORD. Other productions she has directed at SLAC include the premiere productions of PEARL, ONE LAST DANCE and NAPOLEON'S CHINA. She reads scripts for the Sundance Theatre Lab and works as Outreach and Education Coordinator for Kingsbury Hall Robin's work has been seen on stages across Salt Lake Valley for years and hopefully for many years to come!
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 ANGELS IN AMERICA: PARTS 1 & 2, 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 seventeen 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.
JUDY BALL (Wardrobe) is making her debut at SLAC although she has been doing theatre for the past 31 years in various other theaters in Utah. She has had the opportunity to fill many roles: actor, musical director, musician, props mistress, costume designer/constructor, assistant director, and Resident Musical Director. She served in that role with, and was a co-founder of, Provo Theatre Company in Provo for many years. Having had the pleasure and honor of being part of the Sister Dottie phenomenon from the beginning has been one of the highlights of her theatre career. It is a pleasure to be working at SLAC and working again in a field that brings much hard work, creativity, and joy. In her "other" life during the day, Judy is a Senior Project Manager and writer at FranklinCovey Corporate in Salt Lake, creating workshops, videos, audios, and trouble. On the homefront, Judy is the proud mom/stepmom of 7 children and crazy grandmother of 19 grandchildren. And her husband, Lauren, puts up with it all with a chuckle and a smile.
LAUREN BALL (Media Director) is an illustrator and award-winning graphic designer with over 20 years experience. Currently he illustrates and designs T-shirts for the destination-apparel industry. He has been instrumental in developing the graphical style for Sister Dottie from the beginning, designing some of the early promotional materials. He was the designer of many of the slides in the first production of The Passion of Sister Dottie S. Dixon. Besides his work with Sister Dottie, in 2011 he published the book Where's the One About the Bobcat, an index and summaries of Patrick F. McManus's stories. Lauren is also the marketing director for the Utah Coalition of Reason.
JEANIE KRONENBERG-UPPSTROM (Costume Design) is very happy to be dressing Charles and Kent. She has been Dottie's designer since she was the Grand Marshal for Pride in 2010. Sewing and designing since she was 12, she did a three year apprenticeship in Germany as a high fashion women's tailor. For over 30 years she's been busy with her own women's clothing line and making figure skating dresses and costumes for local schools and dance studios.
JAMES M. CRAIG (Lighting Design) has designed the lighting for 40+ shows at SLAC since 1997, most recently for (a man enters), GOD OF CARNAGE, SATURDAY'S VOYEUR 2011, CIRCLE MIRROR TRANSFORMATION, BOOM, ANGELS IN AMERICA, and CHARM. 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, U of U Youth Theatre, U of U 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. Find out more at http://about.me/jamesmcraig
MIKAL TROY KLEE (Sound Design) has been creating the soundscapes, for Pygmalion Theatre Company since 1998 as their resident Sound Designer. While this might be Troy’s first production here at SLAC, this is not his first outing on the Sister Dottie roller coaster. At the age of nine, Troy started doing theatre in Preston, ID., with the Northern Cache Valley Theatre Guild. He has worked with The Grand Theatre, Old Lyric Repertory Co., Utah Musical Theatre, Opera West, Orchesis Dance Theatre, Ballet West, and City Rep., to name just a few. Troy co-founded and is the Artistic Director of Metro Theatre Works. He has directed and designed several MTW productions, including VAMPYRE, a play he wrote which is based on the novel DRACULA and other vampire legends. You can visit the MTW web site at www.metrotheatreworks.com. Troy not only designs and directs for the theatre, he has also chewed the scenery in shows such as THE MUSIC MAN (Marcellus Washburn), JESUS CHRIST SUPERSTAR (King Herod) and his favorite, SWEENEY TODD THE DEMON BARBER OF FLEET STREET (Beadle Bamford). While Troy has been doing theatre for many years, he is most proud to have been involved as a lighting and sound technician for the Opening and Closing Ceremonies of the 2002 Olympic and Paralympic Winter Games.
JANICE JENSON (Stage Manager) is excited to be returning to Salt Lake Acting Company after Stage Managing GOD OF CARNAGE, SATURDAY'S VOYEUR 2011, & CIRCLE MIRROR TRANSFORMATION. ASM credits include THE LEGEND OF TIMPANOGOS, (Utah Regional Ballet), CINDERELLA, MY FAIR LADY, 42ND STREET (Tuacahn), & MESA VERDE (Plan-B). Stage management credits include: TICK, TICK...BOOM!, REEFER MADNESS, A NEW BRAIN, THE BEST LITTLE WHOREHOUSE IN TEXAS (Dark Horse), SAM I WAS (SLAC Fringe Festival), HAIR, FAME, THE AWESOME 80'S PROM, RENTED CHRISTMAS, & DANNY AND THE DEEP BLUE SEA (Egyptian). She is a graduate of BYU and was selected as a USITT 2008 Stage Management Mentee, where she stage managed The History of Drag. Much thanks to Max for his love and support.
CYNTHIA FLEMING (Executive Producer) was first seen at Salt Lake Acting Company in its 1978 production of PIPPIN. Since then she has worn many hats at SLAC – Choreographer, Box Office Manager, Director of Audience Services. She was Creative Director of Communications and Audience Development, leading the Communications Team and overseeing the Box Office and House Management, before taking on her current title of Executive Producer. For 14 years Cynthia has choreographed SLAC’s infamous musical satire, SATURDAY’S VOYEUR and last year marked her first as Director. She’s choreographed many SLAC productions; her favorites include THE PERSIAN QUARTER, GO, DOG. GO!, BAT BOY THE MUSICAL, and WATER LILIES from CABBIES, COWBOYS, AND THE TREE OF THE WEEPING VIRGIN. Cynthia has been in the world of dance and theatre professionally for 35 years, during which time she performed in the Broadway, National, and International companies of A CHORUS LINE. Cynthia is proud to serve the Salt Lake Acting Company and its mission to develop and produce vital new work.
'Dottie - The Sister Lives On!' | Video | February 19, 2011
The ESSENTIALS: 'Dottie: The Sister Lives On!' | City Weekly | Brandon Burt | March 1, 2012
Review: 'Finding the heart in Sister Dottie's malapropisms' | Salt Lake Tribune | Barbara Bannon | February 17, 2012
'Dottie – The Sister Lives On!' receives a standing ovulation | Q Salt Lake | Tony Hobday | February 17, 2012
'Dottie - The Sister Lives On!' | Gavin's Underground | Gavin Sheehan | February 15, 2012
'Spanish Fark’s Sister Dottie performs another sister act' | Salt Lake Tribune | Ben Fulton | February 10, 2012
'Casserole and open hearts: Sister Dottie comes to Salt Lake Acting Company' | Salt Lake City Theater Examiner | Jenniffer Wardell | February 4, 2012
April 11-May 6, 2012 | World Premiere
Director Tracy Callahan
With Colleen Baum, Daniel Beecher, Elise Groves, Topher Rasmussen
A comedic riff on evolution set in a small community college in an arid state where extraordinary artifacts from the ancient past abound - some of them still living.
COLLEEN BAUM* (Stevie Stuart) is happy to be back at Salt Lake Acting Company. She was last seen at SLAC in CIRCLE MIRROR TRANSFORMATION. Other SLAC credits include ANGELS IN AMERICA, GO DOG GO, END DAYS, SEX STING, RABBIT HOLE, KIMBERLY AKIMBO, CABBIES COWBOYS AND THE TREE OF THE WEEPING VIRGIN and THE WATER PROJECT. At Pioneer Theatre Company in OUR TOWN, THE HEIRESS, LOST IN YONKERS and YOU CAN'T TAKE IT WITH YOU. At Plan-B Theatre Company in the LARAMIE PROJECT: 10 YEARS LATER, AN EPILOGUE, LARAMIE PROJECT, ANIMAL FARM, WAR OF THE WORLDS, AND THE BANNED PLAYED ON, TRAGEDY: A TRAGEDY and SLAM; and the Old Lyric Repertory Company in BLITHE SPIRIT, MOUSETRAP, ALWAYS PATSY CLINE, GOODNIGHT DESDEMONA GOOD MORNING JULIET, SERVANT OF TWO MASTERS, BLOOD BROTHERS, POOL'S PARADISE, and THE UNEXPECTED GUEST. Colleen is a proud member of the Actor's Equity Association.
DANIEL BEECHER (Bill Stuart) is delighted to be returning to SLAC. His first full production with SLAC was almost 15 years ago, when he played Antoine in AN EMPTY PLATE IN THE CAFÉ DU GRANDE BOEUF, but audiences may remember him more recently from Pinter's THE CARETAKER. Born and raised in Salt Lake, Dan attended the University of Utah's Actor Training Program. While at the U, Dan acted in SUMMER AND SMOKE, MERCHANT OF VENICE, A LITTLE NIGHT MUSIC, A MIDSUMMER NIGHT'S DREAM (twice!), and many other productions. Outside of Utah, Dan studied at the Chautauqua Institution in New York. Elsewhere around Salt Lake, Dan has been seen in A VIEW FROM THE BRIDGE, ROSENKRANZ AND GUILDENSTERN ARE DEAD, KING LEAR, MACBETH, THE THREE MUSKETEERS, and PETER PAN (in which he played Nana the dog and the crocodile- favorites) at Pioneer Theatre Company. He played in AS YOU LIKE IT, ROMEO AND JULIET, TWELFTH NIGHT, AND MACBETH at Salt Lake Shakespeare. Other local credits include DIRTY BLONDE with Utah Contemporary Theatre, and BOTTOM IN MIDSUMMER for the Davis Arts Council. 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. Outside of theater, you can find Dan's weekly podcast "Thank God I'm Atheist" on iTunes.
ELISE GROVES (Dell Nelson) is happy to be returning to SLAC. She was seen in the 2010 extension of SATURDAYS VOYEUR, and has been in many readings at SLAC including: SAM I WAS, TRENCHCOAT IN COMMON, and LITTLE HAPPY SECRETS. She is local to Salt Lake City and received her BA from Weber State University in Musical Theater. She was able to perform at the Kennedy Center (KACTF) and toured nationally with FOODPLAY. Other credits include: SUNSET BOULEVARD (Pioneer Theatre Co.) 'June' in GYPSY (Dark Horse Theatre Co.) JESUS CHRIST SUPERSTAR (Egyptian Theatre) 'Sabine' in THREE MUSKETEERS (HTC) 'Frenchy' in GREASE (Jackson Hole Playhouse) and her first feature length film CIVIL LOVE (Candle Light Media) will premiere in April. "I feel 'all-overish' for being able to be a part of this process.
TOPHER RASMUSSEN(Sterling Jensen) is studying to get a Theatre Performance degree at Utah Valley University. Recent credits include Virgil in BLUE (Latchkey Theatre Company), Malcom in MACBETH (Grassroots Shakespeare Company), Demetrius in MIDSUMMER'S NIGHT DREAM (Davis Arts), the Artilleryman in JEFF WILLIAM'S MUSICAL WAR OF THE WORLDS (University of Utah), and Brian in BORDERLANDS (Plan-B Theatre Company). He has also participated in Plan-B Theatre Company's SLAM several times, as well as Theatre Arts Conservatory's STUDENT SLAM. This is his first Salt Lake Acting Company experience and he is thrilled to be a part of the gang.
KATHLEEN CAHILL (Playwright)'s awards include the Jane Chambers Playwrighting Award (for her musical, Dakota Sky) a Jane Chambers Honorable Mention (for Charm) two Connecticut Commission on the Arts Playwrighting Awards, (for The Still Time and Charm) a Massachusetts Artists Foundation Award, a Rockefeller Grant, a National Endowment for the Arts New American Works Grant, two Edgerton Foundation Awards (for Charm, and for The Persian Quarter) and a Drama League Award. Her musicals include for The Navigator, Friendship of the Sea; Dakota Sky, an opera, Clara, two opera/cabarets, Fatal Song, and A Tale of Two Cities: Paris and Berlin in the Twenties. Her plays include The Still Time (Georgia Rep/ Porchlight Theatre, Chicago) the comedy, Women Who Love Science Too Much (Porchlight Theatre and NPR Radio) Henri Louise and Henry (Cleveland Public, Firehouse Theatre, Massachusetts) Charm ( National New Play Network Festival, Salt Lake Acting Company premiere, Kitchen Dog Theatre, Dallas; Orlando Shakespeare) and The Persian Quarter ( Salt Lake Acting Company, Merrimack Rep.) She wrote the screenplay for the film Downtown Express, which premiered at the 2011 Woodstock Film Festival. She has also written short stories for Cosmopolitan Magazine, worked as a journalist for the Hartford Courant ,and co-authored medical papers for JAMA. Ms. Cahill received an MFA in Writing for Music-Theatre from NYU's Tisch School of the Arts. She works as writer/senior editor for Masterpiece on PBS where she writes the Introductions to Downton Abbey, presented by Laura Linney, and the Introductions to Mystery! presented by Alan Cumming. The author would like to thank the following people for their contributions during the development of this play: Keven Myhre, Cynthia Fleming, Robert Broadhead, Matt Bennett, Julie Jensen, Mike Dorrell, Fae Engstrom, Steve Williams, Cheryl Guysunnas Williams, Colleen Baum, Eric Joseph Robertson and the late, great paleontologist Stephen Jay Gould.
TRACY CALLAHAN(Director) is thrilled to be working once again with SLAC. Former SLAC directing credits include SIX YEARS, HOW I LEARNED TO DRIVE, and co-directing MERE MORTALS. She is a freelance director in the Salt Lake Area where she has had the opportunity to direct for Plan-B's SLAM for the past three years and GYPSY with Dark Horse Theatre Company. Tracy directed a staged reading of Elaine and Kate Jarvik's new play (a man enters) for SLAC's new play reading series. She is the Head of the Acting and Directing Program at Weber State University where she has directed over 30 productions. Two of her productions have been chosen to be presented at the Kennedy Center For The Performing Arts in Washington DC and several others have been selected to travel to various theatre festivals regionally. She is currently preparing to direct Kathleen Cahill's play CHARM at Weber State in the fall.
K.L. ALBERTS(Costume Design) 's previous designs at Salt Lake Acting Company include RED, GOD OF CARNAGE, BOOM, ANGELS IN AMERICA, PART 1: MILLENNIUM APPROACHES, TOO MUCH MEMORY, GO, DOG. GO!, THE OVERWHELMING, BILLION DOLLAR BABY, DARK PLAY, MOONLIGHT AND MAGNOLIAS, I AM MY OWN WIFE, SEXSTING, RABBIT HOLE, HOLD PLEASE, THE BEARD OF AVON and GROSS INDECENCY. For Pioneer Theatre Company, K.L.'s designs include WHITE CHRISTMAS, 42ND STREET, 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 GREAT EXPECTATIONS-THE MUSICAL, AH WILDERNESS!, HAY FEVER, THE MATCHMAKER and FIDDLER ON THE ROOF.
JAMES M. CRAIG(Lighting Design) has designed the lighting for 40+ shows at SLAC since 1997, most recently for DOTTIE-THE SISTER LIVES ON, A MAN ENTERS, GOD OF CARNAGE, SATURDAY'S VOYEUR 2011, CIRCLE MIRROR TRANSFORMATION, BOOM, ANGELS IN AMERICA, and CHARM. 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, U of U Youth Theatre, U of U 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. Find out more athttp://about.me/jamesmcraig
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 RED, ANGELS IN AMERICA: PARTS 1 & 2, 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 seventeen 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.
CYNTHIA L. KEHR REES (Sound Design) is thrilled to have the opportunity to work with Salt Lake Acting Company on this wonderfully creative and exciting piece by Kathleen Cahill. Mrs. Rees has had the pleasure of designing SLAC's productions of CHARM and last year's PERSIAN QUARTER in addition to many other plays over the past ten years. Other theatres where you may have heard her work include The Grand Theatre, Park City Egyptian Theatre Company, Utah Musical Theatre, Arena Stage, The National Theatre in Washington D.C., Seaside Music Theatre, Cincinnati Playhouse in the Park, and the Alabama Shakespeare Festival. Cynthia received her MFA in Sound Design from the College-Conservatory of Music at the University of Cincinnati, and is a member of United Scenic Artists Local 829, the national theatre designers union.
JANICE JENSON(Stage Manager) is excited to be returning to Salt Lake Acting Company after Stage Managing DOTTIE: THE SISTER LIVES ON, GOD OF CARNAGE, SATURDAY'S VOYEUR 2011, & CIRCLE MIRROR TRANSFORMATION. ASM credits include THE LEGEND OF TIMPANOGOS, (Utah Regional Ballet), CINDERELLA, MY FAIR LADY, 42ND STREET (Tuacahn), & MESA VERDE (Plan-B). Stage management credits include: TICK, TICK...BOOM!, REEFER MADNESS, A NEW BRAIN, THE BEST LITTLE WHOREHOUSE IN TEXAS (Dark Horse), SAM I WAS (SLAC Fringe Festival), HAIR, FAME, THE AWESOME 80'S PROM, RENTED CHRISTMAS, & DANNY AND THE DEEP BLUE SEA (Egyptian). She is a graduate of BYU and was selected as a USITT 2008 Stage Management Mentee, where she stage managed The History of Drag.
CYNTHIA FLEMING(Executive Producer) was first seen at Salt Lake Acting Company in its 1978 production of PIPPIN. Since then she has worn many hats at SLAC – Choreographer, Box Office Manager, Director of Audience Services. She was Creative Director of Communications and Audience Development, leading the Communications Team and overseeing the Box Office and House Management, before taking on her current title of Executive Producer. For 14 years Cynthia has choreographed SLAC's infamous musical satire, SATURDAY'S VOYEUR and last year marked her first as Director. She's choreographed many SLAC productions; her favorites include THE PERSIAN QUARTER, GO, DOG. GO!, BAT BOY THE MUSICAL, and WATER LILIES from CABBIES, COWBOYS, AND THE TREE OF THE WEEPING VIRGIN. Cynthia has been in the world of dance and theatre professionally for 35 years, during which time she performed in the Broadway, National, and International companies of A CHORUS LINE. Cynthia is proud to serve the Salt Lake Acting Company and its mission to develop and produce vital new work.
Utah Theatre Blogger's Association |COURSE 86B in the Catalogue is more than just history | Tony Porter | April 18, 2012
Salt Lake City Theatre Examiner | Time, space and the human heart all shine in SLAC's Course 86 B in the Catalogue | Jenniffer Wardell | April 18, 2012
SLCene.com | SLAC's "Course 86B in the Catalogue" | Dan Nailen | April 16, 2012
Salt Lake Tribune | SLAC's 'Course 86B in the Catalogue' evolves into great drama | Ben Fulton | April 14, 2012
City Weekly | Salt Lake Acting Company: Course 86B in the Catalogue | April 13, 2012
Gavin's Underground with City Weekly | SLAC: Course 86B In The Catalogue | Gavin Sheehan | April 11, 2012
Salt Lake Tribune | Salt Lake Acting Company: Utah playwright's production charts evolutionary course | Ben Fulton | April 6, 2012
Salt Lake City Theater Examiner | Prehistoric passion: Love, laughs and dinos coming to Salt Lake Acting Company | Jenniffer Wardell | March 25, 2012
15 Bytes | The Evolution of Kathleen Cahill's Course 86B | Dale Thompson | photos by Gerry Johnson | April 2012
In the Room with COURSE 86B IN THE CATALOGUE Playwright Kathleen Cahill and Director Tracy Callahan
SLAC. What inspired you to write COURSE 86B IN THE CATALOGUE?
PLAYWRIGHT KATHLEEN CAHILL. I went on a hike in Boulder and Escalante, and we hired a guide to take us into these slot canyons. We had two guides. One of them had grown up there. His father had worked with the Forest Service, and he knew every square inch of the place, the name of every plant. He told me about ancient, prehistoric plants that grow on top of the mesas there that you can't reach. The idea of that just blew my mind. They're still growing there, but you can't get to them – except by hanging a ladder down from a helicopter. He also took me to a place where dinosaur tracks had only been found in 1995 by mountain bikers – because they were in such an obscure place. The other guide had been a biology teacher in a nearby town; he was teaching evolutionary biology and discovered that his best student was reporting on him. He lost his job. He found out that there was a file on him. These two stories went into my brain, and they just hung there. They were so amazing to me. I tried to work on a play for a long time, and it was originally going to be called THE ENTRADA, a word I had learned from one of the guides. Entrada is a kind of rock formation, but it also had other meanings. I thought that was obscure and interesting, and it was all sort of toodling around. Then I read a book, Wonderful Life [Wonderful Life: The Burgess Shale and the Nature of History], by Stephen Jay Gould, which is where I found opabinia. So I just put that in, too. I started working, and I didn't know where it was going to go. It just started coming as I went. There are a lot of ideas in Utah that are gone in the rest of the country. In Utah, the past is very present. I started thinking things like, how do you really know what year it is? It's like we all agree to it, but how do you really know? So all of those things kind of spun around in my brain, and I started working.
SLAC. Did you stumble upon Gould's Wonderful Life, or did you search it out?
KATHLEEN. I was looking for something, keeping my ear open for something that would fill me in. I knew about Stephen Jay Gould; he was such a wonderful writer, such a mench, such a human. I actually had his Wonderful Life on my bookshelf for a long time, and when I was toodling around, I pulled it out and thought, "This is the book I ought to be reading now."
SLAC. So you chose Stevie for your protagonist. Is she named after Stephen Jay Gould?
KATHLEEN. You know, I never thought of that, and that's true.
SLAC. How did Stevie come about?
KATHLEEN. Stevie is a paleontologist – she's a scientist – and I was doing a lot of reading about women in science. With the exception of Marie Curie, the women who are really eminent in their scientific fields don't seem to have much personal life. Why is that? I also came across this from the philosopher, Blaise Pascal: "There are two equally dangerous extremes – to shut reason out and to let nothing else in." Stevie kind of formed in the either of my imagination as I was mulling these things over.
I was also in love at the time with the natural scientist, Stephen Jay Gould, (in love with his work that is – I wasn't having an affair with him – one good reason is that he is no longer living). I must have invented the name Stevie as a tribute to Professor Gould.
SLAC. What about the other characters who inhabit COURSE 86B IN THE CATALOGUE? Tell us about Dell.
KATHLEEN. Well, the obvious thing is that she's somebody who has a gift; she can draw things in three dimensions. It's not a skill that she's particularly worked to develop, but she's interested in it. It's a gift from God, and she gives it back. She comes from a different universe. She's very religious, very pure, and she's going to have a baby with a hominid. (Laughter) But the thing that sets her apart is that she has this extraordinary gift – which if she were from a different time and a different place, something else would happen. She would have a career. She would have a different life. But she's from a hundred years ago. She's from a remote corner of an arid state, her family grows their own food, and she has a very simple life. So, she thinks of her gift in a different way than someone from 2012 would. She treats it differently.
DIRECTOR TRACY CALLAHAN. And she can give it up. Stevie's career is the thing that leads her, and yet she searches for the possibility of becoming a mother. It comes easily to Dell to give up a career. Stevie says, "Come, let's go. I've got a gig for us. We can take off." Dell's not even tempted. She's not even tempted to want to lead that kind of life. It doesn't have value for her. I think they learn from each other. Stevie learns from each person she comes across in the play, and in some cases, I think the relationship between Dell and Stevie is one of the strongest in the play. They mirror each other as a contemporary woman versus a woman from another period – and the pros and cons of being in that simpler world.
SLAC. What inspired the character of Bill, Stevie's husband?
KATHLEEN. The financial meltdown, those guys who had these jobs that were based on – what? "Credit default swaps" and these weird words. They were making a lot of money for a long time, and what were they doing exactly in this made up occupation? Having this great life and being masters of the universe. Having a beautiful car and a couple of million dollars a year, and then it's like, (snap) – and it's all gone – like it wasn't ever there – because it was made out of dust. It wasn't even dust – it was made out of some invisible something. So Bill's a guy doing the quintessential 21st century job, something that's based on nothing, with no real content. I was also thinking about how people come to the wilderness to find themselves.
SLAC. Evolution is the word for this show – of relationships, of the species, of women and men. What's beautiful is that you have this master of the universe, Stevie's husband, Bill. And then you meet Dell's boyfriend, a hominid.
KATHLEEN. The other night, I was reminding my husband that the character of Sterling came from this very brilliant woman – a chemist – who was renting my house, and her boyfriend was also at Dartmouth, an Ivy League school – also a chemist – Bob and I came home early, and he's lying on our sofa watching a football game at a thousand decibels. We walk in. He doesn't feel like he needs to get up; he just goes, (in a hominid-like grunt) "Hey." I called him The Caveman as a joke. I think he should know he's immortalized. I should put special thanks to that guy. (Laughter)
Bill and Sterling end up having a lot in common. With Bill, by devolving, I think he becomes a lot more human. Sterling wants to be human. I hope there's enough of that in the play. He's trying to become more human.
TRACY. Yes, he's trying to understand. He wants to know where the football players go.
KATHLEEN. He's working the remote.
TRACY. And he's going to be a father, so we hope that he comes around in some capacity.
I think the characters are all very likeable. In comedy, that's the point – we have to like them all. Bill may be an ass at times, but Stevie is not a completely heroic person. She's a very insecure, brainy, scared person. She's a neurotic in many ways. She's likeable, but it's not like she's a strong woman who seeks the world – where do you say she sees the job posting?
KATHLEEN. The Journal of Extinct Invertebrates. (Laughter)
SLAC. Kathleen, it was very, very, very important to you to write a comedy, so important to you that you even wanted the title to look funny and be funny – like slipping on a banana peel funny. Would you talk a little more about what that was about?
KATHLEEN. I don't even really understand it. I just did. It was just a feeling. When I thought of the title, COURSE 86B IN THE CATALOGUE, I just thought, this is a funny title. Who names a play this?
SLAC. What about the B in the title?
KATHLEEN. Stephen Jay Gould said that his courses in Natural History at Harvard were B courses, because it wasn't hard science. The A courses were hard science. I was just so struck by that. It's only the history of the life on earth – definitely a B course.
SLAC. Tracy, what's it like tackling Kathleen's writing and working on COURSE 86B?
TRACY. Let me start with my favorite Kathleen Cahill quote. "I like thrilling, beautiful, unrealistic, and true."
SLAC. Yes, that says it.
TRACY. Kathleen also said that she likes clear communication. Mostly, I am struck by the magical quality of her plays. The idea that whatever world she creates, no matter how unrealistic or nonlinear it is, she's asking the audience to just believe, "Well, this is it. This is where we should be. This is where we are. This is the magic." Something that's very interesting about COURSE 86B IN THE CATALOGUE – and Kathleen's other plays [CHARM, THE PERSIAN QUARTER] – is that there's a mystery involved in them, and it's an unraveling of that mystery. People think during her plays. They're wondering, why is this person next to this person? In this play, who is this girl dressed like this who walks out of the audience and meets up with this woman? So that mystery is keeping us not distracted but engaged. So the audience is thinking while they are watching – rather than you hope that they go away and to talk it over afterwards. There is this sense of the engagement of the audience as we're going along because Kathleen poses a lot of questions, but she doesn't give all the answers. She allows the audience to go on the journey with the characters. We have to be engaged in Stevie's journey, and part of the humor comes from the people she meets.
SLAC. Time is truly relative in COURSE 86B. How do you translate it as you're diving the play?
TRACY. Kathleen has talked about the past, the future, and the present in the play. As I was thinking about concepts, I wrote down that the past is where Stevie is most comfortable – with dead things, and things from the past, and things she can wrap her scientific brain around; this is her study, her passion, her accomplishments lay there. The present is a very difficult place for her to negotiate because in the present, there's her husband who is cheating on her. She doesn't feel beautiful. She knows she's smart, but she doesn't know where she fits in as a woman. She's barren – she can't have children. She doesn't know where she fits in. That's where she is now. I have the dirt road written between the two, because the dirt road and the people she meets along the dirt road kind of teach her how to live in the present. She has to run into Dell, and she has to run into Sterling, and then run into or rediscover her husband – this husband evolving in front of us – and she has to learn to negotiate. But then she falls into the future. When she falls over the cliff, she falls into the future, and she sort of discovers how to live in the present. So for me, just to be able to wrap my mind around the layers of the script, I think of that as far as her journey goes: the past is comfortable, the present is uncomfortable, but once she falls – she just falls – she doesn't go willingly into the future. She literally falls. She follows this creature that she's adored, that she feels comfortable with, that she idolizes – who is a sea worm. She falls. Kathleen said something to me a while ago about the stars in the desert. When Stevie looks up and sees the stars in the desert, there's a poignancy there that allows her to come back. She can go back and try again. And I think she evolves in a way, too. She realizes there is more to her self than, I am a paleontologist. I am this, I am that. And I don't think she would have if she hadn't discovered Dell, and Sterling, and given Bill another chance. I think that is a very interesting and exciting moment in the play when she looks up and allows herself to be helped up – just that gesture of being pulled up from the future to the present is just really poignant.
SLAC. Kathleen, would you talk more about the process of writing COURSE 86B IN THE CATALOGUE, how the play developed through the readings and workshop?
KATHLEEN. I never remember the timelines on these things. I remember there was going to be a New Play Sounding Series reading, and I thought, "Oh, this isn't going to be any good." So I read the whole thing to my husband. (Laughter) And he said, "No, I think it'll be okay." So we did that reading and then I had two readings at my house with different drafts. My playwriting group looked at it. There was a workshop with Tracy and the actors. And it really helped. The characters evolve from that. I don't know how other playwrights do it – if I couldn't hear it... Hearing is part of the evolution of it. It just takes a long time to make it and to make it work. To have things the way they could and should be.
SLAC. You're very unique. You're like a play factory compared to most playwrights. Just in the past couple of years, you've written CHARM, THE PERSIAN QUARTER, COURSE 86B IN THE CATALOGUE, and now you're working on two new fascinating plays, MONSTERHEART and THE LOWELL EXPERIMENT.
KATHLEEN. I hope they are fascinating. It's the air in Utah. It's the people in Utah. It's the freedom in Utah. COURSE 86B IN THE CATALOGUE is certainly a Utah play. It comes from the ground, from the earth of Utah.
When I was reading about evolution, I remember someone said that the quality of homo sapiens is that we're crazy. I just was really struck by that. We are. We're crazy. And that's a function of our humanity.
TRACY. You say in the play, "We are in the creative phase of our evolution. Creativity is unpredictable. You have to be fearless to be creative."
The World Premiere of COURSE 86B IN THE CATALOGUE runs April 11-May 6, 2012. Tickets are available through the SLAC Box Office 801.363.7522.
June 27-September 2, 2012
Closing out Salt Lake Acting Company’s 2011/2012 Season is the ever-popular political musical satire Saturday’s Voyeur, written for us, about us each year by Allen Nevins and Nancy Borgenicht.
PLAYWRIGHTS Allen Nevins & Nancy Borgenicht
DIRECTOR/CHOREOGRAPHER Cynthia Fleming
MUSICAL DIRECTOR Kevin Mathie
ASSISTANT CHOREOGRAPHER Shannon Musgrave
AUSTIN ARCHER is just sa pleased and sa glad to be riding this crazy coaster for another summer! Previous roles at SLAC include "Patty Henry/ Mike Wadd" in last year's SATURDAY'S VOYEUR, "Tonto/ Kevin Smarm" in the extension cast of Voyeur 2010, "Sharktooth" in HOW I BECAME A PIRATE, "Haemon" in TOO MUCH MEMORY, and "Shye" in the NPSS reading of TRENCH-COAT IN COMMON. He studied theatre at Weber State University, alongside half of this year's cast (Wildcats in the house!) Thanks to my very Mormon family for loving and supporting me despite my unrelenting hedonism. Enjoy the show!
ALEXIS BAIGUE returns for his 12th summer in SATURDAY'S VOYEUR 2012. Other credits: GOODNIGHT DESDEMONA (GOOD MORNING JULIET), ANGELS IN AMERICA, HOW I BECAME A PIRATE, staged readings MOTHER COLLEGE, THE LIVELY LAD, BUNBURY, THE CANCER DIARIES, CHARM, PROPHETS OF NATURE (S.L.A.C.), DEAR WORLD (Sundance Summer Theatre), BEYOND THERAPY, THE SEX HABITS OF AMERICAN WOMEN (Pygmalion), THE BOYS IN THE BAND (Wasatch), SURFIN' SAFARI (Desert Star), JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS, SPEAKEASIE (TheatreWorks West), ANASTASIA (StageRight), WIT (Emily Company), NO EXIT (SallyFourth), SUMMER AND SMOKE, CABARET, RHINOCEROS, QUEEN CHRISTINA, ANTIGONE, THE RIMERS OF ELDRITCH, (University of Utah), YOU CAN'T TAKE IT WITH YOU, THE TREE OF LACE (Salt Lake Community College); staged readings: THE UNDERPANTS, THE VIOLET HOUR, THE LAST SUNDAY IN JUNE, MY NAME IS RACHEL CORRIE (Utah Contemporary Theatre), WISH UPON, BOX KITE (Avalon Isle), RECTUM!, CUP, (First Unitarian); films: SLOW MOE, SINGLE TRACKS, and 12 DOGS OF CHRISTMAS II. Q Salt Lake's readers twice voted him their Fabby Award winner for Best Performance by a Local Actor.
TRENT COX is thrilled to be making his debut at SLAC! He is a senior studying Theatre Education at Weber State University where he recently directed THE CRADLE WILL ROCK. Past credits include: OUR TOWN (Stage Manager) THE LION IN WINTER (Geoffrey), HAIRSPRAY (Edna Turnblad), THE STAR-SPANGLED GIRL (Andy Hobart), OKLAHOMA (Will Parker), ROMEO & JULIET (Paris), and THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE (V.P. Panch) for which he received an Irene Ryan acting nomination. Trent is overjoyed to be working with such a creative and talented group of artists on Saturday's Voyeur. He would like to thank his very supportive family and friends.
TREVOR DEAN is very excited to make his debut performance at SLAC. Trevor was born and raised in Willard, Utah. He attended Western Wyoming College for two years and is currently attending Weber State University where he is studying Musical Theatre. Trevor choreographed, directed and performed several roles including Javert in LES MISERABLES, Lord Evelyn Oakley in ANYTHING GOES, McQueen in URINETOWN, Lord Montague in ROMEO AND JULIET, Marcellus Washburn in MUSIC MAN and most recently Mr. Mister in THE CRADLE WILL ROCK. He has appeared in several venues across the Rocky Mountain region, including Ellen Eccles Theater, The Grand Theater, Hale Centre Theatre, Lagoon, and tours in upstate Virginia. Trevor is so thankful to his family and friends for their love and encouragement.
ELENA DERN is absolutely thrilled to be a part of Voyeur! This is her first production at SLAC and she will be a senior in the Actor Training Program at the University of Utah. She was most recently seen as Madelaine True in the Studio 115 production of THE WILD PARTY. Other credits include The Babcock's productions of THE ADDING MACHINE, HAIR, THE ROCKY HORROR SHOW, and Studio 115 productions of SONGS FOR A NEW WORLD, the world premier of FEVER, and FIFTH OF JULY as Gwen Landis. She is a proud recipient of the 2012 Victory Jory Talent Scholarship, and she thanks her familia and amigos for supporting her passion!
STEVEN FEHR* is happy to return to the Salt Lake Acting Company for his fourth production of SATURDAY'S VOYEUR. In addition to his VOYEUR appearances at SLAC, Steven has also performed at Pioneer Theatre Company in productions including MAN OF LA MANCHA, ANNIE, SUNSET BOULEVARD, WHITE CHRISTMAS, DRACULA, ROMEO AND JULIET, A MIDSUMMER NIGHT'S DREAM, THE LIGHT IN THE PIAZZA, MY FAIR LADY, and BLACK COMEDY; at the Old Lyric Repertory Company in such shows as BLOOD BROTHERS, THE BOYS NEXT DOOR, and THE LION IN THE WINTER; at the Egyptian Theatre Company in such shows as SWEENEY TODD, LA CAGE AUX FOLLES, and LITTLE SHOP OF HORRORS; and in 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, where he also appeared in INTIMATE APPAREL, CARNIVAL, LOVE'S LABOUR'S LOST, TWELFTH NIGHT, THE LARAMIE PROJECT, and WAIT UNTIL DARK. Steven would like to thank Isaias, Mom, his family, and God for all that they do for him. Steven is a proud member of Actors' Equity.
JUSTIN IVIE* is a proud member of Actors' Equity who is thrilled to return to the Saturday's Voyeur family for 2012. This is Justin's fourth VOYEUR, and he has also appeared at SLAC as Jones in TOO MUCH MEMORY. Recently Justin has been seen at Old Lyric Repertory as Salieri in AMADEUS, Clown 1 in THE 39 STEPS, and The voice of Audrey II in LITTLE SHOP. His many acting credits include appearances with Pioneer Theatre Company, Utah Musical Theatre, Egyptian Theatre Company, and many others—both locally and in Chicago. In addition to acting, Justin has directed three seasons of THE SENIOR THEATER PROJECT—which tours short plays (written by, for, and about seniors!) to community senior centers and residence facilities. He has also directed Arthur Miller's THE PRICE for The OtherSide Players and JACOB MARLEY'S CHRISTMAS CAROL for OurSpace Theatre Company. A graduate of Weber State, 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, props and theatrical masks, writes an occasional play, and sometimes even plays his banjo (when he's pretty sure no one is listening).
KELSIE JEPSEN* loves SATURDAY'S VOYEUR so much she decided she had to temporarily leave New York (again!) so that she could spend her summer at Salt Lake Acting Company. It just feels RIGHT! Previous Salt Lake Acting Company credits include: SATURDAY'S VOYEUR '11 and '09 and SAM I WAS. Other Utah credits: REEFER MADNESS for Dark Horse Company Theatre, MY BIG FAT UTAH WEDDING and NUTCRACKER MEN IN TIGHTS for Desert Star SCHOOLHOUSE ROCK LIVE! for The Grand, I OUGHTA BE IN PICTURES for Utah Theatre Artists Company. Kelsie is a native of Sandy, Utah and a proud graduate of the Actor Training Program at the University of Utah. After graduation she moved to Minneapolis, MN to act with The Children's Theatre Company and some of her favorite credits there include: THE BIG FRIENDLY GIANT (BFG), ANTIGONE, TALE OF A WEST TEXAS MARSUPIAL GIRL, SEUSSICAL and THE MAGICAL MRS. PIGGLE WIGGLE.
JACOB JOHNSON* is pleased to be returning for his seventh production of SATURDAY'S VOYEUR. He was the producer/emcee of the CastPartySLC cabaret series at SLAC. He has performed with many theatres throughout the Wasatch Front, including Pioneer Theatre Company, Egyptian Theatre Company, Hale Center Theatre, The Grand Theatre, Off-Broadway Theatre, Rodgers Memorial Theatre, and many others throughout Utah and California. Favorite credits include: THE SECRET GARDEN (Dickon), FORUM (Hysterium), HOW TO SUCCEED (Bud Frump), SOUTH PACIFIC (Lt. Buzz Adams), THE FANTASTICKS (Matt), CHARLEY'S AUNT (Jack), DAMN YANKEES (Rocky), and NO TIME FOR SERGEANTS (Psychiatrist). He is a proud member of Actor's Equity (since 2005) and is an alumnus of the University of Utah Department of Theatre.
LAUREN NOLL* is proud to be making her SLAC debut in SATURDAY'S VOYEUR. Her local credits include: Hester in THE SCARLET LETTER, Ophelia in LADY MACBEATH, Nora in the script-in-hand staged production of A DOLL HOUSE (Plan-B Theatre Company), Chrissy in HAIR (Egyptian Theatre Company), Laura in THE GLASS MENAGERIE (The Grand Theatre), Louise in GYPSY (Dark Horse Company Theatre), and SUNSET BOULEVARD (Pioneer Theatre Company). She is a graduate of the BFA Acting program at BYU, and she was a member of the acting intern company for Tony-award winning Cincinnati Playhouse in the Park's 2008-2009 season. She now kisses girls and she likes it.
EMILIE STARR is so excited to participate in SATURDAY'S VOYEUR this year for the first time. She recently graduated from Weber State University with her BA in musical theatre. She has been in past productions there such as Lady Capulet in ROMEO & JULIET, Erma in ANYTHING GOES , Katrina and SLEEPY HOLLOW, and UNDER CONSTRUCTION. She is also an active member of the Off the Wall Comedy Improv Troupe at Zigfield Theater in Ogden. Emilie would like to thank her mother, sister Jennie, and her boyfriend Raleigh for always supporting her in her passion. She would also like to thank her best friends Eric, Tracy, and Vasko for being her entourage. Because every good actor needs an entourage!
KALYN WEST is thrilled to be making her debut performance at Salt Lake Acting Company with the infamous SATURDAY'S WARRIOR. Kalyn has been dancing before she could walk and singing before she could talk and is a senior at Weber State University, pursuing double majors in Musical Theater and Anthropology. Some of her favorite past roles include Juliet in ROMEO & JULIET, Sally Hemings in THE THIRD CROSSING, Reno Sweeny in ANYTHING GOES, Marcy Park in THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE and Rosalie Brinkerhoff in THE LEGEND OF SLEEPY HOLLOW. She has also appeared in productions of UNDER CONSTRUCTION, HAIR, DIRTY ROTTEN SCANDROULS and REEFER MADNESS. Within fleeting moments of down time, Kalyn also dabbles in directing, choreography and play writing, always open to different opportunities and experiences. She feels incredibly fortunate to be where she's at, knowing that none of this would be possible without the support of her family, friends and mentors. Thank you to my wonderful mother and sisters for being my role models and cheerleaders—you've always been my source of strength and clarity. Thank you to friends who have inspired me to explore and grow. Thank you to my mentors who have taught me to be fearless. Love to you all!
ALLEN NEVINS(Playwright, Lyricist) has been writing for SATURDAY'S VOYEUR the last 22 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 forthe Salt Lake Acting Company. After 34 years Saturday's Voyeur remains an outlet for discourse, dissent, irreverent humor, cheap shots at elected officials; and of course, political in-correctness in all its forms. When Gayle Ruzicka, head of Utah's Eagle Forum, quits and goes on a Church mission, so will he.
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. Her directing credits for SLAC include ANGELSIN AMERICA, WHITE MAN DANCING, OLEANNA, WOMEN AND WALLACE, CABBIES, COWBOYS ANDTHE TREE OF THE WEEPING VIRGIN, and SATURDAY'S VOYEUR from 1993 to 2003. She conceived and created SATURDAY'S VOYEUR in 1978.
CYNTHIA FLEMING (Executive Producer, Director, Choreographer) was first seen at Salt Lake Acting Company in its 1978 production of PIPPIN. Since then she has worn many hats at SLAC – Choreographer, Box Office Manager, Director of Audience Services. She was Creative Director of Communications and Audience Development, leading the Communications Team and overseeing the Box Office and House Management, before taking on her current title of Executive Producer. For 15 years Cynthia has choreographed SLAC's infamous musical satire, SATURDAY'S VOYEUR and last year marked her first as Director. She's choreographed many SLAC productions; her favorites include THE PERSIAN QUARTER, GO, DOG. GO!, BAT BOY THE MUSICAL, and WATER LILIES from CABBIES, COWBOYS, AND THE TREE OF THE WEEPING VIRGIN. Cynthia has been in the world of dance and theatre professionally for 35 years, during which time she performed in the Broadway, National, and International companies of A CHORUS LINE. Cynthia is proud to serve the Salt Lake Acting Company and its mission to develop and produce vital new work.
KEVIN MATHIE (Musical Director, Music Arranger/Orchestrator, Keyboards) is currently the resident Musical Director at the Grand Theatre. His recent directing and conducting credits include XANADU, WIZARD OF OZ, URINETOWN, THE MARVELOUS WONDERETTES, OLIVER, BINGO THE MUSICAL, SCHOOLHOUSE ROCK LIVE!, FOUR GUYS NAMED JOSE, MUSICAL OF MUSICALS THE MUSICAL, CABARET, and MY FAIR LADY, only to name a few. This is also his eighth 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 other 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 MISS EVERS' BOYS, and OUR TOWN, and Weber State University's DANSE MACABRE. Last year, he also wrote the music and co-wrote the lyrics for Intermountain Health Care's "LiVe" that tours schools throughout Utah. Kevin is a member of the Dramatists Guild.
KEVEN MYHRE(Executive Producer, Set Designer) 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 RED, ANGELS IN AMERICA: PARTS 1 & 2, 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 seventeen years. He also designed sixteen sets for The Grand Theatre, including ALWAYS...PATSY CLINE, JOHNNYGUITAR, 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 Designer) has designed the lighting for 40+ shows at SLAC since 1997, most recently for COURSE 86b IN THE CATALOGUE, DOTTIE-THE SISTER LIVES ON, A MAN ENTERS, GOD OF CARNAGE, SATURDAY'S VOYEUR 2011, CIRCLE MIRROR TRANSFORMATION, BOOM, ANGELS IN AMERICA, and CHARM. 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, U of U Youth Theatre, U of U Lyric Opera Ensemble, 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. Find out more at http://about.me/jamesmcraig.
JOSH MARTIN(Sound Designer) is delighted to return for his third round at designing Saturday's Voyeur. Select recent works includes SATURDAY'S VOYEUR 2010, SATURDAY'S VOYEUR 2011, GOD OF CARNAGE, (A MAN ENTERS), HOW I BECAME A PIRATE and RED. In addition he is the Master Electrician here at the Salt Lake Acting Company.
BRENDA VAN DER WIEL (Costume Designer) As always, Brenda is happy to be workingfor SLAC. Brenda is part of the design faculty for theUniversity of UtahTheatre Department. She designs regularly for that department as well as forPioneer Theatre and for SLAC. Recent works include RENT, CHRISTMAS STORY,NOISES OFF, THE FOREIGNER and YOU CAN'T TAKE IT WITH YOU for PioneerTheatre Company; MUCHADO ABOUT NOTHING, THE MERRY WIVES OF WINDSOR, DEATH OF A SALESMAN, THE COUNTOF MONTE CRISTO and COMEDY OF ERRORS for Alabama Shakespeare Festival; andA MAN ENTERS, HOW I BECAME A PIRATE, IF YOU GIVE A MOUSE A COOKIE, CHARM,MASTER CLASS, SIX YEARS, THE CLEAN HOUSE, ROUNDING THIRD and END DAYS forSLAC. She also designed several of the recent SATURDAY'S VOYEUR productions, and all but one of the University of Utah's ClassicalGreek 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 ShakespeareanFestival.
SHANNON MUSGRAVE (Assistant Choreographer) is thrilled to be able to work on this, her 4th VOYEUR, but this time in a different capacity. There is absolutely nothing like working on SATURDAY'S VOYEUR and she feels so fortunate to be part of this crazy family. Favorite past VOYEUR roles include Betsy Ross, Kate Kopischke, Tea Drinking Hammer Wife, and Uhadda Freebe. Also at SLAC, Shannon has appeared in GO, DOG. GO! and HOW I BECAME A PIRATE. Other Utah credits include 42nd STREET at Pioneer Theatre Co, 25th ANNUAL PUTNAM COUNTY SPELLING BEE and ROMEO & JULIET at Pinnacle Acting Co, MUSICAL OF MUSICALS and SCHOOL HOUSE ROCK LIVE at The Grand Theatre. Shannon served as choreographer for OLIVER! and THE WIZARD OF OZ at the Grand Theatre and also contributed choreography for Dark Horse Company Theatre's REEFER MADNESS. Shannon received her BA in Musical Theatre from Weber State University and this August, with a heavy heart, she will be leaving SLAC for graduate school in Washington DC. Words can't adequately express the gratitude and love she has for this place. Cynthia, Keven, Al, Nance, and the whole SLAC & VOYEUR family – thank you for these four amazing years.
JANICE JENSON* (Stage Manager) is excited to be returning to Salt Lake Acting Company after Stage Managing SATURDAY'S VOYEUR 2011, COURSE 86B IN THE CATAOLGUE, DOTTIE: THE SISTER LIVES ON, GOD OF CARNAGE, & CIRCLE MIRROR TRANSFORMATION. ASM credits include THE LEGEND OF TIMPANOGOS, (Utah Regional Ballet), CINDERELLA, MY FAIR LADY, 42ND STREET (Tuacahn), & MESA VERDE (Plan-B). Stage management credits include: TICK, TICK...BOOM!, REEFER MADNESS, A NEW BRAIN, THE BEST LITTLE WHOREHOUSE IN TEXAS (Dark Horse), SAM I WAS (SLAC Fringe Festival), HAIR, FAME, THE AWESOME 80'S PROM, RENTED CHRISTMAS, & DANNY AND THE DEEP BLUE SEA (Egyptian). She is a graduate of BYU and was selected as a USITT 2008 Stage Management Mentee, where she stage managed The History of Drag. Thanks to Max for his support!
PENNY PENDLETON* (Assistant Stage Manager) Penny's past SLAC credits are Stage Manager for RED and Assistant Stage Manager for SATURDAY'S VOYEUR 2011. Currently she is a Producer for Zion Theatre Company, and in the fall will resume being the Production Tour/Stage Manager for Intermountain's LiVe Assembly. Past credits include: Stage Manager JESUS CHRIST SUPERSTAR (Egyptian Theatre), Outreach Stage Manager OLIVER BUTTON IS A SISSY, REACHING OUT, TALKING TO MYSELF, and MAKING MY LIFE INTO ART (PCPA Theatrefest). She trained in Stage Management at the Pacific Conservatory of Performing Arts and attended Utah Valley University on a full tuition performance scholarship.
* Member of Actor's Equity Association, the Union of Professional Actors and Stage managers in the United States
Front Row Reviewers | Salt Lake Acting Company's Saturday's Voyeur Pokes Fun, But In A Good Way | Joel Applegate | August 14, 2012
SLUG Magazine | Saturday's Voyeur 2012 @ Salt Lake Acting Company 07.27 | Ben Trentelman | August 7, 2012
Utah Theater Bloggers | Saturday's Voyeur 2012 Has Its Moments | Tony Porter | August 2, 2012
Back Stage Utah | Voyeur Gives Peek Into The Mormon Moment | Michele Rideout | July 19, 2012
The Let's Go Eat Show | Podcast with Cynthia Fleming| Bill Allred | July 16, 2012
Salt Lake Magazine | A "Voyeur" with heart (and bouncing Buddhas) | Glen Warchol | July 13, 2012
Gay Salt Lake | Theatre Review: Saturday's Voyeur | Tony Hobday | July 11, 2012
City Weekly | Rollicking Cabaret Show For "The Rest Of Us" | Brandon Burt | July 10, 2012
SLCene | Saturday's Voyeur at Salt Lake Acting Company | Dan Nailen | July 8, 2012
The Standard Examiner | 'Voyeur' Capitalizes on 'Hot' Mormons| Amy Nicholson | June 27, 2012
Salt Lake Tribune | Satire by the Mittful: SLAC Mines the 'Mormon Moment' | Ben Fulton | June 20, 2012
Salt Lake Tribune | Roll the ball with Salt Lake Acting Company's "Saturday's Voyeur" cast | Ben Fulton | June 7, 2012
Yahoo News | Lauren Noll and Emilie Starr kiss a Mitt Romney cutout during a gay pride parade in Salt Lake City | Jim Urquhart | June 3, 2012
As Saturday's Voyeur is a unique facet of this community, Utah's Pioneer Day parade shares the same distinction. Only in Utah. Pioneer Day outshines Independence Day, it closes liquor stores and demands remembrance of the 'promised land'. This pretty great state holiday is fodder for local artisans of all stripes to capture. Before the show and throughout intermission, please visit "Temples, Tanks & Clowns: The Haze of '47", Photographer, Paul Winder's 22-year retrospective on Utah's annual pioneer heritage parade.
It has only been within the last few decades that Paul's lens has been more keenly focused on what he dubs a "peculiar people" and the "Mardi Gras atmosphere" they present as a "religion goes on parade," as he describes it: "This year with all the eyes of America focusing on the Mormons, this gathering represents the strange way Utahns show off their myths and beliefs," Winder says of his take on 2012's Mormon Moment.
Our Green Room Gallery is a collective endeavor between community and artists. We offer a variety of works and media throughout our seasons based on inspiration from SLAC's play content. We encourage and foster art and donate all profits from Green Room showings to the exhibiting artists. If you also harbor love of visual arts and would care to underwrite our gallery works, please contact Cassie at 801.363.0526 or .
Title: Temples, Tanks and Clowns: The Haze of '47
Included: 40 8"x10" framed prints
Price: $50 Framed, $40 Unframed