2020 THEATRE TRAINING NEWS - Franklin Wagner in The Moors, UMKC Theatre, 2019. Photo by Brian Paulette
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
2 0 2 0 T H E AT R E T R A I N I N G N E W S
Franklin Wagner in The Moors, UMKC Theatre, 2019.
Photo by Brian Paulette
CONTENTS
2020 THEATRE
TRAINING
NEWS
2 M I SS I O N STAT E M E N T
WRITERS
3 T R I B U T E TO D R . LO N D R É Kevin Fennell
Dakotta Hagar
6 J O I N I N G F O RC ES Sarah Jean Haynes-Hohne
Jack Kneessy
9 ACT I N G M I SS I O N Sarah M. Oliver
Geran Ramet
11 ACT I N G D I V ES H E A D F I RST
I N TO AU TO - C OU RS Shane Rowse
13 F O RG I N G P RO F ESS I O N A L
R E L AT I O N S H I PS EDITOR IN CHIEF
Sarah M. Oliver
16 G R A D UAT E ST U D E N TS STAY S H A R P
EXECUTIVE EDITOR
20 S O U N D D ES I G N E RS AT T U N E D
TO T H E P RO F ESS I O N Sarah Jean Haynes-Hohne
22 D I V E RS E PAT H WAYS TO SU CC ESS :
L I G H T I N G D ES I N COPY EDITOR
24 T H E A N N UA L C H A R ET T E Felicia Hardison Londré
26 N A R R AT I V E SC E N I C
D ES I G N T R A I N I N G Jessica Andrews in The Moors,
DESIGNER
UMKC Theatre, 2019. Meredith Shea
29
Photo by Brian Paulette
FAC U LT Y STAY S H A R P
34 CO N F I D E N T COST U M E D ES I G N
37 H I T T I N G T H E G RO U N D RU N N I N G :
STAG E M A N AG E M E N T
39 P L AY W R I G H T P ROJ ECT
41 REWARDING POTENTIAL THROUGH
PARTNERSHIP: TECHNICAL DIRECTION
43 A LU M N I AT WO R K
48 S C H O L A RS H I P R EC I P I E N TS
50 P RO G R A M S
1
MISSION
S TAT E M E N T
UMKC THEATRE has been ranked by U.S. for future careers in the creative industries.
News & World Report among the top gradu- Our program offers intensive hands-on ex-
ate theatre training programs in the country. perience while at the same time fostering
Graduates from UMKC Theatre are invited analytical and contextual skills. The prac-
to the most prestigious New York and Los tical experience of theatre-making occurs
Angeles professional reviews and auditions not only within the performing venues of
to exhibit their work and secure positions UMKC, but also in professional theatres in
with national and international performing Kansas City. Theatre is a passion. We seek
companies. We build bridges. We assist the it, we train for it, and we embody it.
creative student in making the journey to
UMKC Theatre is accredited by the Nation-
becoming a creative professional. The prac-
al Association of Schools of Theatre (NAST)
tice of the department is to vigorously ed-
and the University/Resident Theatre Asso-
ucate students in the many arts, crafts and
ciation (U/RTA).
traditions of theatre, and to provide a basis
2 Frederick Rivera in The Tempest, UMKC Theatre, 2019. Photo by Manon Halliburtin.
THE EXQUISITE BOTTLE
OF CHAMPAGNE THAT IS
DR. FELICIA
HARDISON
LONDRÉ
BY SARAH M. OLIVER
AS OF THE 2019-20 school term, Dr. Feli-
cia Hardison Londré is now Curators’ Distin-
guished Professor Emerita, and as she says
in her bio, “has scaled back from full-time
teaching.” This issue of Theatre Training
News is dedicated to Dr. Felicia Hardison
Londré’s excellence, enthusiasm and ex-
treme joy she has poured into not only the
UMKC Theatre Division, but also the entire
Kansas City theatrical community for over
40 years. The 2018 UMKC Today article de-
voted to Dr. Londré named her “the jewel of
UMKC Theatre,” and no other title could be
as apt.
Dr. Felicia Hardison Londré is beloved.
Dr. Felicia Hardison Londré,
Curators' Distinguished
Professor Emerita.
Photo by Brian Parigo.
3
DR. LONDRÉ
Dr. Londré was hired by Dr. Patricia McIlrath
in the late 1970’s and not only taught class-
es, but also served as the resident drama-
turg and literary manager for the Missouri
Repertory Theatre for 22 years. Her schol-
arly prowess includes publishing over 60
scholarly articles, 25 journalistic publica-
tions, 100 book and theatre reviews, and 14
books. Her book, The Enchanted Years of
the Stage: Kansas City at the Crossroads of
American Theatre, 1870-1930, which won
the George Freedley Memorial Book Award
presented by the Theatre Library Associa-
tion in 2008, is a love letter to theatre in
Kansas City. And all theatre artisans know
that Dr. Londré can be found at almost ev-
ery opening night, showing her unwaver-
ing support for all those making a life in the
Kansas City theatrical community.
Announcements of Dr. Londré’s lectures Dr. Felicia Hardison Londré.
become the hottest ticket in town, whether
be it her annual lecture on the Shakespeare
wide celebration of Molière’s 400th birth-
authorship question, her Founder’s Day lec-
day in 2022, bringing together professional
ture about Dr. Patrica McIlrath forming the
and academic participation by all art forms.
Missouri Repertory Theatre and UMKC the-
atre department (always accompied by Dr. In her introduction of Dr. Londré, Kansas City
Mac’s beloved Russell Stover’s chocolate), actress Dodie Brown said, “I have seen her in
or nightly lectures in Southmoreland Park dialogue with her students and she INFUSES
during The Heart of America Shakespeare them with her energy and support for their
Festival that she helped found in 1991. achievements. What fortunate students.”
Never one to rest in one place for very long, Yes Dr. Londré: students, faculty, and theatre
Dr. Londré is Co-convener with Kip Niven, patrons have all been fortunate to be graced
organizing KC MOlière (400 in 2022), a city- by your unwavering support and wisdom.
4
“
HONORING DR. LONDRÉ
I cannot overstate the positive influence
that Dr. Londré has had on my
education, my career as an artist, and
my life overall. I feel that the axis of my
trajectory shifted the day I met her; it
is a day I will always remember. I had
applied to the MA in Theater program
at UMKC and received an e-mail from
this person with a rather impressive
name, asking to meet me in her office.
I went to my interview, already feeling
intimidated by this person, who I
assumed was going to be a rather
official and stern academic type. The
moment I sat in that chair in her office
and we began discussing the play which
I had submitted to her as part of my
application to the program, I knew that
this was where I had to be, learning
from this person.
Over the past few years, I have watched
Dr. Londré with admiration and a desire
to emulate her best qualities, of which
she has so many. The joy and standard
of excellence she brings to her work
is something I’ve come to believe we
need more of in our world. We cannot
overstate the ways in which her work in
theater has touched the lives of so many
scholars and artists. I consider myself
extremely fortunate to have met her, and
Vanessa Severo in Frida...A Self Portrait, KC Rep, 2019.
to have had the opportunity to study Costume design by Kathrine Davis.
under her, one of the most brilliant and Photo by Cory Weaver.
inspiring people I’ve ever met.”
– AMANDA DAVISON
5
JOININ G FORCES:
U M K C T H E AT R E A N D U M K C C O N S E R VAT O R Y
OF MUSI C & DAN CE MERGE
Fall Dance, UMKC Conservatory, 2019. Photo by Brandon Parigo.
BY SHANE ROWSE
FOR DECADES the UMKC Department of ing Agrawal’s sentiments, Ken Martin, the
Theatre, and the UMKC Conservatory of Mu- newly appointed Patricia McIlrath Endowed
sic and Dance have existed as two separate Professor and Chair of the Theatre Division
units. The Theatre Department operated as of the UMKC Conservatory, sees the reasons
part of the College of Arts & Sciences; and the for bringing the programs together as self-ev-
Conservatory of Music and Dance functioned ident. “The two divisions were a great match,”
as its own entity. That separation ended this he says; “What we do and what they do are
year, when all of the performing arts disci- simpatico.”
plines – dance, music, acting, theatre design
“We couldn’t be happier to be paired with the
& technology, opera, musicology, stage man-
Conservatory,” Martin says, pointing out that
agement, jazz studies, and all the rest – were
when you look at the big picture you imme-
brought together as the UMKC Conservatory.
diately see the two departments’ similarities.
Excitement surrounding the merge begin in “The Theatre Department’s graduate and un-
March of 2019, when Chancellor Mauli Agraw- dergraduate programs were already using a
al announced that “natural partners are align- Conservatory model. And, parts of the two
ing,” and officially set the plan in motion. Echo- programs have been working hand in hand
6
JOINING FORCES
Cast of La Cambia di Matrimonio, UMKC Conservatory of Music, 2019. Photo by Brian Paulette.
for years.” Theatre’s lighting and stage man-
“
agement departments have worked closely
with the Conservatory’s opera and dance pro-
grams for a quarter of a century, and in recent
years there has been a growing trend toward
more collaboration among various disciplines
in the performing arts programs.
Martin touches on the common needs that all
of the performing arts have where facilities are We couldn’t be happier
concerned. With the merger, he sees great to be paired with the
new possibilities for making the most of the Conservatory.”
way we use the spaces we share. By discov- – KEN MARTIN
ering new ways to use the spaces we have,
we’re laying the groundwork for future possi-
bilities as the UMKC Conservatory grows.
7
JOINING FORCES
“
Cast of The Tempest, UMKC Theatre, 2019. Photo by Manon Halliburtin.
New collaborations began in the spring of
2019 with the Theatre department’s produc- HONORING
tion of Shakespeare’s The Tempest. Students DR. LONDRÉ
from the Conservatory Dance program were
cast in the show, and professor David Justin She’s the best, most enthusiastic
teacher I’ve ever had. She loves
from Dance worked with the show’s director, learning and knowledge and
professor Scott Stackhouse from Theatre, to loves every minute of everything
she teaches. It makes me want
choreograph their movement and blend it to learn more. I remember a lot
with the work that the acting company was of things that Felicia taught me
and it’s helped push me ahead
doing. The addition of the dancers added an in my career. She is the most
unexpected dimension to the play and helped charming teacher I have ever
had and I hope that if I ever
make it one of the most exciting events of the teach that I can teach like her!”
year. It was a fantastic collaborative achieve-
– ALLISON DILLARD
ment, and as we move forward, we know it
was just the first of many more to come.
8
ACTING
MISSION
Cast of An Italian Straw Hat, UMKC Theatre, 2019. Photo by Brian Paulette.
THE MFA ACTOR TRAINING PROGRAM at UMKC develops
and prepares extraordinary, flexible artists who will become the
voices for their generation of storytellers. Through a unique
combination of academic and professional experiences, the
program instills in our students an evolving creative technique
based in classical, contemporary and experimental pedagogies.
The program is designed to challenge and inspire students to
reach their fullest creative potential as actors, while cultivating
the highest level of professionalism.
9ACTING DIVES
HEAD FIRST
I N TO AU TO - C O U RS
BY DAKKOTA HAGAR
THEATRE Theatre is often designated as the
most collaborative of all the arts. The MFA in
Acting at the University of Missouri-Kansas
City acknowledges this and asks students to
dive head first into Auto-Cours work. Based on
the pedagogy of Jaques Lecoq, Auto-Cours
forces artists to work together to create de-
vised theatre.
Devised theatre asks the collaborators to
bring their own experiences together in order
to create a script and, in turn, a show. The
2019 graduating class of MFA actors were
able to create a devised piece called The
Storytelling Project.
The Storytelling Project was a collaboration
between the entire MFA acting class of 2019,
director Karen Lisondra, and composer Ama-
do Espinoza. The Storytelling Project ex-
plored intimate and imaginative relationships
through the Andean Cosmovision’s concept
of Pachakutec, or time/space reversal. The
devised part of this collaboration began with
Yetunde Felix-Ukwu in
The Storytelling Project,
Circo El Tapeque, 2019.
Photo by Emmanuel Medina
10ACTING
Freddy Acevedo, The Storytelling Project, Circo El Tapeque, 2019. Photo by Emmanuel Medina.
“soul-texts,” out of which characterization formed in a number of Bolivian cities, in-
and a script were born. Each of the char- cluding Cochabamba, La Paz, Tarabuco, and
acters was created from these “soul-texts.” Sucre. McKenzie says that Bolivia served as
The entire acting ensemble was involved: original inspiration for the piece as both Ama-
Marianne McKenzie, Chelsea Kinser, Khalif do Espinoza and Karen Lisondra have ties
Gillett, Jason Francescon, Freddy Acevedo, to the South American country. “Performing
Yetunde Felix-Ukwu, and Emilie Karas, each the Pachakutec in Bolivia was like a home-
bringing their own “soul-texts” to the piece. coming,’’ says Yetunde Felix-Ukwe. “There
was an overwhelming amount of resonance
The group worked together for nine months
when we did the story in front of people hon-
before the project got on its feet for audienc-
oring their culture, their history, their mythol-
es the first time in Kansas City in 2018. They
ogy and their language.”
collaborated with artists across all depart-
ments of UMKC’s theatre program. UMKC de- The entire project is a testament to the lasting
“
signers were able to bring lighting, set, and
sound to the overall piece in 2018. Marianne
McKenzie says, “Without UMKC, we never
would have been connected with Karen and
Amado, nor had the cool design elements
from the students there.”
Performing the
The journey did not stop there for this suc- Pachakutec in Bolivia
cessful devised piece. Marianne, Chelsea, was like a homecoming.”
Freddy, Yetunde, and Emilie took the show – YETUNDE FELIX-UKWE
on the road. This fall the group took a revised
version of The Storytelling Project, now en-
tirely in Spanish, to Bolivia. The group per-
11ACTING
Freddy Acevedo in The Storytelling Project, Circo El Tapeque, 2019. Photo by Emmanuel Medina
impact that courses such as these can have. to figure out amongst themselves how to cre-
Undoubtedly this project has truly changed ate theatre. These collisions allow actors to
the performers involved as they grew to- question the ways in which actors perceive
gether in their journey making theatre from themselves inside the confines of an ensem-
nothing. They came into the process bring- ble. For McKenzie, “This project completely
ing only their independent experiences and changed my perception of myself as an ac-
left having created a cohesive piece of the- tor. I was very cerebral before, but now I con-
atre. This piece of theatre they created was sider myself very physical because of what
entirely new and unique to The Storytelling was demanded of me and because of what I
Project. Karen Lisondra believes “That’s de- proved to myself during the runs. Also, I un-
vised theatre. Find boundaries, limitations to leashed my inner dark clown during the pro-
work with, and at the same time believe that cess. I learned I can achieve whatever I want
everything is possible.“ Lisondra is right; Le- if I just put my mind to it. (...) This project truly
coq’s Auto-Cours is designed to force indi- changed my life.”
viduals into creative collisions and for them
12Marianne McKenzie and Khalif J. Gillett in Secret Soldiers/ Heroines in Disguise, The Coterie Theatre, 2019. Photo by J. Robert Schraeder.
FORGING PROFESSIONAL
RELATIONSHIPS F O R F U T U R E CAREERS
BY SARAH JEAN HAYNES-HOHNE
UMKC THEATRE has a long-standing history of co-producing with many theatre companies
in Kansas City. This arrangement allows students the opportunity to work with local Kansas
City artists and forge professional relationships with possible future employers.
Every year The Coterie Theatre, a professional Equity theatre in Kansas City that serves families
and young audiences, co-produces one show with UMKC Theatre. During the 2018-2019 sea-
son, the two theatres joined forces to create Secret Soldiers: Heroines in Disguise that featured
the entire third-year MFA acting class, and MFA designers, stage managers, and dramaturgs.
Co-productions between The Coterie and UMKC Theatre began in the season of 1991-1992
13CO-PRODUCTIONS
and originally only involved MFA. Actors. look, their commitment to quality, and that they
Carla Noack (M.F.A. Acting 1992), associ- are always game for trying different things.
ate professor of theatre in acting at UMKC, They really challenge themselves.” This cur-
was in the first co-production, Red Badge of rent season he looks forward to working with
Courage by Thomas W. Olsen. Now the col- UMKC graduate students on The White Rose:
laboration has expanded to include actors, We Defied Hitler by David Meyers, which will
stage managers, designers, and dramaturgs. run January 21- February 9, 2020.
Coterie Theatre producing artistic director,
Last year’s co-production, Secret Soldiers:
Jeff Church, has taught text analysis cours-
Heroines in Disguise by Wendy Lement, is
es at UMKC for 14 years, so the relationship
about a hidden history. It tells the true sto-
between UMKC and the Coterie remains in-
ry of four women who disguised themselves
terwoven.
as men during the Civil War (for various rea-
Church remarks, “I always cherish the co-pro sons). It shows a glimpse of the formation of
every year. I love the students’ positive out- the Massachusetts 54th Regiment and in-
Emilie Karas and cast of Secret Soldiers/ Heroines in Disguise, The Coterie Theatre, 2019. Photo by J. Robert Schraeder.
14CO-PRODUCTIONS
cludes a narrative from Harriet Tubman. The
audience follows the lives of composite char-
acters and individuals who risked their lives
“
to fight for what they believed was right, re-
gardless of the law that forbade women from
joining in the war. The Coterie describes the
end of the show by saying that the “audience
is enlisted to be medical officers who will de-
cide the fate of Lyons Wakeman: whether the
medical record will reflect this individual’s I love the students’
birth gender (and thus be denied a pension), positive outlook, their
or keep history hidden and receive all the commitment to quality,
benefits of military service.” Each member of and that they are
the audience is asked to raise their hand and always game for trying
cast a vote after an interactive conversation different things.”
occurs between the audience members and – JEFF CHURCH
the actors as their characters.
Each show has a different ending because
each show has a different audience with dif-
ferent questions and an array of points of
view. The actors trained and prepared for
every plausible scenario they could think of,
Collaboration is vital to the success of any
while always directing the question or com-
theatre. Kansas City theatre companies and
ment back to the story. They rehearsed many
UMKC Theatre have been allies in furthering
hours for this portion of the play because
the success of students by producing the-
they never knew what they were going to
atre together consistently. UMKC Theatre
get. The actors were directed to always stay
has worked with KC Rep, Kansas City Actors
in character and to use their historical con-
Theatre, the Unicorn, The Coterie Theatre,
text to answer questions.
and The Heart of America Shakespeare Fes-
The co-director of Secret Soldiers: Heroines tival, among others.
in Disguise, Bree Elrod, commented, “The
UMKC Theatre prides itself on its preparation
UMKC Graduate students brought an incred-
for the professional careers of its alumni. Ev-
ible amount of heart and dedication to the
ery student is given the opportunity to work
process of building our production of Se-
with one or more of these professional the-
cret Soldiers. They used the tools they were
atre companies during their time as a gradu-
learning from their program to investigate
ate student at UMKC.
and explore the world of the play. It was truly
an inspired thing to witness and nurture.” thecoterie.org
15GRADUATE STUDENTS
STAY SHARP 12/14/2019 Cowboy Mouth - Gabriel Livingston.jpg
MASTER OF ARTS MARY ALLISON JOSEPH
(MA 2020)
DAKOTTA HAGAR
(MA 2020) Mary Allison traveled on grants
to Chile, where she interviewed
Dakotta began the early stag- women directors for her thesis,
es of his MA thesis research and to London, where she at-
uncovering a forgotten ce- tended a festival of Latin Ameri-
lebrity, Charles T. Dazey, can theatre in translation.
from Dakotta’s hometown. ________________________
________________________
GABRIEL LIVINGSTON
Cowboy Mouth, THUD Production, 2019.
SARAH JEAN HAYNES- (MA 2020) Gabriel Livingston served as stage manager.
HOHNE (MA 2020) Photo courtesy of Gabriel Livingston.
https://drive.google.com/file/d/1tLtTVnc7pjPiiS-VYPNm2ZS5NNDb1gOw/view 1/1
This summer Gabriel served as 12/14/2019 Visceral Theatre - ICARUS cast - photo by Bill Nagle - JT Nagle.jpeg
Sarah Jean spent her summer the stage manager for Cowboy
researching her thesis top- Mouth by Sam Shepard and
ic, “The History of the Unicorn Patti Smith, produced by THUD
Theatre.” She also performed in Production in Kansas City.
UMKC Theatre’s production of ________________________
An Italian Straw Hat in Fall 2019.
GERAN RAMET (MA 2020)
Geran was a box office repre-
sentative at Starlight Theater in
Kansas City.
ICARUS cast at Visceral Theatre, founded by
J.T. Nagle, 2019. Photo by Bill Nagle.
MFA ACTING
JT Nagle (MFA Acting 2021)
https://drive.google.com/file/d/1BHZYfXX-Gs5SF4-u2KT4n05uB2-v5epM/view 1/1
JT Co-founded the immersive
Cast of "An Italian
theatre company Visceral The-
Straw Hat", UMKC atre with fellow MFA Actor,
Theatre, 2019. Photo
by Brian Paulette. Chelsea Rolfes. Our inaugural
production, ICARUS, was pro-
duced at a secret location in
Prairie Village.
16GRADUATE STUDENTS
MICHAEL OAKES Sheridan McKinley
(MFA Acting 2022) (MFA Stage Management 2020)
Michael performed a new de- This summer Sheridan worked
but play called Real Fucking as the production stage manag-
Life at Lake Superior State er for a new play, Chasing Gods,
University. by Paris Crayton III. This was
________________________ produced at the Kansas Reper-
tory Theatre in conjunction with
MFA STAGE New York Repertory Theatre.
MANAGEMENT _________________________
EMILIA COVAULT JESSICA TIBBOLES
(MFA Stage Management 2020) (MFA Stage Management 2021)
This summer Emilia worked on This summer Jessica was the
a gender-bent production of assistant stage manager for Fun
The Importance of Being Ear- Home at Farmers Alley Theatre
nest at Unity Theatre Collec- in Kalamazoo, Michigan.
tive in her hometown of Ven- _________________________
tura, CA. Prior to that, she had
been working at Opera Santa MFA COSTUME DESIGN
Barbara on a production of & TECHNOLOGY
The Crucible.
TRUSTIN ADAMS
________________________
(MFA Costume Design
TIAN HAO and Technology 2022)
(MFA Stage Management 2020)
This summer Trustin worked
Tian was honored to partici- for The Phoenix Theatre Com-
pate in MAITBC, Miss Asia USA pany’s 99th season as a crew
Pageant, in 2019. She compet- member for two of their shows,
ed in three rounds, eventually Jersey Boys (Wardrobe) and
winning triple titles at the end Airness (Spot Op). He also
of the pageant. Tian won “Miss played “Davey” in Hale Center
Asia USA” First Place, “Miss Theatre’s production of Dis-
Asia USA TOP social media” ney’s Newsies.
First Place, and “Miss Asia USA”
Miss Category First Place. Not
only was Tian a contestant, but
Tian Hao in MAITBC, Miss Asia
she also served multiple roles
USA Pagaent, 2019 such as lighting designer, cho-
reographer, video editor, and
stage manager for the pageant.
15
17GRADUATE STUDENTS
Jordan New
(MFA Costume Design
and Technology 2021)
Jordan was the costume de-
signer for Academy Children’s
Theatre in Huntsville, Alabama
for their 2019-20 season and
for Master Harold and the
Boys at Kansas City Actors
Theatre. She was also the
stitcher for Joseph and the
Technicolor Dream Coat at
Utah Shakespeare Festival.
Master Harold and the Boys, Kansas City Actors Theatre, 2019.
Costume design by Jordan New. Photo by Brian Paulette.
________________________
EMILY STOVALL
(MFA Costume Design
and Technology 2020)
Emily was a stitcher at Utah
Festival Opera and Musical
Theatre for their 2019 summer
season.
“
The Marriage of Figaro, Utah Fesitval of Music Theatre, 2019. Emily Stovall was
a stitcher for the "Susanna" costume. Photo by Waldron Creative.
HONORING DR. LONDRÉ
Dr. Londré taught me that having a passion best teacher I have ever had. I love watching her
for learning is a quality that I should never teach and learning from her. I idolize Dr. Londré
outgrow. Her ability to infuse joy and enthusiasm and hope that someday I can spread a fraction
into her theatre history classes allows me to of the joy for learning that she has. Thank you
enjoy learning in a way that I have never before for teaching me and reminding me that my job of
experienced. Dr. Londré uses song, recitations learning will never be complete.”
of poems, and performances of monologues to
impress knowledge upon her students. She is the - SARAH JEAN HAYNES-HOHNE
18GRADUATE STUDENTS
MFA SCENIC DESIGN
Selena Gonzalez-Lopez
(MFA Scenic Design 2020) 12/14/2019 IMG_E8949 - Selena Gonzalez-Lopez.JPG
This summer Selena used her
John Ezell Travel Grant and
spent a month in Europe to
learn more about scenic design.
She attended the Prague Qua-
drennial of Performance Design
and Space in Prague. She also
traveled in Iceland, Nuremberg,
Munich, Budapest, London, Ed-
inburgh, and drove all around
the highlands in Scotland to do
research for a production of
The Moors.
________________________
Kate Winegarden
(MFA Scenic Design 2022) Selena Gonzalez-Lopez in the highlands of Scotland researching a pro-
duction of The Moors. Photo courtesy of Selena Gonzalez-Lopez.
Kate was the technical direc-
12/14/2019 SFS Federal Hill - Kate Winegarden.jpg
tor and co-scenic designer for
The Stephen Foster Story and
Joseph and the Amazing Tech-
nicolor Dream Coat at The Ste-
phen Foster Story Drama Asso-
ciation in Bardstown, Kentucky.
________________________
MFA TECHNICAL
DIRECTION
MORGAN COLE https://drive.google.com/file/d/1zjKiU5-eWyPlXH1WqHoOGWT_3N944pFn/view 1/1
(MFA Technical
Direction 2022)
This summer, Morgan was the
technical director/scenic teach-
ing artist for Theater in the The Stephen Foster Show, The Stephen Foster Story Drama Association, 2019.
Kate Winegarden designed rebuild of the gazebo unit. Photo by Ray Kirkland.
Park’s Summer Academies in
Kansas City, doing scenic and
lighting design for Madagascar
Jr., Once on this Island Jr., and
Thoroughly Modern Millie Jr.
19SOUND DESIGNERS
AT T U N E D T O T H E P R O F E S S I O N
BY GERAN RAMET
WHAT MAKES for a good
MFA program in sound de-
sign? Learning the skills
necessary to get ahead
in the professional world?
Professional opportunities
that build connections and
enhance experience? All
of these are offered in the
UMKC Sound Design Master
of Fine Arts program. Stu-
dents are given the oppor-
tunity to learn and grow in
a professional environment, Recording session in UMKC sound department studio
as well as given opportu-
nities to work with profes-
sionals in fully-realized pro- “Our MFA sound designers are trained to work in multiple
ductions, both inside and experiences: theatre sound design, composition for plays,
“
outside of the program. music production and recording studio work,” says Tom Mar-
dikes, professor of sound design. “While in the MFA program,
most work at several professional venues as designers or as
design assistants with KC Rep, Kansas City Actors Theatre,
Unicorn Theatre and The Coterie Theatre.” The ability to con-
nect and work with multiple professional companies around
I had a chance to the Kansas City area allows students to grow in their craft
apply my sound design and create relationships that will benefit and create future
and compositional job opportunities that can pave the way for a bright future in
skills to a wide range the world of sound design. “We craft a comprehensive pro-
of different projects.” gram targeted to shore up your weaknesses, build on your
strengths, and provide the opportunity for building on your
– RICHARD
dreams,” says Mardikes.
SPRECKER
“UMKC’s record of excellence in professional training stands for
20SOUND DESIGN
itself,” says alumnus Richard
Sprecker (MFA Lighting and
Sound 2012). “Everything
in the lighting and sound
tracks has been useful in my
career, both professional
and academic. In particular,
the focus on problem-solv-
ing and finding solutions is
a big part of my work.” Stu-
dents learn everything nec-
essary to get ahead in to-
day’s world of sound design, Noah Lindquist and Steven Jarvis recording recording sound
“
learning new technologies
and techniques that allow
them to be at the forefront of
from them and apply them
their field and in the profes-
to my professional design
sional world. With classes in
work, and they still motivate
programs such as Pro Tools,
many class projects I give We craft a
as well as classes that teach
my own students,” Spreck- comprehensive
the ins and outs of the re-
er says. These opportunities program targeted
cording studio, UMKC’s MFA
and projects help students to shore up your
in sound design gives every
realize their full potential weaknesses, build
student the tools that they
and prepare them for the on your strengths,
need in order to be compet-
workloads and real-life ap- and provide the
itive in today’s market. With
plication of the skills learned opportunity for
instructors who are able to
in their program. building on your
attune their programs to the
needs of the students, this “I would tell someone inter- dreams.”
program is designed to help ested in a sound design MFA – TOM MARDIKES
each and every individual to that UMKC will grant them
be the best sound design- the widest range of profes-
er that they are able to be. sional opportunities. The
“I had a chance to apply my program will fully immerse
sound design and composi- a student in the artistic, technical, and professional sides of
tional skills to a wide range theatre sound design, allowing the student to find their own
of different projects, both on expression in a wide variety of ways. The program prepares
campus and off. I was able you for the expectations of the professional world in a way
to take the things I learned few programs can.”
21Lighting design by Bryce Foster for The Secret Garden, Eastern Illinois University. Photo by Katie Lister.
D I V E R S E PAT H W AY S T O S U C C E S S
UMKC LIGHTING DESIGN ALUMNI PUT THEIR DEGREES TO WORK
BY SHANE ROWSE
EAVESDROP on any conversation with Professor Victor En Yu Tan about the alumni of the
UMKC Theatrical Lighting Design program, and you’ll quickly realize how much diversity of op-
portunity there is in the field. UMKC grads are part of the industry diversity everywhere, doing a
little bit of everything. We took a few minutes to catch up with some graduates of the program
– both recent, and not so recent – to find out what they’re doing and where their careers in the
industry have taken them.
Hector Quintero (MFA Lighting 2019) has begun teaching as an adjunct faculty member at UCLA;
Bryce Foster (MFA Lighting 2019) is working steadily for a Chicago based company that does
lighting equipment installations and renovations, and recently did a show as a guest designer
22LIGHTING DESIGN
at Eastern Illinois University, where he collab- ing Dion, and Thunderforce) being an on-field
orated with UMKC scenic design graduate electrician during the Super Bowl half-time
Nicolas Shaw (MFA Lighting 2008); Shan- show, programming for the HBO miniseries
non Barondeau (MFA Lighting 2018) has a The Outsider, and working as an installer/pro-
regular gig running lights for a Latin dance grammer on LED art installations with visual
club in Los Angeles; Ashley Kok (MFA Light- artist Grimanesa Amoros in Havannah, Cuba,
ing 2018) is working as a freelance lighting and Mumbai, India, and serving as a trainer for
technician and ALD in New York; and all are IATSE Local 479.
pursuing freelance careers as lighting and
Jason Rainone (MFA Lighting 2001) has spent
projection designers.
the last 13 years as a full time architectural
Devorah Kengmana (MFA Lighting 2015) is lighting designer for Abernathy Lighting De-
working as the lead video engineer for the sign in Providence RI, doing projects for mu-
New York Times’ TimesCenter; Adam Raine seums, science centers, and themed attrac-
(MFA Lighting 2015) is working at the Univer- tions. Current projects include lighting for an
sity of Central Florida as a visiting assistant antiquities museum in Cairo, Egypt, galleries
professor in lighting and video design/tech; at the Penn Museum in Philadelphia, half of
Colleen Shea (MFA Lighting 2017) is also the National Air and Space Museum in Wash-
teaching, at Fiorello LaGuardia High School ington DC, and updated lighting on the Rhode
for Music, Arts, & Performing Arts in Manhat- Island state house.
tan; and Kris Kirkwood (MFA Lighting 2016) is
No two careers are alike, but they all share
working as a freelance lighting and projection
one common thread: All of these individuals
designer, based in Kansas City and working
trained as theatrical lighting designers, and
regionally and nationally.
then put their education to work taking ad-
Richard Sprecker (MFA Lighting 2012) is in his vantage of the diverse opportunities that they
seventh year on the faculty at the University found in the professional world. There’s no
of Oklahoma, where he’s building a growing single path to success; instead, there are myr-
sound and lighting program; Sprecker contin- iad diverse possibilities.
ues to design professionally, spending sum-
mers at the Heritage Theatre Festival, Weath- Lighting design by Kris Kirkwood for The House of Blue Leaves,
William Jewel College,. Photo by Kyle Rivas
ervane Playhouse, and Texas Shakespeare
Festival, and lighting concerts for The Man-
hattan Transfer and Take 6.
Steve Dubay (MFA Lighting 1999) is well es-
tablished in Atlanta, where he’s built a de-
cade-long career as a lighting console pro-
grammer for feature films and episodic TV
productions. Recent projects include pro-
gramming work on two Netflix series (Rais-
232019 Charrette Master Vita Tzykun and Maria Nieto (MFA costume design and technology 2020).
INTENSIVE & EXTENSIVE:
THE ANNUAL CHARRET TE
BY JACK KNEESSY AND GERAN RAMET
A UNIQUE educational model developed at UMKC Theatre is
the annual charrette in which all MFA design students partici-
pate. Dr. Elizabeth Noble, who fell in love with the idea of the
The goal of the charrette process and graciously felt inclined to be a part of it,
charrette remains generously funded the 2019 charrette. The charrette is a very
clear in the 20+ year intensive process, spanning the course of a few days. Students
history of its UMKC are excused from their classes during this time to work to-
offering: to discover gether in one room collaborating on a particular topic decid-
one's own authentic ed by the charrette master and work at an intense, yet pro-
contribution to a fessional pace.
narrative.
The charrette provides an educational opportunity for MFA
design students unlike any other experience. They are giv-
en the chance to work with an international luminary, some-
24CHARRETTE
one who has an abundance of experience
to share with eager new designers. Not only
do the students receive attention from these
artists, but at the end of the charrette peri-
od they are left with something unique they
have developed for their own portfolio in
conjunction with a renowned artist. It is tru-
ly a one-of-a-kind learning experience that
2019 Charrette Master Vita Tzykun working
gives students a feel for the sophistication with sound design students.
and eloquence at the speed at which profes-
sional designers work.
The 2019 charrette master was Vita Tzykun,
a world renowned designer of both opera
and stage plays, as well as film. She is an Is-
raeli-American who emigrated from the So-
viet Union to the United States to finish her
studies. Her work in all fields of the creative
performing artists made her a prime example
of what the charrette master should be. The
topic of the 2019 charrette was Franz Kaf-
ka’s The Trial. Originally a novel it has been
adapted into a screenplay by Orson Welles,
Lee Barker (MFA scenic design 2021) and
a stage play by Steven Berkoff, and an op- 2019 Charrette Master Vita Tzykun.
era by Phillip Glass. This created the unique
The goal of the charrette remains clear in the
opportunity to capitalize on all aspects of
20+ year history of UMKC offering it: to dis-
Tzykun’s expertise.
cover one’s own authentic contribution to a
Students were given the option to design for narrative. Furthermore, this opportunity has,
any of these mediums of creative expression, in the past led to employment opportunities
choosing between the film, stage play, and and further artistic contributions. For example,
opera to create a fully-realized production. after the charrette one year, MFA graduate Al-
The students had the same inspirations and exander LaFrance (MFA Scenic Design, 2015)
research, but were able to create differing further developed his idea under charrette
views on how a potential production could be master Victoria Morgan into what is now
done. They were able to collaborate on re- the design concept for the world premiere
search, which is a skill that is necessary in or- of The Silver Shoes: The Ballerina in Oz at
der to go into the field of design. At the end the Cincinnati Ballet. He has since gone on
of the period, students put up their work for a to become the art director at Walt Disney
critique by the charrette master. Parks & Resorts.
25An Italian Straw Hat, UMKC Theatre, 2019. Scenic design by Lee Barker. Photo by Brian Paulette.
DESIGN IS DESIGN IS DESIGN!
N A R R AT I V E S C E N I C D E S I G N T R A I N I N G
BY GERAN RAMET
FOLLOWING your dreams in financially chal- some may know in relation to video game
lenging times can be a daunting task. One development, but it has a much broader ori-
needs to dream BIG, but also lay a course for gin and deeper application. Narrative design
oneself that is practical while having a track is the design process that underlies all forms
record of success. As Sam Spade noted in The of visual scenic design: theatrical, film, theme
Maltese Falcon, you have to determine exact- rides and entertainments, gaming, graphic
ly what is “the stuff that dreams are made of.” novel design, illustration, and even interac-
tive architecture.
Young artists entering graduate training
seek a program that will assure their future Mastery in narrative design enables an artist
success. Pursuing a career in narrative de- to develop, control and express:
sign training greatly enhances one’s ability
• The Dramatic Structure of past, present
to succeed. “Narrative design” is a term that
and future.
26SCENIC DESIGN
La Cambiale di Matrimonio, UMKC Conservatory, 2019. Scenic design by Sarah Reed. Photo by Brian Paulette.
• The Setting developed to reinforce that form of visual narrative design are: compre-
narrative structure, hensive training in the history of design and
period styles, textual analysis, training in de-
• The Character of the setting capable of ex-
sign techniques, extensive rendering training,
pressing itself through an individual and
and actual production experience. The UMKC
specific voice,
Theatre MFA program supplies all of these to
• The Theme that lends coherence to the other our students of design.
narrative elements- expressing its purpose,
Courses in history supply the foundation for
and finally –
understanding the context, style and tone of
• The Narrative Tone - the atmospheric quality a narrative design. Textual analysis trains one
that unifies all elements of the narrative design. to comprehend the interface between dra-
matic structure, character-arc, and theme. De-
This sounds like a lot to master, and it is. That is
sign training techniques enable the designer
why one needs a MFA that has a proven track
to express the theme, style and most impor-
record of training design students for success.
tantly tone, which Robert Edmond Jones re-
Several years ago, Thomas Walsh, then Pres-
ferred to as the ’emotional envelope’ of the
ident of the Art Directors Guild of Hollywood,
design, whether it includes the sets, costumes,
identified UMKC Theatre program as one of
lighting for stage, or film, themed entertain-
only a small handful of programs that train their
ment or game. Rendering techniques courses
students in ALL aspects required for success
train students to express themselves visually
in any of the various genre of narrative design.
through intensive courses in design drafting
The elements of the UMKC Theatre training
and 3-D modeling (both traditional and elec-
that he identified as being crucial in the train-
tronic media), color development in a broad
ing of designers who hope to succeed in any
array of medium, scenic painting by a master
27SCENIC DESIGN
artist, and Florentine life-drawing. UMKC The- UMKC Theatre enable graduates to move into
atre has long been known as The Art School professional settings which they may never
of the Theatre, and one can see why when have imagined; theatre, film design, theme
looking though the portfolios of our Alumni. park design, art direction, gaming design, ar-
Professional production, last but not least, chitectural, and opera.
includes training in the art of producing the-
“UMKC Theatre teaches you how to be able
ater through active experiences, encom-
to design in a fast-paced environment as
passing a variety of texts, both classic and
well as to feel safe to explore and try ideas…
contemporary. Experience with profession-
the program places you ‘in the room’ with
al directors in real theatres, and with bud-
other designers, of all focuses, and furthers
gets that enable creation of realized works
the idea that collaboration is needed…
for portfolio and resume, establish the tra-
actually paramount.”
jectory for success.
– TRISTAN JAMES
Although theatre design is the model we use
(MFA Scenic Design, 2018)
for training in narrative design, these tech-
niques are readily transferable to all forms UMKC Alumni have flourishing, satisfying, and
of narrative design as evidenced by the often lucrative careers designing for televi-
post-graduate employment of UMKC Conser- sion (including Presidential Debate stages!),
vatory alumni. It has been said that ‘”Design is film, theater productions, opera, ballet, Dis-
design is design” and it is true; once one has ney Cruise production and attractions…
the skill set to work in narrative design, all of
You name your dream and we can help you
the doors of design are apt to open.
realize it!
Cast of The Moors, UMKC Theatre, 2019.
28 Photo by Brian PauletteFACULTY STAY SHARP
LINDSAY W. DAVIS FELICIA LONDRÉ
(Professor of (Curators Distinguished
Costume Design) Professor Emerita)
Lindsay W. Davis spent Felicia Londré is now
the summer in New York Curators Distinguished
City and saw 14 Broadway Professor Emerita, as
and Off-Broadway shows. she has scaled back
Currently he is preparing from full-time teaching.
for a new production of She continues super-
Frankenstein for Origins vising seven MA the-
KC, the New Works Festi- ses in progress as well
val at the KC Rep. as teaching the graduate-level theatre history
______________________________________ course. She translated Eugène Labiche’s Un
Chapeau de paille d’Italie (An Italian Straw Hat)
GENE EMERSON for UMKC Theatre’s fall production in Spencer
FRIEDMAN Theatre. She is dramaturg for that play and for
(Associate Professor, the Unicorn’s December production of There-
Head of Scenic Design) sa Rebeck’s Bernhardt/Hamlet. Along with that
immersion in 19th-century France, she is pulled
Gene Emerson Friedman
to the 17th century by the city-wide project to
celebrates his 25th year as
celebrate Molière’s 400th birthday (15 January
resident scenic designer 1622). With the late Kip Niven, Felicia co-found-
for The Heart of Ameri- ed KC MOlière: 400 in 2022 to oversee six
ca Shakespeare Festival, months of French Baroque arts and theatre in
where this year, his design the spirit of Molière. The nonprofit corporation
for Shakespeare in Love, got its 501(c)(3) status in August with Felicia as
was added to his list of Best Play in Production president of the board.
Awards (PITCH Magazine), along with Hamlet
(2016), Twelfth Night (2015), and A Winter’s Tale Shakespeare in Love, The Heart of America Shakespeare Festival, 2019.
Scenic design by Gene Emerson Friedman.
(2014). Friedman’s set at the Unicorn Theatre for Photo by Gene Emerson Friedman.
Lynn Nottage’s Sweat won unanimous critical ac-
claim for its authenticity of detail and flexibility of
design. His design for A Christmas Carol at the
Great Lakes Theatre, in Cleveland Ohio, cele-
brated its 31st Anniversary this year! He has also
developed new scenic elements for KC REP’s pro-
duction of A Christmas Carol, a production he first
worked on 40 years ago!
29“
FACULTY STAY SHARP
GREG MACKENDER
(Assistant Teaching
Professor Sound) HONORING
DR. LONDRÉ
Greg Mackender com-
pleted his 27th season in Dr. Londré makes her
the park with The Heart enthusiasm about theatre
of America Shakespeare infectious. She is generous
Festival, as Musical Di- with praise, yet encourages
rector for Shakespeare in the highest standards in
Love. His sound crew in- all things. Think of her
cluded sound design MFA as an exquisite bottle of
Stephen Jarvis as A2 (Audio 2nd Engineer), KC champagne brought to life.”
Rep's Jeff Keirsey and Miles Mosher rounded out – JEFF CHURCH
the team as Sound Designer and A1, respectively.
TOM MARDIKES
(Professor of
Theatre Sound)
Tom Mardikes continues
his investigation of mov-
ing sound in unheard
ways in the Sound Man-
dala. This summer he
continued to do experi-
mental exercises with Jon
Robertson (MFA Sound
2016) and 3rd year Sound MFA Sean Obrecht.
Design for Sound Mandala 112, by Tom Mardikes.
He has worked with recent scene design grad
Kelli Harrod (MFA Scenery 2019) and retired fac-
ulty technical director Chuck Hayes to design
to 100 people for ticketed events. Mardikes is
and plan the next two iterations of the Sound
also beginning work on his first artistic piece for
Mandala. Sound Mandala 112 will be a $150,000
the Sound Mandala, a sonic showcase of the
project running two years that will feature 112
play within the play of Chekhov’s The Seagull,
small loudspeakers mounted into a space that
which will be voiced by Kim Martin-Cotton
will demo for about 15 people. That project will
(MFA Acting 1993).
be followed by Sound Mandala 192 that will be
approximately $1,500,000 project for an ac- Mardikes is also serving as chair of the UMKC
tual theatre space that holds audiences of up Faculty Senate for 2019-2020.
30FACULTY STAY SHARP
CARLA NOACK
(Associate Professor
of Acting)
Carla Noack relished an-
other year of life in the
“Stretch Zone” with her
students and colleagues
at UMKC. In addition to
serving her second year
as Department Chair, she
taught the MFA and un-
dergraduate acting progression, and played
“Soccer Mom” in the Unicorn Theatre’s The
Wolves and “Anne Marie” in the Kansas City Ac- Carla Noack in A Doll's House, Kansas City Actors Theatre, 2019.
Photo by Brian Paulette.
tors Theatre’s A Doll’s House. Carla was also
invited this summer to participate in a panel dis-
cussion of “Assessment in Theatre Education” as
part of the National Alliance of Acting Teachers
Annual Congress in NYC.
SARAH M. OLIVER
(Assistant Teaching
Professor Costume
Technology)
Sarah M. Oliver had the
joy of designing and
making costumes for
“Nora” twice this year in
A Doll’s House at Kan-
sas City Actors Theatre
and A Doll’s House Part
2 at the Unicorn Theatre. She also had a full
summer of designing and making costumes
Morning's at Seven, Kansas City Actors Theatre, 2019.
for Morning’s at Seven with Kansas City Actors Costume design by Sarah M. Oliver. Photo by Brian Paulette.
Theatre, Last Romance and Sherwood at The
New Theatre Restaurant and Nomad Motel at
the Unicorn Theatre.
31FACULTY STAY SHARP
STEPHANIE ROBERTS SHANE ROWSE
(Associate Professor (Assistant Teaching
of Acting) Professor Lighting
Technology)
Stephanie Roberts had a
fulfilling spring and summer Shane Rowse began the
of producing, coaching, summer in late May de-
training, and professional signing lighting for Morn-
development. Recipient of ing’s at Seven with Kan-
an ArtsKC Inspiration Grant, sas City Actors Theatre.
Professor Roberts co-pro- After a quick trip to New
duced four performances York to support UMKC’s
of Late Night Squeeze: A Nocturnal Variety Show students at the National Design Portfolio Review,
at Squeezebox Theatre. She was the co-planner he returned to Kansas City to design lighting for
of the Association of Movement Theatre Educa- The Revolutionists at The Unicorn Theatre, and
tor’s (ATME) Colloquium at U-Cal, Pennsylvania then worked on a remount of his design for Ele-
exploring the theme, #GenZ: Teaching Today’s phant & Piggie: We Are In A Play, which opened
Students. Coaching included Movement Consul- at The Coterie in mid-June. In August he was
tant for Vanessa Severo’s Frida…A Self-Portrait back at Kansas City Actors Theatre designing A
and Intimacy Director for The Omnivore’s Gulp. Doll’s House. More recently, with the assistance
Professor Roberts also returned to Blue Lake, CA, of first year lighting grad Austin VanWinkle, he
home of Dell’Arte International to participate in lit the new dance work, Love Songs, for the Ow-
“Teaching Embodied Practice” a week-long in- en-Cox Dance Group.
tensive training for movement educators with DA
founding artistic director, Joan Schirle. She was a
featured artist for the GUILDIt’s Artist Forum and
began serving on the Charlotte Street Founda-
tion’s Performing Arts Programming Committee.
Professor Roberts has also begun the research
and development phase of the devised piece, Di-
vided, which she is co-creating with her MFA Act-
ing students and directing in spring of 2020.
Love Songs, Owen Cox Dance, 2019.
Lighting design by Shane Rowse.
Photo by Shane Rowse.
MFA Acting students perform in
Late Night Squeeze/ A Nocturnal
Variety Show, produced by
Stephanie Roberts.
Photo by Micah Thompson.
32FACULTY STAY SHARP
SCOTT STACKHOUSE VICTOR EN YU TAN
(Assistant Professor of (Professor of
Theatre in Voice) Lighting Design)
Scott Stackhouse stayed Victor En Yu Tan recent-
busy last summer, vo- ly designed the lights
cal coaching for Agatha for Pan Asian Repertory
Christie's The Mousetrap Theatre on the world pre-
at Tent Theatre in Spring- miere of Brothers Para-
field, Missouri. He did a normal at the Beckett
presentation on "Antonin Theatre on NYC Theatre
Artaud and the Obliga- Row. Previously for the
tion of a Scene" at the VASTA conference in Or- Pan Asian Rep, he had designed the premiere of
lando, Florida and then directed The Complete A Dream of Red Pavilions at the Clurman The-
Works of Shakespeare (abridged) at Seaside atre, Rangoon, Shogun Macbeth, and Joy Luck
Repertory Theatre in Seaside, Florida. Scott has Club. He also designed Nomad Motel, Vietgone,
continued to vocal coach on professional and and Bad Jew for the Unicorn Theatre in Kansas
academic productions including Cat on a Hot City, and Handel’s Alcina for Florida State Op-
Tin Roof at KC Rep Theatre and Rise Up at The era. Regionally, he had designed the premiere
Coterie Theatre. of I Sing the Rising Sea for Virginia Stage Com-
pany in Norfolk VA and Single Black Female for
Crossroads Theatre in New Brunswick NJ.
Vanessa Severo and Nathan Darrow in Cat on a Hot Tin Roof. Brothers Paranormal, Pan Asian Repertory Theatre, 2019.
Photo by Don Ipock. Lighting design by Victor En Yu Tan.
Photo courtsey of Victor En Yu Tan
33CONFIDENT
COSTUME DESIGN
Allison Dillard at Ovation award ceremony
H O W A L L I S O N D I L L A R D S TA N D S O U T I N L . A . T H E AT R E
BY SARAH JEAN HAYNES-HOHNE
CONFIDENCE is key for Allison Dillard (MFA berg, “plucked her resume out of the abyss,”
costume and design technology 2012) in or- and they met for coffee. Eisenberg was im-
der to do her job well. When she first moved pressed with Dillard’s resume and although
to Los Angeles in January 2013, her assured she couldn’t offer her a job directly, she did
opinions and education in theatre history give Dillard’s information to other directors.
helped her to gain employment. Understand- This relationship helped Dillard break into
ing costume history, being able to create dif- the L.A. Theatre world and enabled her to
ferent rendering styles, and being able to work as a freelance designer. Now, Dillard is
talk about theatre history pushed her ahead contracted by several different theatre com-
of other designers and people want to work panies and designs an average of two shows
with her because of it. per month.
Dillard was applying for jobs online and sub- Dillard’s success as a designer has recent-
mitting her resume to several theatre com- ly been recognized with three awards, two
panies, when a producer, Rebecca Eisen- from the Ovation Awards and one from the
34COSTUME DESIGN
Robbie Awards. She had been nominated for Post is Dead, a charming new play about an-
the peer-reviewed Ovation Award in the past, cient Greek mythological characters stuck in
but in January 2019 she won for her costume the 1950s-60s, produced by Moving Arts. She
design on the musical Priscilla, Queen of built all the costumes and although it wasn’t
the Desert. This award is voted on by peers a flashy show, she felt honored to have been
who work in her field, making the win all the recognized for her nice and subtle work. Dil-
more special. Priscilla, Queen of the Desert lard was also granted a Robbie Award for her
ran at the Celebration Theatre January - May work on Priscilla, Queen of the Desert.
2018 and because of the intimate space, Dil-
When searching for a graduate program,
lard had to totally re-think and re-design the
Dillard met Lindsay W.Davis, professor of
show. It was campy and silly, required her
costume design, and was immediately im-
to purchase materials from the Dollar Store,
pressed with his honesty about her drawing
and pushed her creativity to new bounds.
skills. She had been looking for a program
Dillard built 100 costumes by herself in six that would support her goal to learn how to
weeks through “the struggle, glue, and mag- draw and she knew that she had found a
net burns.” It was a complicated wardrobe school that would push her to reach her full
that involved 24-second quick changes and potential at the University of Missouri-Kan-
drag queens with limited space in the back-
Allison Dillard holding LA Stage Alliance Ovation Award
stage area. Allison felt excit-
ed by the opportunity and
was given freedom to re-de-
sign the iconic looks from
the original film version, but
she wanted to show the
LGBTQ+ community some-
thing they recognized, while
still making it new. Dillard
was thrilled to receive her
nomination for the Ovation
Award in November 2018.
She prepared a list of names
of people she would thank
in case she won, which she
forgot to bring with her when
her name was called to the
stage the following January.
Dillard also won a 2019 Ova-
tion Award for Bliss, or Emily
35COSTUME DESIGN
“
sas City. Her support from assistant teaching
professor of costume technology, Sarah M.
Oliver, in sewing, tailoring, and fabric manip-
ulation helped Dillard become prepared for
the professional world.
HONORING
“People want to work with me because I can DR. LONDRÉ
do everything. I can make wigs, construct
My life’s primary ambition is
hats, and do makeup. I can build costumes to ignite passion for learning
from scratch. I understand costume history the way Dr. Londré has done
and have good tastes with different render- for me. I cannot recall coming
ing styles for many types of shows. I can do in contact with someone who
has changed my own personal
all of these things because of UMKC”, Dillard
outlook the way she has. With
remarked. so much knowledge and
countless accolades it is easy to
She is able to talk about theatre history with be in awe of her. However, what
other theatre professionals because of the- is more awe-inspiring is her
atre history courses taught by Felicia Hardi- eagerness to learn more.
son Londré, curators’ professor of theatre. “I just ordered this biography.”
“Being able to talk about theatre history
“I would love to see
with possible employers pushed me ahead
this in production.”
of other designers,” Dillard commented. Al-
though the life drawing classes were her “You get to research
this, how exciting!”
favorite, what she gained most from UMKC
was a sense of confidence that her educa- These are all things that I have
tion made her a great designer. heard her say on a number
of occasions. She is never
When Dillard graduated from UMKC in 2012, complacent with the knowledge
she was hired as a first-hand draper at Glim- she has already attained. The
idea that learning is never done
merglass Opera in New York for the summer, is something I’m familiar with,
then she went on to work as a costume de- but had never before seen an
signer and makeup teacher, designed a fall example of. Dr. Londré is the
dance show and applied to jobs everywhere. truest example of a life-long
learner. The greatest lesson she
She was hired by L.A. Opera as a stitcher in
has bestowed upon me is that
2013 and has also worked for Centre The- learning is not the stepping
atre Group in Los Angeles. Dillard now works stone, but rather the path.”
as freelance designer in L.A. and works on
– DAKOTTA L. HAGAR
a contract basis. You can see her past work
and keep up with her next professional steps
on her website: allisondillard.com.
36You can also read
