2019 THEATRE TRAINING NEWS - Chelsea Kinser in Dracula, Kansas CIty Actors Theatre, 2018. Photo by Brian Paulette - UMKC Theatre
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2 0 1 9 T H E AT R E T R A I N I N G N E WS
Chelsea Kinser in Dracula, Kansas CIty Actors Theatre, 2018.
Photo by Brian Paulette
UMKCTHEATRE.ORG
2019
THEATRE
CONTENTS TRAINING
NEWS
3 TH E ATRE, MU SIC AND
DANCE COLL ABO RAT IO N Writers
Kevin Fennell
6 LI G HTI NG : THE CO LO R O F MUSIC
Dakotta Hagar
Sarah Jean Hohne
9 ACTI NG : FOU N DAT IO NS
OF S U CCES S Gabriel Livingston
13 B LOOD THI R ST Y FO R
COLL A B ORATI ON
Geran Ramet
Calan Welder
16 PROFES S OR S STAY SH AR P
Editor in Chief
23 S OU ND : THE S OUND
OF CRE ATI NG
Sarah M. Oliver
Executive Editor
26 STAG E M A N AG EMENT: CL IMBING
TH E L A DDER O F SUCCES S Sarah Jean Hohne
28 OF M I C E AND MEN :
A COLL AB ORAT IO N Copy Editors
31 G RA DUATE STUDENT S:
S U MMER WORK
Felicia Hardison Londré
Cynthia Stofiel
Cast of Secret
36 COSTU ME: CONST RUCT ING
A S ENS E OF U RGENCY
of Courage, The
Coterie, 2018.
Designer
Photo courtesy
39 S CENI C: DEVELO PING
PROFES S I ON AL STANDAR DS
of Mark Exline Meredith Shea
43 ALI CE B RACKEN- C AR RO L L
A L ASTI NG I MPR ES SIO N
45 TECHNI C AL DI R ECT IO N:
B U I LDI NG S OMET HING TO GET HER
47 HE A RT OF A MER IC A
S H A KES PE A RE FEST IVAL
49 M A STER OF ART S:
TH E ZE A L TO L E AR N
51 ALU MNI AT WO R K
58 S CH OL A R S H I P R ECIPIENT S
59 PROG RAMS / CO NTACT
1 UMKCTHEATRE.ORG
MISSION
S TAT E M E N T
UMKC Theatre has been ranked by U.S. News & World Report
among the top graduate theatre training programs in the coun-
try. Graduates from UMKC Theatre are invited to the most pres-
tigious New York and Los Angeles professional reviews and au-
ditions to exhibit their work and secure positions with national
and international performing companies. We build bridges. We
assist the creative student in making the journey to becoming a
creative professional. The practice of the department is to vig-
orously educate students in the many arts, crafts and traditions
of theatre, and to provide a basis for future careers in the cre-
ative industries. Our program offers intensive hands-on experi-
ence while at the same time fostering analytical and contextual
skills. The practical experience of theatre-making occurs not only
within the performing venues of UMKC, but also in professional
theatres in Kansas City. Theatre is a passion. We seek it, we train
for it, and we embody it.
UMKC Theatre is accredited by the National Association of
Schools of Theatre (NAST) and the University/Resident Theatre
Association (U/RTA)
Khalif Gillett in The Storytelling Project, UMKC Theatre, 2018. Photo courtesy of Sandra Lopez.
2 UMKCTHEATRE.ORG
THEATRE, MUSIC
& DANCE C O L L A B O R A T I O N
by SARAH JEAN HOHNE
Theatre has been described as “the culmination
of all of the arts,” a collaborative experience, a
platform for story-telling that is best served by
the artistic abilities of everyone involved work-
ing together and showcasing each of their tal-
ents. Part of working in theatre involves being
open to change, remaining vulnerable to new
processes, and choosing to be a willing mem-
ber of positive engagement with other artists.
UMKC Theatre has recently made a tectonic
shift in the foundational education for its stu-
dents that will support the ability to take ad-
vantage of such opportunities.
A Conservatory of the Performing Arts is in its in-
Crescendo, 2018.
fancy stages as a merger solidifies for the Depart-
ment of Theatre, which was previously housed
under the College of Art and Sciences, and the
Conservatory of Music and Dance, which has in
previous years stood as its own entity. Birthed
from the office of Provost Barbara Bichelmeyer,
the merger builds on great plans for the future
of UMKC’s theatre, music, and dance education.
There are many benefits to this union including
efficiency, academic excellence, joining philan-
thropic audiences, and sharing missions. Other
strengths include the possibility of new academ-
ic programs, creating new performances, gain-
ing partnerships and donors, and the overall ef-
ficiency of production cost.
The first of these exciting changes includes the
possibility of new academic programs. Some of Josephine Baker,
these include sound production design courses UMKC Conser-
vatory of Music
and Dance, 2017.
Photo courtesy of
Hector Quintero
3 UMKCTHEATRE.ORG
COLLABORATION
Theatre, Music and Dance Collaboration
and the use of combined studio space. UMKC Theatre is also
looking forward to the ability to create something that is great-
er than the sum of its parts. Carla Noack, chair of UMKC’s The-
atre Department and associate professor of theatre in acting,
says she is “excited about the unknown and what we can be-
come if we all work together for the benefit of our students. I
think I’m most excited about what we will potentially be able to
offer our students.”
La Finta, UMKC Conservatory
More budding options range from offering opera and singing of Music and Dance, 2018.
Photo by Cory Weaver.
classes to actors, to improvisation classes that could include stu-
dents and musicians. The goal would be to get everyone in the
“
room together to play and see what could happen. Stephanie
Roberts, associate professor of physical theatre, already leads a
group of musicians from the Conservatory that come together
once a week and improvise musically while the theatre students
improvise physically. Taking this session to an even bigger scale
that includes more disciplines in the creative process is very ex- I think I’m most
citing and very possible in the future. Many students have already excited about what
been working in opera and dance within the theatre department we will potentially
for many years, so many of the actions UMKC Theatre would like be able to offer our
to make official are already happening. students.”
Noack’s hope is that this process will “unite the faculty in a way – CARLA NOACK
that will be reinvigorating so that we can come together and
La Finta, UMKC Conservatory
of Music and Dance, 2018.
Photo by Cory Weaver.
4 UMKCTHEATRE.ORG
COLLABORATION
Theatre, Music and Dance Collaboration
dream about how we can collaborate, which Kansas City’s expansion of the streetcar route
will then open doors for our students.” Collab- will help make any new facility both convenient
oration is already starting as Professor Scott and affordable for future students.
Stackhouse is preparing to direct The Tempest
The merger of the Theatre Department and
for spring 2019. He is collaborating with the
the Conservatory of Music and Dance will en-
music and dance departments to incorporate
hance UMKC’s uniqueness and serve our com-
new music and dancing into this production,
munity well, including our professional theatre
which will serve to enhance the experience of
partners in Kansas City. The theatre scene has
magic and spirits that are attached to the core
exploded in Kansas City; at any given moment,
of this play.
there are many options to see exciting theatre.
With change comes great opportunity, and The UMKC Theatre/Conservatory merger will
these opportunities just keep coming for UM- serve to streamline the UMKC Theatre com-
KC’s future students. A new facility is in the munity so that audiences can come and see
works and has been narrowed down to within the elements of theatre, music, and dance in
a 2.1 mile radius of the UMKC Volker campus. one communal atmosphere.
La Finta, UMKC Conservatory
of Music and Dance, 2018.
Photo by Cory Weaver.
5 UMKCTHEATRE.ORG
LIGHTING
THE
COLOR
OF
MUSIC
By CALAN WELDER
UMKC Theatre’s lighting de-
partment has a long working
relationship with the Conser-
vatory of Music and Dance at
UMKC. Through this collabo-
ration, students are afforded
a wide variety of opportunities
and experiences that will help
develop their career potential.
Variations & Episodes Spring Dance Concert, 2017,
Lighting design by Bryce Foster.
6 Photo by Bryce Foster
UMKCTHEATRE.ORG
LIGHTING
Since the partnership was proposed twenty-five years ago by pro-
fessor of lighting design Victor En Yu Tan, UMKC Theatre light-
ing students have designed lighting for all of the concerts and
operas at the Conservatory. This partnership has given UMKC
Theatre’s lighting students the opportunity to explore their ca-
pacity for abstract expression by gaining experience lighting a
“
broad range of performance genres. When UMKC Theatre and
the Conservatory of Music and Dance officially merge, students
will be working more closely with the Conservatory of Music and
Dance than ever before.
Working with opera and dance gives lighting students the creative
freedom to experiment with lighting design in a highly expressive Ballerinas enter en
context. By lighting to enhance the feeling of a piece of music, or point in their tutus
the movements of dancers, lighting students develop their eye while male dancers
for abstract expression through light. Because these principles leap from offstage. If
are universal in lighting, they transfer to lighting for all types of the energies of the
performances. By working in dance where accentuating physical entrances are not the
forms is more important than literal interpretation – as in stage same, why would they
plays – designers have the opportunity to focus their full attention be lit the same?.”
on learning to sculpt with light, layering their effects as painters – VICTOR EN YU TAN
do on the canvas.
Shane Rowse, assistant teaching professor of lighting design (who
found his way into lighting design by way of an early aspiration to
be an opera singer), emphasizes the parallels between music and
lighting. Like music, lighting is an ephemeral art form that uses
a nonverbal language to express nuanced emotions. By honing
their ability to reflect the subtle changes in passages of music with
lighting cues, young designers develop a keen eye for translating
subtle emotional changes in stage drama into design.
For example, the lighting designer enhances his or her ability to
read the energy of movement in moments as simple as entranc-
es and exits. To illustrate the differences in human energies, Tan
references the entrances of male and female dancers in classical
ballet: “Ballerinas enter en point in their tutus while male dancers
leap from offstage. If the energies of their entrances are not the
same”, he argues, “why would they be lit the same?”
Rowse says that developing a sense for the emotional quality of
music and movement is as much an exercise in design as it is in
music appreciation. In fact, an affinity for music often translates
into an affinity for lighting design, and many lighting designers
7 UMKCTHEATRE.ORG
LIGHTING
were once dancers or singers. Working on proj- La Voix Humane, UMKC Opera Theatre, 2018.
Lighting design by Kris Kirkwood.
ects with the Conservatory of Music and Dance Photo by Cory Weaver
disciplines offer designers a variety of oppor-
tunities to develop a common vocabulary with
their collaborative colleagues.
The merger between UMKC Theatre and the atre seeks to provide an environment where
Conservatory of Music and Dance builds upon students can hone a range of skills that will allow
the existing relationship between the lighting them to become successful artists. The skills
department and the Conservatory by, as Rowse that lighting designers cultivate while at UMKC
says, “expanding the sandbox.” By offering op- become an exceptional foundation for working
portunities to gain experience creating lighting with all mediums in all settings for all the years
for a variety of performance styles, UMKC The- to come.
8 UMKCTHEATRE.ORG
ACTING
MISSION
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 cre-
ative technique based in classical,
contemporary and experimental
pedagogies. The program is de-
signed to challenge and inspire
students to reach their fullest
creative potential as actors,
while cultivating the highest lev-
el of professionalism.
Cast of Freedom Summer, 2018.
Photo by Brian Paulette
9 UMKCTHEATRE.ORGACTING
THE FOUNDATIONS
OF SUCCESS
By CALAN WELDER
The University of Missouri-Kansas City’s slogan, “the place for
people going places,” is an apt appraisal for career trajectory of
UMKC Theatre’s acting students. Many of UMKC Theatre’s grad-
uates find themselves working in a professional capacity imme-
diately after graduating from UMKC Theatre’s program where
they are immersed in professional productions.
“
Greg Brostrom (MFA Acting 2012), a working artist in New York
City, has worked consistently since graduating from UMKC The-
atre. For the past two summer and fall seasons, Brostrom has
worked at the American Shakespeare Center in Staunton, Vir-
ginia, where he performs in Shakespearean and classic roles. At
the company, Greg enjoys performing at the only reproduction The place for people
of the historic Blackfriars Theatre in the world. going places.”
– UMKC SLOGAN
Brostrom comments that the training he received at UMKC The-
atre was a major touchstone for his career of performing clas-
sics. Greg’s artistic process was honed at UMKC by forming a
foundation in acting style and methods by performing in Shake-
spearean shows. “Versatility is the name of the game,” Brostrom
adds, and nothing could be more true.
As part of the audition process for the Shakespeare Center,
Brostrom was asked to provide two Shakespeare monologues
and video of himself playing music. Using the creative skills he
developed at UMKC Theatre, Brostrom stood apart from the
crowd by setting a Shakespeare sonnet to music on the ukulele
and instantly earned himself a callback. Using as many tools as
possible, Brostrom was able to take advantage of his training to
make an impact on his colleagues.
The American Shakespeare Center, which pays tribute to Shake-
speare’s original staging, seats audience members on stage in an
intimate setting. The unconventional staging has given Brostrom Greg Brostrom, MFA Acting 2012
the chance to develop intimacy with the texts of Shakespeare’s
10 UMKCTHEATRE.ORGACTING
Acting: The Foundations of Success
Edwin Brown III (in the air) in Separate and
Equal, 59E59 Theaters, 2018.
“
Photo by Jeff Hanson
plays in a way that is difficult with modern staging. While with
the company, Brostrom performed the title role in Richard III,
Touchstone in As You Like It, and major roles in several other
classic plays performed in repertory. Separate and Equal
was sold out through
Brostrom’s fellow alumnus of the acting program, Edwin Brown its September run
(MFA Acting 2016), has also found great success, and recently and is slated for
made his off-Broadway debut with Separate and Equal at 59E59 an encore run in
Theatres in New York. A new play centering on a pickup basket- February 2019.
ball game between blacks and whites in 1951 Alabama, Separate
and Equal was sold out through its September run and is slated
for an encore run in February 2019.
As part of his experience working on the production, Brown
had the opportunity to rehearse in Alabama and do field re-
search where the playwright was originally inspired to write the
play: the Alabama Civil Rights Museum. He was referred to the
11 UMKCTHEATRE.ORGACTING
“ Versatility is the
name of the game.”
– GREG BROSTROM
production by his agent, whom
he met through UMKC Theatre’s
third-year actor showcase.
UMKC Theatre acting stu-
dents are making their mark
in the profession from coast
to coast. The foundational
creative technique, featured
in the training, coupled with
professional acting opportu-
nities with professional the-
atre companies in Kansas City
during their study, instill a
daring spirit and confidence
to succeed.
Greg Brostrom and Theodore Swetz (Head of Acting UMKC Theatre)
at American Shakespeare Center in Staunton, Virginia.
12 UMKCTHEATRE.ORGBLOOD THIRSTY
F O R C O L L A B O R AT I O N
by FINCH FENNELL
Theatre simply cannot be done without col-
laboration. With this in mind, UMKC Theatre
has been reaching out to collaborate with
many different professional theatre compa-
nies in the Kansas City area and considers the
entire city its campus. Our programs have
collaboration ingrained into the curriculum.
UMKC Theatre has enjoyed long-standing
relationships with The KC Rep, The Coterie
Theatre, Unicorn Theatre, and Kansas City
Actors Theatre (KCAT), among others, and
continues to produce theatre with them.
These long and meaningful friendships “al-
low us to help guide and train the next gen-
eration of theatre artists,” says John Rensen-
house, member of the board of the directors
and chair of the artistic committee of KCAT.
After graduation, many of UMKC Theatre’s
next generation of theatre artists are brought
in and hired for future productions with
co-producing partners.
Josh LeBrun in Dracula, Kansas City Actors Theatre, 2018.
Photo by Brian Paulette
13 UMKCTHEATRE.ORGCOLLABORATION
UMKC Theatre and KCAT just finished co-pro-
ducing Dracula: A Song of Love and Death at
the Spencer Theatre. This new adaptation of
Bram Stoker’s classic novel Dracula, was writ- John Rensenhouse
ten by KC-based Hollywood screenwriter/play- and Martin English in
Missouri Repertory
wright, Mitch Brian, and featured the 2019 MFA Theatre production
of Dracula, 1987.
acting class. Directing this co-production was Photo curtesy of
John Rensenhouse, who has also played Drac- John Rensenhouse
ula himself at Missouri Repertory Theatre in
1987. Mr. Rensenhouse lists the benefits of the opportunities at professional theatres in the
collaboration for students “who get a glimpse Kansas City area, “to work with seasoned local
of what happens in the real world. They work pros,” as Rensenhouse puts it.
with directors who aren’t their professors and The relationship between KCAT and UMKC
run rehearsals following the guidelines of Ac- Theatre came about quite naturally since one
tors Equity and U.S.A. professional contracts.” of the founders of KCAT is UMKC Theatre’s
These circumstances provide students with professor of sound design, Tom Mardikes. The
Cast of Dracula, Kansas
City Actors Theatre, 2018.
Photo by Brian Paulette
14 UMKCTHEATRE.ORGCOLLABORATION
Blood Thirsty for Collaboration
two organizations began collaborating when
they co-produced Oh! What a Lovely War for
the National World War I Museum in down-
town Kansas City.
Jason Francescon, Khalif
Gillett and Kip Niven in
Dracula, Kansas City
These professional opportunities are not
Actors Theatre, 2018. limited to only acting students, as Dracu-
Photo by Brian Paulette
la featured a current UMKC stage designer,
costume designer, lighting designer, stage
manager, and dramaturg, among many oth-
ers. Dracula had an original score composi-
tion, a uniquely designed massive set and lav-
ish Victorian costumes all created by current
UMKC Theatre students. “KCAT could not do
Dracula on our own,” concludes Rensenhouse.
The true goal of these collaborations is to
expand the reach of UMKC Theatre, and to
give unique opportunities to students in the
theatre program to improve their knowledge.
Few programs offer their students co-pro-
ductions with such a variety of professional
theatres and fewer have these opportunities
integrated into their curriculum the way that
this department does.
Yetunde Felix-Ukwu and
Jason Francescon in Dracula,
Kansas City Actors Theatre, 2018.
Photo by Brian Paulette
15 UMKCTHEATRE.ORGPROFESSORS
STAY SHARP UMKC
T H E AT R E
F A C U LT Y
Lindsay
W. Davis
Professor of Costume Design
Lindsay W. Davis returned
to Bay Street Theatre in Sag
Harbor, New York and was the
costume designer for Evita.
era company in Kansas City;
serving as production direc-
tor and board vice president.
We produced our first show,
Bon Operatit. Last year she
was the stage manager for
Sadie Eugene Onegin at the Lyric
DeSantis Opera of Kansas City and A
Christmas Carol at KC Rep.
Assistant Teaching DeSantis is currently direct-
Above: Evita at Bay Street Theatre, 2018.
Costume design by Lindsay W. Davis.
Professor of Stage ing a workshop production
Photo courtesy of Bay Street Theatre
Management and Production of Yingelishi, an opera in Below: A Christmas Carol at KC Rep, 2018.
Manager for UMKC Theatre Mandarin and English and
Stage management by Sadie DeSantis.
Photo by Cory Weaver
This year professor Sadie this coming year will return
DeSantis co-founded Opera to stage manage A Christ-
180, an intimate local op- mas Carol at KC Rep.
16 UMKCTHEATRE.ORGPROFESSORS STAY SHARP
Gene Dr. Felicia
Theatre Library Association in
Emerson Hardison
2008. She has also published
Friedman Londré
over 65 scholarly articles and
countless book reviews. At
Associate Professor Curators’ Distinguished
UMKC she has supervised 83
of Scenic Design Professor of Theatre
M.A. theses. In June 2018 she
Gene Emerson Friedman cele- Dr. Londré is a theatre histo- presented a paper in Nan-
brates his 23rd year as resident rian specializing in American, cy, France, on Brieux’s World
scenic designer for the Heart French, and Russian theatre War I play Les Américains chez
of America Shakespeare Festi- plus Shakespeare. With three nous. This ties in with her con-
val, where this year, his design books published in 2018, she tinuing work toward a book on
for Much Ado About Nothing, has a total of seventeen pub- French and American theatre
was added to his list of Best lished books. Her favorite is still artists in the Great War. Feli-
Play in Production Awards the twelfth one, The Enchanted cia’s other current project is
in the Pitch Magazine, along Years of the Stage: Kansas City working with actor Kip Niven
with Hamlet (2016), Twelfth at the Crossroads of American to launch “KC MOlière: 400 in
Night (2015), and A Winter’s Theatre, 1870-1930, which won 2022,” a city-wide arts celebra-
Tale (2014). Also this year, the George Freedley Memorial tion of Molière’s 400th birth-
Friedman’s set at the Unicorn Book Award presented by the day in 2022.
Theatre for Lynn Nottage’s
Sweat won critical acclaim for
its authenticity of detail and
flexibility of design. His design
for A Christmas Carol at the
Great Lakes Theatre, in Cleve-
land, Ohio, celebrated its 30th
Anniversary this year.
Sweat at Unicorn Theatre, 2018.
Scenic design by Gene Emerson Friedman.
Photo courtesy of Gene Emerson Friedman
17 UMKCTHEATRE.ORGPROFESSORS STAY SHARP
Greg Carla
Mackender Noack
Assistant Professor Associate Professor to teaching the MFA and under-
of Sound Design of Acting and Chair graduate acting progression,
of UMKC Theatre she played Paige in the Unicorn
Greg Mackender completed
Theatre’s production of Hir, di-
his 26th season in the park Carla Noack relished anoth-
rected by Ian Crawford. Carla
with the Heart of America er year of life in the “stretch
was appointed hair of UMKC
Shakespeare Festival, design- zone” with her students and
Theatre in October 2017.
ing sound and composing mu- colleagues at UMKC. In addition
sic for Much Ado About Noth-
ing. His sound crew included
MFA grad Jae Shanks as A1,
and youngest son Grant as A3!
Sam Cordes, Phil Fiorini,
and Carla Noack in Hir,
Unicorn Theatre, 2018.
Photo by Cynthia Levin
18 UMKCTHEATRE.ORGPROFESSORS STAY SHARP
Sarah M. Stephanie
Oliver Roberts
Assistant Teaching Professor Associate Professor
of Costume Technology era this summer for designer of Theatre
Sarah M. Oliver had a plen- Jonathan Knipscher and for Stephanie Roberts had a ful-
tiful season of costume de- the senior dance production filling year of teaching, creat-
signing and making. She de- at the Juilliard School de- ing, choreographing, directing
signed costumes for Sex With signed by Lauren Gaston. Oli- and training. She began the
Strangers at the KC Rep, Blithe ver’s latest project has her de- season directing the under-
Spirit, Skylight and Sea Marks signing costumes for a world graduate production of Dog
at Kansas City Actors Theatre premiere, Nelly Don - The Mu- Sees God, as well as choreo-
(KCAT), and Hir at the Unicorn sical, based on the true sto- graphing UMKC’s co-produc-
Theatre. Oliver also designed ry celebrating Nelly Don, the tion of Stupid F@!%cking
a full season of costumes for American entrepreneur whose Bird at Unicorn Theatre. Pro-
the New Theatre Restaurant. life’s mission was to champion fessor Roberts was chosen
She had the joy of making cos- the beauty of women through to be an artist-in-residence
tumes for the Des Moines Op- fashion. at the Nelson-Atkins Muse-
um of Art where she created
site-specific work as part of
Charlotte St. Foundation’s Ev-
ery Street is Charlotte Street.
Blithe Spirit at Kansas City Actors Theatre, 2018.
Costume design by Sarah M. Oliver.
Photo by Brian Paulette
19 UMKCTHEATRE.ORGPROFESSORS STAY SHARP
Shane
Rowse
Assistant Teaching Professor Sea Marks, Kansas City Actors Theatre,
2018. Lighting design by Shane Rowse.
Stephane Roberts, The Curious Incident of the of Lighting Technology Photo by Brian Paulette
Dog in the Nighttime, KC Rep, 2018.
Photo by Cory Weaver
Shane Rowse designed light- fast Girls at the Fishtank The-
ing for many exciting produc- atre, The Producers at Musi-
Stephanie Roberts tions this year. In October cal Theater Heritage, and a
continued of 2017 he designed a dance lighting and projection design
concert by Owen/Cox Dance for A Moon for the Misbegot-
She had the delight of play- Group at the JCCC Polsky The- ten at KCAT. Rowse finished
ing Judy in KC Rep’s produc- atre. Rowse followed with Sea the year with a lighting design
tion of The Curious Incident Marks for Kansas City Actors for Morena, a dance concert
of the Dog in the Night-Time, Theatre (KCAT) under the di- by Owen/Cox Dance Group.
directed by Marissa Wolf, and rection of Darren Sextro and www.shanerowse.com
choreographed the world-pre- Informed Consent at the Uni-
miere of Letters from Free- corn Theatre. Most recently
dom Summer directed by Ri- he designed lighting for Bel-
cardo Khan and co-produced
with KC Rep as part of Orig-
inKC. In addition to teaching
and performing, she complet-
ed the first year of her Alexan-
der Technique Teacher’s Train-
ing with Joe Krienke at Soma
Studios in Minneapolis and in
the summer received further
training at the Alexander Tech-
nique Residential Workshop
at Viterbo University. Profes-
sor Roberts continued her re-
search into the actor/training
by presenting at the Associa-
tion of Movement Theatre Ed-
ucators’ conference in Boston.
Informed Consent, Unicorn Theatre, 2018.
Lighting design by Shane Rowse.
Photo courtesy of Cynthia Levin
20 UMKCTHEATRE.ORGPROFESSORS STAY SHARP
man Theatre. Tan designed
the lights for Satchel Paige
and the Kansas City Swing!, the
professional co-production
premiere between the Reper-
tory Theatre St. Louis and the
Scott Victor
Cincinnati Playhouse, directed
Stackhouse En Yu Tan
by Ricardo Khan. This play was
originally commissioned by
Assistant Professor Professor of Lighting
UMKC Theatre and had a 2013
of Theatre in Voice
Victor En Yu Tan recently de- world premiere on our Spen-
Scott Stackhouse directed a signed the lights for Nomad cer Theatre. The entire de-
production of True West by Motel and Vietgone for the sign team were either UMKC
Sam Shepard at Seaside Reper- Unicorn Theatre in Kansas City, faculty (John Ezell, scenery;
tory Theatre in Seaside, Florida, and Handel’s Alcina for Flori- and Tom Mardikes, sound) or
in August. He led four dialect da State Opera. This April, he UMKC alumni (Lauren Roark,
workshops at the University of will also be designing for Pan costumes; and Rocco DiSan-
Central Missouri in August and Asian Repertory Theatre on ti, projections). Regionally, he
presented two dialect work- the world premiere of Broth- had designed the premiere of
shops at the Speech & Theatre ers Paranormal at the Beckett I Sing the Rising Sea for Virgin-
Association of Missouri con- Theatre on NYC Theatre Row. ia Stage Company in Norfolk
ference in September at the Previously for the Pan Asian VA and Single Black Female for
Lake of the Ozarks. And if you Rep, he had designed A Dream Crossroads Theatre in New
watch closely, you will find Pro- of Red Pavilions at the Clur- Brunswick NJ.
fessor Stackhouse staring in
the current Kansas City Chiefs
commercial.
Vietgone at Unicorn Theatre, 2018.
Lighting design by Victor En Yu Tan.
Photo by Cynthia Levin
21 UMKCTHEATRE.ORGPROFESSORS STAY SHARP
Adam
Terry
Visiting Assistant Teaching
Professor of Technical
Direction
Prior to returning to UMKC,
Adam Terry worked as the
technical director/production
manager for Johnson Coun-
ty Community College. In ad-
dition to teaching all techni- Above: Cast of Go
Please Go, UMKC
cal classes he developed and Theatre, 2017.
Photo by Robbie
taught workshop intensives Schraeder
on 3D Printing and CNC cut-
ting as well as electrical engi-
neering. In Kansas City, Adam
has worked with KC Rep, Kan-
sas City Actors Theatre, Uni-
corn Theatre, Heart of Amer-
ica Shakespeare Festival, The
Coterie, and Kokopelli The-
atre Company. He is current-
ly developing a panel for the
2020 USITT conference on
sound abatement for pro-
jections and noisy theatrical
equipment, and is the TD for
UMKC Theatre’s production Right: Women,
of The Tempest. directed by Nicole
Marie Green, UMKC
Theatre, 2018.
Photo by Manon
Halliburton
22 UMKCTHEATRE.ORGSOUND
THE SOUND
OF CREATING
by GERAN RAMET
One of the most hands-on and exciting graduate entrepreneurship involved in the field of sound
degrees available at UMKC Theatre is the Master design and all its intricacies. Valuable learning ex-
of Fine Arts in sound design. This program allows periences in the UMKC program include the abil-
students to work with experienced profession- ity to work on original music and sound produc-
als, learning all the elements required to be a suc- tion in a state-of-the-art sound recording studio.
cessful sound designer. This engaging program Throughout the program, students are encour-
provides opportunities to work in the field as well aged to create their own work, whether it be per-
as expanding knowledge of the craft of sound de- sonal music production or class projects.
sign. The education that students receive in the
Students are “constantly creating something”
program includes all the necessary skills to create
says Greg Mackender, assistant teaching pro-
great sound design.
fessor of sound design. Regular use of UMKC
Students gain the technical skills to implement Theatre’s top-of-the-line recording facility
sound designs, learn the history involved with the places a large focus on the ability to effective-
field of sound, as well as how to analyze texts and ly record material, whether it be original or
research scripts. In addition, students study the found sounds. This recording facility includes a
Matt Schorr and Zack Pierson
recording in the sound studio.
Photo by Geran Ramet
23 UMKCTHEATRE.ORGSOUND DESIGN
BA student Noah Bartelt and MFA
sound design student Sean Obrecht
work in the recording studio.
Photo by Geran Ramet
“
The sound program
here at UMKC
is a wonderful
environment for
inspiring original
content.”
new Sound Mandela, a room that allows the user to change the way
– ZACK PIERSON
sound travels in relation to the room that it is in. This allows for ex-
citing ways to experiment with different environments and how the
physical space affects the work of a sound designer. This approach
is necessary in order to work in multiple venues. A critical part of
the program requires students to go out into the world and capture
sounds that are needed for specific productions or class projects.
An interesting and dynamic facet of the program is training to create
sound and music for video, whether it be scoring a documentary or
inventing the sound of a dragon. These skills allow students to get
work in the field as demonstrated by the success of UMKC alumni
who have worked on films such as The Hunger Games and Spectre.
Adding to this exciting program is the opportunity to create origi-
nal music for the departmental and co-productions using the tools
and abilities available in the studio and in the classroom. “Students
get experience with the same tools the pros use” according to Zack
Pierson, a graduate student in the program. “The sound program
here at UMKC is a wonderful environment for inspiring original
content … Our projects and lessons provide a strong platform for
our students to flourish.” Learning these skills through work in the
classroom is one aspect of the program; however, there are also
numerous opportunities for the students to put the skills that they
are learning to practical use.
24 UMKCTHEATRE.ORGSOUND DESIGN
Matt Schorr works in sound design studio.
Photo by Geran Ramet
Each student works on a minimum of two to three greatly enhance your future work opportunities.”
professional productions, in every capacity of a
The UMKC MFA in sound design offers students
sound designer. Fantastic opportunities to work
the skills and knowledge necessary to create a ca-
with professional theatre companies abound. The
reer in the theatrical world, from the use of so-
student designers work with professionals from
phisticated equipment to the understanding of
the KC Rep Theatre, The Unicorn, The Heart of
self-marketing in the music and entertainment in-
America Shakespeare Festival, and the Kansas City
dustries. They are able to take their training and
Actors Theatre. Each chance to enhance learning
apply it to any field that requires the use of sound.
and experience is tailored to the student’s individ-
By the end of the program the student is “an ex-
ual needs and skills and provides an up-close look
pert on audio recording and music production”
at how the professional world of sound design
according to Tom Mardikes, professor of sound
operates. “It gives students a chance to watch
design. The MFA in sound design at UMKC is the
professionals work,” says Stephen Jarvis, a sec-
degree for anyone who wants to have a success-
ond-year graduate student. “You are able to make
ful career in the world of sound.
valuable contacts in your own field, and this will
25 UMKCTHEATRE.ORGS TA G E M A N A G E M E N T
CLIMBING
THE LADDER
OF SUCCESS
by DAKOTTA HAGAR
The ladder of career success in the world of
theatre can be rather steep. This is no more ap-
parent than in the world of stage management.
All young theatre artists, specifically budding
stage managers, are looking for those career
moves that make reaching the top of the lad-
der a bit more attainable. After speaking with
Colin Fowler, a second-year student in UM-
KC’s MFA program in stage management and
Paula Fritz (MFA Stage Management 2017), it
is clear that with the help of UMKC Theatre
they are both making the appropriate career
decisions to climb the ladder rung by rung.
UMKC Theatre offers students, like Fowler and
Fritz, hands-on experience at every turn, but
the first step is understanding what experienc-
es will be best suited to each student’s aspi-
rations and skill sets. “Sadie (DeSantis) asked
me what I wanted to do and I said, ‘Musicals!’”
said Colin Fowler. Fritz had a similar interest
in stage managing musicals, and through con-
nections made at both UMKC Theatre and KC
Rep, Sadie DeSantis, head of the stage man-
agement program, was able to help.
26 UMKCTHEATRE.ORGSTAGE MANAGEMENT
MFA stage management
student Colin Fowler on Last
Days of Summer set.
Photo courtesy Colin Fowler
Fowler and Fritz were recently given the chance tionships with stage managers, directors, de-
to work on Last Days of Summer, a world pre- signers, and actors across the country. My
miere musical at the KC Rep, directed by Tony goals for graduate school were met and ex-
Award nominee Jeff Calhoun. They were able ceeded.” Like Fritz, stage managers are reach-
to serve as production assistants on this show ing their goals at UMKC Theatre.
and gained professional experience, while still
Growth is a central theme of the stage man-
under the guidance of UMKC Theatre faculty
agement MFA at UMKC Theatre. Fritz believes
and staff. This experience serves as a crucial
that growth and success are a part of the for-
rung on Fowler’s ladder of success. He says
mula at UMKC as long as you are willing to say
that this opportunity has allowed him to con-
“yes.” Paula Fritz said “yes” to many oppor-
tinue toward new heights in his future at UMKC
tunities while at UMKC and this prepared her
Theatre and in his career.
future success. She was offered a full season
Fritz is more than happy with how UMKC The- at a LORT theatre because she said “yes” to
atre has helped her climb the career ladder. the previous opportunities that were offered
She says that while she had a solid working to her. Students stage manage four produc-
knowledge of stage management and theatre tions over their two years at UMKC Theatre
before she decided to attend UMKC, she was with countless other opportunities for in-
unable to find her spot in the professional volvement. Saying “yes” to all these opportu-
theatre community. Fritz says, “When I grad- nities has allowed students like Colin Fowler
uated, I had eight KC Rep credits, a Unicorn and Paula Fritz the necessary growth to reach
Theatre credit, and developed working rela- new heights in their career.
27 UMKCTHEATRE.ORGKC R E P A N D U M KC T H E AT R E C O - P R O D U C E
OF MICE
AND MEN
by GABRIEL LIVINGSTON
John Steinbeck’s classic no-
vella Of Mice and Men (1937)
has inspired several film ver-
sions, a radio play adaptation,
an opera, and a stage play
that was presented by the KC
Rep Theatre in co-produc-
tion with UMKC Theatre.
Of Mice and Men was direct-
ed by Jason Chanos (MFA
acting 1997), the interim ar-
tistic director for the KC Rep,
and Kim Martin-Cotten (MFA
Acting 1993) served as assis-
tant director. Martin-Cotten
remembers the professional
opportunities she received
through UMKC during her
time here as a student, hav-
ing worked at the KC Rep
(formerly Missouri Reper-
tory Theatre), Unicorn The-
atre, The Coterie Theatre,
and the Heart of America
Shakespeare Festival.
28 UMKCTHEATRE.ORGKC REP
Cast of Of Mice and Men,
KC Rep, 2018.
Photo by Cory Weaver
Since receiving her degree from UMKC The- they have built over their careers and friendship.
atre’s MFA program, Kim has moved to New
UMKC Theatre prides itself on affording stu-
York City where she has worked as a producer,
dents professional opportunities and KC Rep’s
director, and actor. Some of her roles include
production of Of Mice and Men is no exception.
understudying Lily Rabe in The Merchant of
Martin-Cotten has found the students to be a
Venice opposite Al Pacino, and understudying
valuable part of the process and is impressed
both Cynthia Nixon and Laura Linney in Man-
with their sense of professionalism. MFA stu-
hattan Theatre Club’s revival of The Little Foxes.
dents working on the co-production include:
Martin-Cotten said that her training in UMKC’s
Maria Nieto (MFA Costume Design and Tech-
MFA acting program gave her a well-rounded
nology 2020) who serves as costume designer,
and supported set of skills to be an actor in any
Christian Taylor (MFA Scenic Design 2019) who
market. While attending UMKC, Martin-Cotten
serves as Assistant Scenic Designer, Bryce Fos-
met and joined forces with director Jason Ch-
ter (MFA Lighting Design 2019) who serves as
anos. Over the years their professional careers
Assistant Lighting Designer, and Calan Welder
have crossed paths several times, the first time
(MA Student 2018) who served as dramaturg
being at Baltimore Shakespeare Festival when
for the production.
Martin-Cotten suggested Chanos for the role
of Sebastian in Twelfth Night. Martin-Cotten Calan’s duties as dramaturg included compiling
played Viola, and from there, they worked to- an actor packet with information on the time
gether many times and became allies and good period and world of the play. He made appear-
friends. Martin-Cotten says that she and Chanos ances at rehearsal to answers questions about
work well as a directing team because of the trust historical context, physical nuances, period
29 UMKCTHEATRE.ORGKC REP
Rusty Sneary and Molly Denninghoff
in Of Mice and Men, KC Rep, 2018.
Photo by Cory Weaver
costumes, line interpretations, and anything connections to start my upcoming career in
else to assist with the rehearsal process. Calan Chicago.” During the design process, Foster
is grateful to have worked with the KC Rep on worked closely with UMKC alum Jeffery Cady
different occasions during his time at UMKC. (MFA Lighting Design 1996). In addition to or-
In addition to the Rep being accessible to stu- ganizing paperwork and taking notes, Foster
dents, Calan says that the faculty take the time could give his opinion on looks Cady created
to get to know the students and place them in for the show. Foster says, “Getting to sit in on
professional production roles. Bryce Foster is the process was very beneficial to seeing how
also grateful for his experience with the KC Rep professional shows are created.”
saying, “The benefit of working on Of Mice and
The KC Rep Theatre and UMKC Theatre’s pro-
Men was getting to work with professional de-
duction of Of Mice and Men ran from October
signers from around the city and country. Get-
19-November 17, 2018 at Copaken Stage.
ting to see how they work and ask questions
about how to start my career got me a ton of
30 UMKCTHEATRE.ORGG R A D U AT E S T U D E N T S
SUMMER WORK
MASTER OF ARTS
Mary Allison Joseph (MA 2020)
This past summer, Mary Allison stud-
ied new play development and ex-
plored her interest in plays that tell
women’s stories and incorporate
multiple languages and cultures at
the Kennedy Center’s New Play Dra-
maturgy Intensive.
Gabriel Livingston (MA 2021)
Gabriel was the director for Next to
Normal at Summit Theatre Group
in Lee's Summit Mo., as well as Ab-
sence Makes the Heart for Smashing
Frames Productions at the Kansas
City Fringe Festival.
Sarah Jean Hohne (MA 2019)
Sarah Jean has recently directed
UMKC Theatre’s Playwright Show-
case and is currently serving as
the dramaturg for The Tempest at
UMKC Theatre and Nomad Motel at
Above: Next to Normal
at Summit Theatre Group, 2018. the Unicorn Theatre.
Direction by Gabriel Livingston.
Photo courtesy of Gabriel Livingston
Below: Cast of The Playwright
Dakotta L. Hagar (MA 2020)
Showcase, UMKC Theatre, 2018.
Direction by Sarah Jean Hohne. Dakotta spent his summer employed
Photo by courtesy of by Quincy Community Theatre in
Sarah Jean Hohne.
Quincy, Ill. as a guest instructor
teaching K-12 courses in script analy-
sis, acting, and musical theatre.
31 UMKCTHEATRE.ORGGRAD STUDENTS
MFA STAGE MANAGEMENT
Kate Hershberger (MFA Stage
Management 2019)
This summer, Kate worked at Utah
Festival Opera in Logan, Utah as
an ASM for The Secret Garden and
You’re a Good Man, Charlie Brown.
Colin Fowler (MFA Stage
Management 2019)
Colin was a production assistant for
the Heart of America Shakespeare
Festival production of Much Ado
About Nothing.
Above: You're A Good Man Charlie Brown, Utah Franklin Wagner in The Basset Table,
Festival Opera, 2018. Kate Hershberger was ASM. Dreamland Arts, 2018.
Sheridan McKinley (MFA Stage Photo courtesy of Kate Hershberger Photo by Scott Pakudaitis
Management 2020)
Over the summer, Sheridan worked MFA ACTING
as the stage management appren-
tice at Lake Dillon Theatre Compa-
ny in Silverthorne, Colo. She acted Meredith Noël Johnson
as the ASM on Rock of Ages and the (MFA Acting 2021)
PSM on the Summer Cabaret Series. Meredith was a resident theatre art-
ist at the Virginia Stage Company
and performed in their production
of Crowns as Jeanette. A
Shannon Mastel
(MFA Acting 2021)
Shannon was an actor in the Prom-
ising Playwrights portion of Portland
Center Stage’s JAW (Just Add Wa-
ter) festival of new works. Franklin Wagner
(MFA Acting 2021)
Marisa B. Tejeda Franklin played Frank Churchill in
(MFA Acting 2021) Emma at Theatre in the Round in
Marisa was involved in a workshop Minneapolis, Minn. and Ensign Love-
for a new Nero Wolfe play, and cast in ly in The Basset Table at Dreamland
the world premiere of the production Arts in St Paul, Minn.
at Park Square Theatre in Saint Paul.
J.T. Nagle (MFA Acting 2021)
Left: Richard III, Muse of Fire This summer J.T. was AD for Richard
Theatre Company, 2018.
Assistant direction by J.T. Nagle.
III with Muse of Fire Theatre Com-
Photo by F. David Roth pany’s final season in Evanston, Ill.
32 UMKCTHEATRE.ORGGRAD STUDENTS
MFA COSTUME DESIGN
& TECHNOLOGY
Katherine Davis (MFA Costume
Design and Technology 2019)
and
Stella Tag (MFA Costume De-
sign and Technology 2019)
Katherine and Stella were co-cos-
tume shop managers/wardrobe
supervisors at Bay Street The-
ater in Sag Harbor NY. During the
summer, they managed and super-
vised three shows; Fellow Travelers,
Frost/Nixon and Evita. Katherine
had the opportunity to drape and
build costumes for Evita, including
the iconic ball gown.
Jordan New (MFA Costume
Design and Technology 2021)
Jordan was the costume design
assistant to Sarah M. Oliver on the
New Theatre Restaurant’s pro-
duction of Mama Mia!.
Top Left: Evita at Bay Street Theatre, 2018.
Photo by Lenny Stucker
Top Right: Dress for Evita built
by Katherine Davis, Bay Street Theatre, 2018.
Photo by Lenny Stucker
Bottom Right: Mamma Mia!,
The New Theatre Restaurant, 2018.
Assistant costume design by Jordan New.
Photo courtesy of The New Theatre Restaurant
33 UMKCTHEATRE.ORGGRAD STUDENTS
Maria Noel Nieto (MFA Costume
Design and Technology 2020)
This summer Maria was employed
as a stitcher for the Pennsylvania
Shakespeare Festival, working on
shows such as Ragtime, Shakespeare
in Love, Twelfth Night, and Richard II.
She primarily built women’s wear, cre-
ating a mixture of gowns and smaller
pieces for the leading actresses of
each show.
L.A. Clevenson (MFA Costume
Design and Technology 2019)
In Los Angeles this summer, LA.
served as the costume/hair design-
er, makeup designer, and on-set
makeup artist for a short film with
Thursday Afternoon Films (TAF) ti-
tled The Job. She also served as the
costumer/costume draper and tech-
nician for a music video called Year
Zero Visuals and/or Damon James
Duke. L.A. also served as the cos-
tume assistant and technician for a
dance piece at the Walt Disney Con-
cert Hall with UMKC Alumna Allison
Dillard (MFA Costume Design and
Technology 2012).
Left: Music video Year Above: Shakespeare
Zero Visuals and or Da- in Love, Pennsylvania
mon James Duke, 2018. Shakespeare Festival,
Costume design 2018. Costume
by L.A. Clevenson. construction by
Photo courtesy Maria Nieto.
of L.A. Clevenson Photo courtesy
of Maria Nieto
34 UMKCTHEATRE.ORGGRAD STUDENTS
Emily Stovall (MFA Costume MFA LIGHTING DESIGN Zoe Spangler
Design and Technology 2020) (MFA Lighting Design 2021)
Emily built costumes this summer for Hector Quintero Zoe was the lighting designer for
Utah Festival Opera and Musical The- (MFA Lighting Design 2018) Torch Song Trilogy with The Barn
atre. In August, she returned to Kan- Over the summer, Hector worked for Players, master electrician for Much
sas City and was the costume design- Trollwood Performing Arts School in Ado About Nothing at the Heart of
er for A Moon for the Misbegotten at Moorhead, Minn. as the master elec- America Shakespeare Festival, board
Kansas City Actors Theatre. trician on their production of Hello, operator for The Wizard of Oz with
Dolly! Hector also taught four high Theater League, and an over-hire
school classes focusing on light- stagehand at Providence Medical
MFA SOUND DESIGN ing technology. While at Trollwood Center Amphitheater.
Performing Arts School, he worked
Stephen Jarvis directly under Laura Happel the
(MFA Sound Design 2020) lighting supervisor, Jack Mehler the
lighting designer, and Michael Wall-
Stephen spent the summer working ing the artistic director.
Above: A Moon for the Misbegotten,
Kansas City Actors Theatre, 2018.
with the Local 31 on concerts and Costume design by Emily Stovall.
conferences. Photo by Brian Paulette
35 UMKCTHEATRE.ORGCOSTUME
CONSTRUCTING
A SENSE OF URGENCY
by SARAH JEAN HOHNE
A large part of being a successful costume design-
er is understanding how to make connections.
Learning the ins and outs of the costume design
business is one of the many skills that Whitney
Locher (MFA Costume Design and Technology
2005) gained during her time as a graduate stu-
dent with UMKC Theatre. She also gained an un-
derstanding of what is required from an artist in
order to work at the elite level.
Lindsay W. Davis, the professor of costume de-
sign, sets up his students to be successful. Locher
explains that acquiring a sense of urgency in the
work place, being able to stand up for yourself,
and being able to get the work done in a timely
manner are invaluable tools instilled in her from
Professor Davis. The affection for her mentor
is felt as she jokingly exclaims, “I feel like I hear
Lindsay’s voice in my head constantly. He’s like my
subconscious guiding me!”
One of Locher’s most recent credits was as the
associate costume designer for the national tour
of Andrew Lloyd Weber’s new musical, Love Nev-
er Dies. This sequel to The Phantom of the Opera
was a new and exciting opportunity for Whitney,
as this was the first touring production she has
mounted as an assistant. Due to her connections
and understanding of how to coordinate with
different costume shops, she was able to rely
on her training to execute the original, beautiful,
high-quality costume design.
National tour of Love Never Dies.
Assistant costume designer Whitney Locher.
Photo courtesy of Starlight Theatre
36 UMKCTHEATRE.ORGCOSTUME DESIGN
Locher, who is based in NYC, worked out of a Locher has hired UMKC graduates Genevieve
small studio space for the tour, where she could Beller (MFA Costume Design and Technology
have costume fittings and make adjustments. 2013) and Max Levitt (MFA Costume Design and
Much of her work was reaching out to other cos- Technology 2016) as assistants. She has enjoyed
tume shops to facilitate alterations. Chicago was working with UMKC’s graduates such as Lauren
also a resource for her as she needed a shop to Gaston (MFA Costume Design and Technology
print and remake all of the custom tights for the 2014) and Jonathan Knipscher (MFA Costume
show. “It was a lot of keeping everything coordi- Design and Technology 2006), who is a great
nated and on track throughout the various cities,” collaborator as well.
says Locher. The gigantic tour traveled on eleven
Locher is currently an adjunct professor at Pace
trucks and required an organized and talented as-
University and thinks back fondly on her education
sociate designer to keep the show flowing in or-
from UMKC Theatre. The things that Davis and
der to put on a great performance for audienc-
Sarah M. Oliver, the assistant teaching professor
es all over the United States. The absence of the
of costume technology, taught her are constantly
primary designer, who was in Australia, increased
coming back up as she teaches. Pace University is
Locher’s work as the associate designer.
in Manhattan where she teaches Costume Design
Making connections also includes being an active II, an advanced costume class, which allows her to
collaborator and facilitating for others whenever continue to design productions in New York.
possible. During her time working on Love Nev-
er Dies, she was afforded the privilege to work
with the director, Simon Phillips, who has also Left: National tour of Love Never Dies.
Assistant Costume Design by Whitney Locher.
worked on Broadway. Locher also makes it her Photo courtesy of Starlight Theatre
mission to hire other UMKC graduates as assis- Right: National tour of Love Never Dies.
tants and to work with them whenever possible. Assistant costume design by Whitney Locher.
Photo courtesy of Starlight Theatre
37 UMKCTHEATRE.ORGCOSTUME DESIGN
Locher loves working with directors such as Mi-
chelle Tattenbaum. They recently collaborated
on Peter and the Starcatcher at Cape Fear Re-
gional Theater, NC. She also enjoys the relation-
ship she has at the Irish Repertory Theatre where
she works with Ciarán O’Reilly and Charlotte
Moore, the artistic director. She is also excited
by new work and especially new musicals. One of
her most recent ventures is a production of The
Hello Girls at the Prospect Theatre Company in
NYC, directed by Cara Loelle Reichel. To be able
to work on this story about the first women in
the U.S. military who went over to France to run
the switch boards in WWI is a thrill for Locher.
She also recently hired another UMKC graduate,
Gretchen Halle (MFA Costume Design and Tech-
nology 2017) to run wardrobe for The Hello Girls.
Continuous employment is something that
Locher is always working towards and com-
ments that “It’s all about constantly contacting
the directors and the theatre companies and
saying, “Hey, can I hit you up for coffee? What
projects do you have coming up?” And, hope-
fully grabbing one of those slots.”
When UMKC was nationally recognized as a top-
ten costume design programl, Locher felt that
this honor was long overdue. Being immersed in
the art and theatre scene in Kansas City are some
of Locher’s fondest memories about her time at
UMKC. “There’s so much opportunity. I think it’s
a great city.” Locher recently assisted Davis on his
work last summer for Evita at the Bay Street The-
atre in Sag Harbor while he was in New York.
National tour of Love Never Dies.
Assistant costume designer Whitney Locher.
Photo courtesy of Starlight Theatre
38 UMKCTHEATRE.ORGSCENIC
DEVELOPING
PROFESSIONAL
STANDARDS
Set for Blithe Spirit,
designed by Kelli Harrod,
Kansas City Actors Theatre, 2018.
Photo by Brian Paulette
by SARAH JEAN HOHNE
Recently, I had the opportunity to speak with ater! As he spoke about his admiration, goals,
Gene Friedman, head of UMKC’s scenic design challenges, and aspirations for his students,
program. As we walked through the storied the air seemed electric and the space around
halls outside of his offices, I was taken aback by us seemed luminous: “A young person should
the exquisite models and gorgeous posters for want to go to a graduate school to explore and
productions such as La Cage aux Folles, Carou- expand their own personal aesthetics, while
sel, The Music Man, State Fair, Ten Chimneys, learning the skill sets that will assure them suc-
Next to Normal, Hair, and dozens of designs for
Shakespeare.
aes·thet·ic | noun
Friedman’s enthusiasm for design was evident
as he discussed the designs, but every bit as im- A set of principles underlying and guiding
pressive was his evident love of training young the work of a particular artist or artistic
designers for careers in the professional the- movement.
39 UMKCTHEATRE.ORGSCENIC DESIGN
cess and the ability to thrive, and find joy, in the
professional world of design.”
Recent UMKC graduate Tristan James (MFA
Scenic Design 2017) took his developed aes-
thetics and the applicable skills that he learned
“
at UMKC to land a highly coveted job with “Click
Spring Design,” a design production company
in New York City. James’ command of – and
ability to communicate – standards of styles
and to express his underlying inspiration made
him the exceptional applicant for the position.
“A young person
James credits Friedman for this success, say- should want to go to
ing: “For the company it was wildly important a graduate school to
that my portfolio included design drafting skills explore and expand
and 3D rendering abilities, but what they found their own personal
unique was my desire to build in instructions aesthetics, while
and personal design insights into drafting itself. learning the skill
That is all thanks to Friedman and his training.” sets that will assure
During his graduate studies at UMKC, James them success and
developed the set design for Letters from Free- the ability to thrive,
dom Summer, a civil-rights-era drama by Ricar- and find joy, in the
do Khan; the founding artistic director of the professional world
Tony Award-winning Crossroads Theatre. The of design.
play was produced as part of the KC Rep The-
– GENE FRIEDMAN
atre’s OriginKC: New Works Festival in 2018.
Letters From Freedom Summer was one of
four designs that James developed with pro-
fessional Equity theatre companies during his
time at UMKC. This is a regular occurrence at
UMKC: gaining professional, real-world, expe-
rience, while under the tutelage of their men-
tors/educators.
James is a great example of someone who took
his training and applied it to the work in order
to land jobs that appealed to his personal aes-
thetic as an artist, but he is not alone. Recent
graduates have landed highly competitive (and
paid) artistic director apprenticeships at Dis-
ney, and the studios of Hollywood art directors.
40 UMKCTHEATRE.ORGYou can also read
