St. Ambrose University Theatre Department Newsletter

April Edition

April 3, Edition 6 - '05-'06

518 West Locust St. Davenport, IA 52804

Department Chair: Kristofer Eitrheim - (563) 333-6255

Faculty Advisor: Dr. Corinne Johnson - (563) 333-6427

Newsletter Editor: Jenny Stodd SAU Senior, SAUTheatreNews@Yahoo.com

Contributing Journalist: Seth Kaltwasser, SAU Freshman/ Emily Kurash, SAU Freshman/ Andrew Harvey, SAU Junior/ Kathryn Hale, SAU Junior/ Emily Clifton, SAU Junior

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In This Issue:

1. Three Days of Rain Studio Production

2. Phil McKinley Workshop

3. Directing Class one-acts

4. Freshman Spotlight-Rachel Mayer

5. Senior Salute-Sean Pankuch

6. Words from a grad student-Ted Stephens III

7. Galvins Awards Night Approaches

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WHEN IT RAINS, IT POURS

We at the SAU Newsletter hope you didn't miss this past weekend's performance of Richard Greenberg's Three Days of Rain in the Studio Theatre. If you did, we're here to fill you in on what you missed.

Three Days of Rain is a drama about collaboration, betrayal, assumptions, and the search for love and answers. The first act is set in a tiny hovel in downtown Manhattan in 1995. Walker Janeway has returned home after having disappeared for a year on the day of his father's funeral-Ned Janeway, a famous architect and one-half of the massively successful Wexler-Janeway architectural partnership firm. Along with his sister Nan and friend Pip (the son of Theo Wexler, Ned's business partner), Walker scrambles to discover why his father chose not to leave the most beautiful and impressive Wexler-Janeway house to him. Walker does not find answers in the journal his father left behind and he is forced to make a guess on his father's motives that will influence the rest of his life. The lights fade as Walker spontaneously burns the journal.

Act Two takes place in 1960 in the same location. Ned Janeway and Theo Wexler are under immense pressure: fresh out of architecture school, the two young men have been commissioned to design a luxurious house-and the ideas are very slow in coming. Add to the mixture several days of torrential rain and an erratic southern woman named Lina,Theo's girlfriend, but Ned's love interest-and the tension is magnified. Through a series of unplanned events, Theo's partnership with Ned almost dissolves and Lina ends up cheating on Theo with Ned. The end result of the play: Ned ends up with Lina and he single-handedly designs the Janeway House. Events did not take place at all in the way that Walker envisioned; the true answers lie buried in Ned's cryptic journal.

The play was written to be double-cast; the actors got an opportunity to exercise their acting muscles in playing characters from two generations: SAU Junior Andrew Harvey played Walker and Ned, SAU Sophomore Colleen Winters played Nan and Lina, and Jack Kloppenborg played Pip and Theo. Beautiful work was created by SAU Senior Aaron Hook (Set Design), SAU Junior Marianna Caldwell (Costume Design), SAU Alumnus Joe Goodall (Lighting Design), SAU Senior Scott Peake (Marketing), SAU Senior Jamie Booher (Sound Design), and SAU Senior Jenny Stodd (Props). The backstage team consisted of Kristy Heithoff (Stage Manager), Jacob Kendall (Assistant Stage Manager), and Seth Kaltwasser and Sean Tweedale (Sceneshifters). The entire production was led by the direction of Assistant Professor Michael Kennedy.

This SAU Theatre production was special for another reason: it is currently under consideration to be performed at the Kennedy Center-American College Theatre Festival Region V venue in Ames, Iowa in January of 2007. At the Saturday evening performance of Three Days, KC-ACTF representatives were in attendance. Taking every element of the production into consideration, the selectors will determine shortly whether or not the show will be green-lighted. If the show is approved, the production would be reviewed at a regional meeting in late 2006; it is there where it will be decided if the show will be taken to the regional festival in January. If Three Days is selected to perform at the festival, it has the opportunity to move on to be performed at the Kennedy Center in Washington, D.C. in April of 2007. This is not the first St. Ambrose production to be up for nomination: in 2001, Anton in Show Business was selected to perform at the regional festival and was an alternate to the Kennedy Center's national Festival.

In addition to the attendance of the selector at the performance, a KC-ACTF adjudicator was also present. The adjudicator was allowed to nominate up to three actors from the production to compete in the Irene Ryan acting competition at the regional festival in January of 2007. Traditionally, St. Ambrose Studio Theatre shows have not been eligible for festival adjudication. However, an exception was made in this instance because the production itself was entered into the running for performance at the festival. Andrew Harvey and Colleen Winters were both nominated for the Irene Ryans due to their outstanding work in the production.

Three Days of Rain marked Michael Kennedy's first foray into directing in the Studio Theatre. When prompted on his decision to direct this play, Kennedy remarked, "I was looking for a play small enough-cast-wise and set-wise-and compact enough that we could offer to the Festival. I had to make sure that it would be an actor's play; by that I mean it had to stretch the actors' ranges. I felt that this play certainly did that, as the actors played the grown children in Act One and the children's parents in Act Two." Kennedy also commented on his experience in the Studio Theatre: "I liked directing in the intimate setting very much and I enjoyed that the students got the chance to take over the technical elements of the show. Everything turned out beautifully from that student-designed standpoint. It was a great experience."

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STUDENTS GAIN KNOWLEDGE FROM BROADWAY DIRECTOR

On Friday, March 17, Broadway director Phil McKinley graced St. Ambrose with his presence, as he partook in a question and answer session in Madsen Hall. This was a chance for the SAU and Quad City community to learn a bit about McKinley's past before the workshop he'd be leading the next day.

McKinley grew up in a very rural Illinois area on a farm. He, in great narrative, told his audience of his "break" into show business. "I was a bit hyperactive as a child," he confessed, "and my parents used to give me tools to build things and take things apart, so that's how I got my design talents." As far as performing goes, McKinley used to accompany his sisters to their dance class. "I couldn't sit still and would spend the class period trying to trip the girls. The teacher decided I'd be less of a nuisance if I got up there and danced with them."

From there, McKinley went from putting on productions in the backyard to joining up with theatre and music at Augustana College in Rock Island, IL, where he graduated with several degrees. He chose Augie for the liberal arts aspect of it, and he wanted to attend a small school.

Following his college graduation, McKinley headed out to Las Vegas, where he taught at a local high school. A fellow teacher told him he should audition for one of the Vegas shows, and he took her advice. He got the job-and since the money was better than the teaching pay, he took up performing full-time.

After about five years in Vegas, McKinley decided to make the move to the Big Apple. He worked various jobs-but never waited tables. "I clean the dishes at friend's homes when they invite me for dinner," McKinley laughed. "It's my way of doing time since I've been lucky enough never to have to wait tables for a living."

McKinley got himself an agent, and has been working steadily. His first gigantic job opportunity (literally) was directing the Barnum and Bailey Circus. "The most amazing thing about the circus was the children," McKinley told his audience. "You had children from several different countries on the tour with their parents who were in the show. They went to school together, and after about a week they were all speaking each others' language."

McKinley's name is now well-known for his Broadway directing credit, The Boy From Oz, starring Tony Award Winner Hugh Jackman. McKinley has an abundance of opportunities up his sleeve, including directing an upcoming movie called State of Affairs for Dreamworks.

On Saturday, March 18, McKinley gave a musical theatre workshop to 14 SAU students and 1 alum. An order of performance was already slated, and when it was someone's turn to get up and show their stuff, McKinley asked them several questions about their childhood and about their dreams. This was a way for him to get to know the performer before seeing their work.

SAU Senior Jenny Stodd describes the experience as "thrilling. I was just as excited watching him work with other people and seeing them make the journey as I was to go through it myself."

Stodd prepared Little Red Ridinghood's song "I Know Things Now" from the musical Into The Woods for McKinley. "It's a very narrative song," Stodd explained, "and he had me do an interesting exercise where he shouted out a different emotion every 5 seconds and I had to instantly portray that."

Stodd explained that the most interesting experience for her was seeing everyone learn something about themselves as a performer. "He worked with me for quite a while, and I got tired at one point," Stodd confessed. "I started my monologue and I wasn't investing, and he knew it-but more importantly so did I. I learned what it feels like when I'm really putting my all into my character and my performance and when I'm not. I can physically feel the difference now. That's an amazing step for me."

Senior Scott Peake said he loved the "in your face" quality of McKinley's workshop. "He literally would get up and push you around to help you make discoveries. It was so much fun to watch him do that to others after you'd gone through it yourself."

The SAU Theatre Department learned a great deal from their weekend with McKinley. They would like to send their deepest gratitude to him for an irreplaceable experience. Thanks also goes out to the SAU Theatre Advisory Board, especially Denny Hitchcock, for making the event possible.

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DIRECTING CLASS DISPLAYS ONE-ACTS

At the beginning of this semester, six students began the directing course taught by Dr. Cory Johnson. During the course, the directors work on learning many aspects of directing technique. All of their hard work culminates in the directors' one-act plays, which are to be performed on May 7^th and 9^th at 7:00pm. Here is brief summary and cast list for each show all of which promise to be great pieces of theater.

" 'dentity Crisis" by Christopher Durang : Performed May 9th

Directed by Emily Clifton

Jane - Katie Adams

Edith - Ashley Allen

Robert - Tim Connely

Summers - Jacob Kendall

Woman - Kathryn Hale

Jane is trying to recover from a nervous breakdown and find her identity, but is driven crazy by her cheerful mother, oversexed brother, and her psychiatrist who has just gotten a questionable operation. All the people around her continue changing identities until they become Jane herself, who is stripped completely of her own identity.

"The Happy Journey" by Thorton Wilder: Performed May 9th

Directed by Sean Tweedale

SM - Jeremy F. Pack

Ma - Jamie Booher

Elmer - Bryan Woods

Caroline - Sarah Ulloa

Arthur - Seth Kaltwasser

Beulah - Colleen Winters

In this play, we see a proto-typical American family as they undertake an American family ritual of a road trip. The family prepares to visit Beulah who lives in Camden. Although the family group might seem unexceptional, they are distinguished by the fact that they possess a resident Stage Manager who orchestrates, discusses and participates in the play's events.

"Wake Up Call" by Stephen Gregg: Performed May 9th

Directed by Madeline Dudziak

Rochelle - Ashley Damato

Jim - Seth Kaltwasser

Mother - Colleen Winters

Dad - Bryan Woods

Ensemble - Jack Kloppenborg, Rachel Mayer, Jaci Entwisle

A high school student Jim goes through several complicated situations with his girlfriend, Rochelle, her father and his mother. The trick is that no one is ever quite sure when he is awake and when he is asleep blurring the line between fantasy and reality.

"The Man of Infinite Sadness" by Brian Tanen: Performed May 7th

Directed by Kristy Heithoff

Holly - Marianna Caldwell

Ward - Jeremy F. Pack

Maya - Emily Kurash

Charlie - Jeff Sharp

Man - Jacob Kendall

The play revolves around two female coworkers who meet everyday for lunch on the roof of their work. Often times during lunch they see a man who comes up to the roof to cry and then leaves without saying a word to them. The two women speculate why he is crying and why their own life is such a mess, and how to deal with their problems.

"The Yalta Game" by Brian Friel: Performed May 7th

Directed by Katie Danalewich

Anna - Julie Arensdorf

Gurov - Jacob Kendall

At an end-of-season resort on the shore of the Black Sea, a pair of strangers play 'the Yalta game': divining the lives of other holiday-makers or investing the lives of others with an imagined life. These two seek to end their loneliness through the game and by nearly convincing each other that complete happiness has to come soon.

"Hello Out There" by William Saroyan: Performed May 7th

Directed by Aaron Hook

Young Man - Jack Kloppenborg

The Girl - Jovan Eberhart

The Wife - Jaci Entwistle

The Man - Bryan Woods

Others - Jeremiah Thompson

A young man is behind bars for an alleged rape of the Wife. There's a love interest between him and the Girl and he wants her to help him escape so they can run away together. These two outcasts are drawn together by their mutual need to get away from their current lives. The young man spends much of his time crying out, "Hello, out there!", and not really getting an answer.

Mark these dates on your calendar-it will be a night you won't want to miss!

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Freshman Spotlight

Name: Rachel Mayer

Major/Minors: Speech/Theatre Education Major; English and Music Minor

Previous Productions: Urinetown (Ensemble), Cinderella (Stepmother), Fiddler On the Roof (Yente), Blithe Spirit (Edith), Oklahoma! (Ensemble), Little Shop of Horrors (Ensemble), Voices from the High School (Patti)

Why Did you come to SAU? "For the Theatre Department."

Favorite SAU Experience: "Performing in the workshop with Broadway director Phil McKinley."

Most Recent Project: "Balthasar in Much Ado About Nothing, Chorus Member in Wake Up Call."

Favorite Actress/Actor: "Bernadette Peters and Johnny Depp."

Favorite Word: "Woot."

What do you hope to accomplish at SAU? "To learn everything I can about all areas of theatre."

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WORDS FROM AN ALUM IN GRADUATE SCHOOL

Michael Schaefer ('03), Lou Hare ('02), Dan Hale ('04), and Daniel Sheridan('05): What do all of these SAU graduates have in common? They are all currently pursuing an MFA, and throughout the year, we have been able to hear advice from all of them. This month is no different. Ted Stephens III graduated from St. Ambrose ('01 and '04), and he is now in his first year of a Masters of Fine Arts program as an acting student at the University of Florida. At UF, he is a Grinter Fellow (a special Fellowship at U of F).

Q: What, as an undergrad, did you fail to place a significant amount of importance upon that has affected your studies as a grad student?

A: Looking back on my undergrad days, I don't know that I ever thought about the mind, body, soul connection that I have found feeds so much of who you are as not just an actor-or any artist, but also as a person. The other thing would certainly be research-the necessity to delve into a character's history and story as deeply as one possibly can, either through historical research and criticisms, or by simply creating that history and fully "knowing" who your character is.

Q: How do you juggle academia with a social life and a job?

A: I'm learning from myself everyday in this department, but I do think I'm beginning to figure it out. My first semester-I took an extra course beyond the MFA curriculum, I was cast in HAMLET and spent hours and hours in stage combat training; I stretched myself thin very quickly. I lived, ate and at times, probably could have slept in the theatre building. I have discovered that I deserve a break-a rest-and by doing so on a daily basis, I am able to clear my mind and be more effective in my work and growth. I've taken up yoga and meditation (I bet no one would have guessed that) and I have found that has centered me.

I have also come to realize that education extends way beyond the doors of a classroom, and some of the most invigorating, challenging and awakening conversations about "the theatre" have happened at the bar over a few (or more) beers.

Q: Compared to undergrad, how much more focused have you become in grad school?

A: I think I was fairly focused in undergrad, but also realize that I did a number of things that didn't necessarily involve acting. The nice thing about graduate school is that you don't have to worry about that logic test or theology reading, as all of my classes overlap each other in one way or another. Of course, the beautiful weather and all the other temptations that come with living in Florida do challenge my focus, but no one said you can't memorize lines at the pool.

Q: How much interaction do you have with undergrads?

A: There are about 40 BFA students and probably another 80 BA general theatre students at UF. There are 13 of us [grad students]. Unless the undergrads are in a show with us, we don't have any interaction with them other than a "hello" in the hall. It surprises me how much they know about the MFAs, but how little we know about them. It's kind of sad, because there are some interesting "characters" in the hallways.

Q: What has been the most difficult adjustment to make as you transitioned from undergrad to grad?

A: I have been lucky to do so many things in my life, from traveling to having a desk job to owning my own business, and it has been hard to come to terms with the idea that I can no longer do everything and give my full self to being an actor...I'm learning that I can no longer make a commitment to attend a wedding in another part of the country or hop on a plane and travel abroad because I found a cheap ticket online, because you never know when you're going to get that call that says "we need you for the show, can you be in rehearsals this afternoon?"

I have made the choice to make this my life, and with that choice means that I have to accept the consequences (even though I hate using that word).

Q: Has the education you received at SAU helped/hindered you in grad school?

A: Certainly it helped me. I believe I have one of the strongest work ethics in my class, and I refuse to settle for mediocrity. Cory and Mike infused the importance of that-they never would beat around the bush with me, pushing me to my limits . . . which is exactly what grad school does.

Q: How did you choose your grad school and what advice would you give on choosing?

A: I went to the Unified Resident Theatre Auditions (URTAs) in Chicago, which was more or less a mass cattle call, and the University of Florida gave me a callback. After speaking with the students that were in the MFA program as well as the professors and asking myself some tough questions about what I wanted to do next in life; I was confident that it would be a good fit for me. And it's a good thing, because when they did offer me a position in the class, they gave me three days to decide!

I am on a fellowship here, so everything is pretty much taken care of financially (minus living expenses), so it's nice to know that I'm not going to walk away with $60,000 in loans.

Q: Why did you feel grad school was a necessity for you and what is your goal post graduation?

A: I don't know that grad school was a necessity, but for me, it has done a couple of things. First, it has opened new experiences for me in the theatre-Shakespeare, the Greeks, critical readings, teaching, stage combat, body and voice exploration, to name a few. It also got me out of the comfort zone of a desk job and steady paycheck and thrust me into what I really want to do for the rest of my life.

Post-graduation (it seems so far away), I will work to get my equity card and head to either New York or Los Angeles, where I'll hopefully find an agent/manager and will immediately start auditioning. And when I reach a point in life that I think I've experienced enough to impact others, I would love to start a theatre in an under served area of our country or abroad.

Q: Do you have any further information about grad school that you find useful to share?

A: I have a website, www.tedstephens3.com. On it, I have a daily blog in which I post thoughts about my daily experiences as an actor. People may be interested in that as well!

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SAU GRADUATE IS ACCEPTED TO YALE

Sam Michael, who graduated in December 2005 from SAU, was one of three students accepted to Yale's graduate program in Technical Theatre for the 2006-2007 class. Michael went out to the school last month for an interview, and came back with nothing but smiles.

Michael has done countless work, both onstage and off, for the Theatre Department, as well as nearly every Quad City theatre. Dr. Cory Johnson does a bit of a happy dance whenever someone mentions Michael's recent success. "We are just so thrilled for him," she proudly beams. "We will miss him, but he will go on to do great things."

The SAU Theatre Department can state in agreement that Michael deserves every ounce of success in his future, and wishes him the best of luck at Yale.

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Don't Forget the Galvins!

Don't forget the biggest social event of the Theatre Department's Year-- The Galvins Awards Banquet is just around the corner! Just a reminder: THE GALVINS WILL BE HELD AT THE LODGE HOTEL IN BETTENDORF ON SATURDAY MAY 6. Invitations were mailed out last week, and should have reached you by now. If you were involved with the theatre department during the 2005-2006 season and did not receive an invitation, please let the callboard know by emailing them at SAUCallboard@yahoo.com.

The evening begins at 5:30-6:00 p.m. with cocktails, dinner from 6:00-7:00, and awards at 7:00. Cost for the entire evening is $20, which includes an Italian Buffet dinner. (Highly encouraged!) For those attending only the awards ceremony cost will be $10. A cash bar (including non-alcoholic beverages) will be available throughout the evening.

Please RSVP to the Galvin Box Office by April 13 to reserve your place for the evening. To reach the box office call (563) 333-6251, or stop by. See you there!

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SAU NEWSLETTER: NEXT EDITION

The newsletter is intended to be sent out on the first business day of every month. Next year's first issue will be released on Monday,May 8^th, 2006.

The May issue will take a featured look at the spring production of Much Ado About Nothing, A recap of the Galvin Awards, more news on summer work in theatre, and information about the approaching one-acts.

To inquire further about St. Ambrose University and our offered courses, degrees, events, and staff, visit www.SAU.edu for information. Come check out the SAU Theatre Website at www.sau.edu/theatre. If interested in learning more about the Theatre Department, please contact theatre chair Kristofer Eitrheim by phone at (563) 333-6255 or e-mail at EitrheimKristoferJ@sau.edu.

DO YOU KNOW ANYONE WHO WOULD LIKE TO BE ADDED TO THE SAU NEWSLETTER MAILING LIST? If yes, contact us at SAUTheatreNews@Yahoo.com and get their names put on our e-mail list. If you would like to be removed from the mailing list, please contact us at the same address. Thanks.

April 2006.htm