,
2012
Special thanks to our
DONORS!
SUPPORTERS OF THEATRE SOUTH CAROLINA
THROUGH OUR DONOR GROUP
THE CIRCLE
AND THROUGH ANNUAL GIVING
TO THE UNIVERSITY OF SC
Rick and Rory Ackerman
Dr. Mary C. Anderson
Georgiana Baker
Sarah Baxter
Anne Bezuidenhout
Sally Boyd
Hal and Podie Brunton
Mary Ann Byrnes
Matthew Cleary
David L. Clegg
John Clements and Maria Sophocleous
Roger and Pat Coate
Alan and Carolyn Conway
Dave and Sandy Cowen
Missie and Dick Day
John Mark and Ruth Ann Dean
Dr. Max Dent
Peter Duffy
Terri C. Fain and Douglas L. Anderton
Robert and Judith Felix
John Hamilton
John Herr
Rhett and Betty Jackson
Elizabeth Joiner and Buford Norman
Nina Levine
Bob and Mylla Markland
Karen Eterovich Maguire
Deanne K. Messias
Mr. and Mrs. L. Fred Miller
Robert Milling
John J. Moring
Dr. Gail M. Morrison
Jeff and Linda Moulton
Mrs. Cynthia C. and
Charles H. Murphy, III
Dr. Harris and Patricia Pastides
Teresa Payne
Jeff and Brigitte Persels
Chris Plyler
Dr. S. Hunter and Nancy C. Rentz
Jean Rhyne
Kevin and Alyson Roberts
Jim Robey
Willard Renner
Prof. and Mrs. J. L. Safko
Russell Sanders
Dr. and Mrs. Jaime L. Sanyer
William Schmidt, Jr.
Elizabeth Simmons and Al Sadowski
Joan Squires
Barbara and Wally Strong
Steve Valder
Isabel R. Vandervelde
Dan and Barbara Vismor
Dick White
Cornelia and Leland Williams
THANK YOU!
JOIN THE CIRCLE TODAY!
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ARTSANDSCIENCES.SC.EDU/THEA
(CLICK ON “THE CIRCLE” LINK ON THE LEFT-HAND SIDE)
List compiled from donations received at time of printing, November, 2012.
Theatre South Carolina presents
*
Scenic Design................................................................................................Xuemei Cao
Costume Design.......................................................................................April Andrew
Lighting Design..............................................................................................Jim Hunter#
Sound Design/Composer......................................................Matthew Nielson
Hair/Wig/Make-Up Design...........................................................Valerie Pruett
Voice/Dialect Coach..........................................................................Erica Tobolski
Stage Manager.............................................................................................Kasey Beard
Production Manager..........................................................................K. Dale White*
CAST
Edward Kynaston.................................................................................Melissa Peters
Thomas Betterton..............................................................................James Costello
Samuel Pepys.............................................................................Josiah Laubenstein
Villiars, Duke of Buckingham..............................................................Trey Hobbs
Maria................................................................................................................Laurie Roberts
Lady Meresvale.......................................................................Andrea Wurzburger
Miss Frayne...........................................................................................Emily Olyarchuk
Sir Charles Sedley..................................................................................Stephen Ingle
Margaret Hughes...................................................................................Kate Dzvonik
Charles II...........................................................................................................Cory Lipman
Nell Gwynn..............................................................................................Leeanna Rubin
Hyde.......................................................................................................................Park Bucker
Olly/Ruffian........................................................................................................John Floyd
Sir Peter Lely/Male Emilia .......................................................................Ben Aaron
Mistress Revels ......................................................................................Grace Fennell
Mrs. Elizabeth Barry/Ensemble.................................................Kelsea Woods
Killigrew/Ruffian/Courtier...............................................................Dennis Lopez
Bouncer/Ensemble.........................................................................Olander Wilson
Stagehand/Ensemble..........................................................Robert Paul Austin
Ensemble......................................................................................................Kelsey Gibson
Ensemble...................................................................................Kristina Montgomery
There will be one intermission. Running time is approximately 2.5 hours.
Compleat Female Stage Beauty is presented by special arrangement with Dramatists Play Service,
Inc., New York. This Play was commissioned and produced originally by Contemporary American
Theatre Festival, West Virginia, and City Theatre Company, Pittsburgh.
#Member, United Scenic Artists, Local 829
*Member of Actors’ Equity Association. This theatre operates under an agreement between the Uni­
versity Resident Theatre management program and Actors Equity, the union of professional actors
and stage managers in the United States.
COLLEGE OF ARTS AND SCIENCES
FROM THE CHAIR
Jim Hunter
Welcome to our production of Compleat Female Stage Beauty,
our second main stage show. We have been very fortunate to
have engaged Gary Logan, Director of the Academy for Classical
Acting at the Shakespeare Theatre in Washington, to direct his
first production with us. Tonight’s performance is also your first
opportunity to see our new group of graduate actors on stage, the
MFA Acting Class of 2015. Our graduate acting program only recruits students
every other year and the new group of eight MFA actors shown below are just
starting their graduate studies this Fall.
The semester is roaring ahead at full steam. During the second weekend of
the Stage Beauty run, the theatre program opens The Rose Tattoo, running
November 15-18 in the Lab Theatre, and will also hold auditions for the five
productions we have planned for Spring. The dance program just closed
Voices of Choreography at the Koger Center and is busy mounting the student
choreography showcase, Fragments of Light in Drayton Hall for performances
November 27 - 30. Our resident professional dance company, Wideman/Davis
Dance will also perform their original work, Based on Images, inspired by media
images of the aftermath of Hurricane Katrina, on those same dates at Drayton
Hall.
Our undergraduate and graduate students are as busy as ever and continue to
excel in the multitude of opportunities the university offers. With our faculty’s
commitment to providing excellent experiences, our students are thoroughly
engaged in their academic studies, performances, designs, and teaching. Our
students’ energy and commitment continues to be an inspiration to the faculty
and staff.
As you can see, our ambitious year races ahead, and we need your help. If you
are already a member of The Circle, our community support group, I want to
thank you. If you are not a member, I want to thank you in the future! Please
consider joining. The Circle is a critical part of our educational mission and is
comprised of community patrons, faculty, staff, AND STUDENTS. In The Circle
we are all partners working together to promote excellence in scholarship,
training, and performance.
Jim Hunter
Artistic Director, Theatre South Carolina
Chair, Department of Theatre and Dance
MFA Acting Class of 2015
James Costello
Selinsgrove, PA
Kate Dzvonik
Almaty, Kazakhstan
Trey Hobbs
Columbia, SC
Josiah Laubenstein
St. Paul, MN
FROM THE DIRECTOR
Gary Logan
Each and every one of us, whether we’re six years old or sixty, is
constantly jockeying for position in life. And our relative positions
involve our families, our social peer groups, and/or professional
colleagues. But perhaps the most fragile negotiation we ever
make as we decipher our meaning and purpose in life is that
position we hold with ourselves, our psyches: the human soul,
mind and spirit. What do we see when we look in the mirror? Our
innate sense of fitting in, especially as it relates to self-contentment, is crucial to
a healthy life.
But what if the rules by which we have always played the game are changed,
suddenly and irreversibly. What if the mirror’s image bends? That is exactly
what happened to Edward Kynaston, the famous actor renowned for playing
the female leads on the English stage in the 17th century. With the stroke of a
pen — and perhaps a few strokes from his would-be-actress mistress — King
Charles II enacted an edict that changed the way that women would forever
be portrayed on stage, viz. by women! Edward Kynaston instantly went from
celebrity to pariah. Kynaston’s whole identity — sexual, social, and professional
— were surely at risk of being utterly lost.
This particular production is unique. It provides a special opportunity for
theatrical reality to occur by examining role reversals and gender bending via our
Edward Kynaston, who is played by a woman. Just as Kynaston investigated
what it was to play the opposite sex, so too, does Melissa Peters (Kynaston)
investigate what it is to play a man. After all, as King Charles says in the play, “It’s
time to give the girls a chance.”
Gary Logan
Director
MFA Acting Class of 2015
Cory Lipman
Montreal, Quebec
Melissa Peters
Columbia, SC
Laurie Roberts
Seattle, WA
Leeanna Rubin
Washington, DC
ILLUSION VS. REALITY IN RESTORATION LONDON
By Bob Gaines, Production Dramaturg
The 1660s
were
a
heady time
for London
society. The
country
was again
flourishing
after
18
years
of
Puritan
rule and a
relatively
stagnant
economy.
Charles II
had been
coaxed
Charles II; painting by Sir Peter Lely
out of exile
and had taken the throne after months
of negotiations over the terms of his
return. But now trade was booming,
fashions were making a robust recovery
from their Puritan shackles and banking
once again was laying a solid foundation
for a real and stable national economy.
Brothels openly operated again, even
advertising their wares with pictures
on their windows. In short, during the
1660s England in general and London
specifically enjoyed a level of prosperity
unknown since Elizabethan times.
But the temptation to “read history
backwards” makes the 1660s seem
more gay and carefree than a closer
examination will reveal. Because history
shows that the prosperity of the 1660s
was a real and lasting one, modern
readers should not assume the rich and
varied galleries of Restoration characters
would have known that was to be true
in the 1660s. To make that assumption
is to miss the constant fears and petty
jealousies that underlaid the lives of
these people. First and foremost was
the question of whether the monarchy
would last. Eighteen years had elapsed
since the execution of Charles I and
no one could be sure of the success
of this new powersharing experiment
between King and Parliament. Bankers
and merchants alike risked their money
and their business careers betting that
the new King would succeed.
The prism through which playwright
Jeffrey Hatcher chooses to pry open the
duality of this world is reflected in the
career of his main character, an actual
actor named Edward Kynaston (16401712). An actor comprises an all together
apt model for exploring the illusion/
reality duality. When the Restoration
began and the theatre enjoyed a
renaissance, the old practice of using
boys or young men to play women’s
parts was revived. Kynaston was then
20 years old and along with fellow
actor Jimmy Noaks played many of the
women’s parts. Kynaston was a huge
success in these roles. Samuel Pepys,
the English diarist, called Kynaston the
most beautiful woman he had ever seen.
Thus the playwright uses a transgender
model to explore the question that lies
at the heart of many great dramas: Who
am I?
The theatre too enjoyed a renaissance.
Charles granted two patents, one to
Thomas Killigrew and the other to
William Davenant, to operate theatres
in London, both men having associated
themselves with Charles while he
was in exile and having secured from
him promises of patents for theatre
companies should he return as King.
Charles had proven as good as his word.
Killigrew operated his company himself
while Davenant hired Thomas Betterton
to run his. Soon London was building
two new theatres, both of which
included the latest improvements in
architecture and stage design from Italy
and France. Designs for both theatres
were submitted by no less a personage
than Sir Christopher Wren. Wren’s
version of the Duke’s Theatre, the scene
of much of tonight’s play, was chosen
from among the designs submitted, and
actually built, opening in the early 1670s.
The theatre was not built until that time,
in part, because no one could be sure
that the theatres would remain open
should something happen to Charles.
The royal court was more resplendent
than ever with Charles dressing much
as he had seen Louis XIV doing during
the part of his exile he had spent at the
French court. Charles played the illusion
of Louis quite well. Also in the style of the
French court, Charles took numerous
mistresses. The most famous, or rather
notorious, was Nell Gwynn. Nell began
her career selling oranges in the theatre,
perhaps as a way of escaping the brothel
her mother ran in the upper story of their
home. She quickly became a comedian
in Thomas Betterton’s company and
came to the attention of Charles as an
actress. Which, if any of these roles, was
the real Nell Gwynn and which were
the illusions? The couple had two sons,
Charles and James; Charles II conferred
on his son Charles the title of Duke of St.
Albans, a title passed down to their heirs
today. History has made Nell’s name
almost synonymous with Charles’. But
she was his mistress, not his queen.
Furthermore, both James I (1602-1625)
and Charles I (1625-1642) had struggled
with issues of unifying England,
Scotland and Ireland in such matters
as religious doctrines and practices,
setting an economic policy, appointing
military and political leaders among
many other such issues. James I and
Charles I attempted to deal with these
matter in an autocratic manner. Indeed,
even after he was taken prisoner by
Roundhead forces, Charles I totally
refused to bargain. Therefore he was
eventually beheaded. Oliver Cromwell,
who led one of the anti-royalist sects,
then took over as “Lord Protector.” But
he was no more successful than his
predecessors had been. Thus England,
tired of Cromwell’s puritan ways, turned
to Charles II.
Pepys was among the company of
English gentlemen who went to France
to accompany Charles on his return trip
to England. Pepys’ entries for the last half
of May 1660 show a very cautious Charles
returning for his coronation. Therefore
he took a very light pull at the reins of
power. Indeed, he was so casual in his
approach to power that many including
his brother, and eventual successor,
James, openly rebuked him for it. Thus,
while Charles worked hard to create the
illusion of a “Merry Monarch,” historian
Charles Breasted paints a picture of a
Charles who was in actuality very high
strung and intense, even in his most
private moments. Playwright Bernard
Shaw, it can be argued, in the last act of
his play In Good King George’s Golden
Days, strongly implies that Charles’
continual dalliances were only for show.
If left to his own desires, he would
have been quite happy with his wife,
the Portuguese princess Catherine of
Braganza, who by virtue of her marriage
to Charles became the Queen Consort
of England, Scotland, and Ireland from
1662 to 1685. But, because she had been
raised Roman Catholic and refused
to forsake her religion, she was most
unpopular from the start. There is even
speculation that she turned Charles into
a “closet Catholic.” Charles had tried to
marry Catherine in exile but his offers
were rebuked. When he was crowned
king, he demanded a larger than usual
dowry because of the earlier slight.
History may well portray Charles as a
carefree monarch and indeed he played
that part. But underneath the reality of
the problems he inherited, the tenuous
grip he had on power, at least in the
beginning, and the festering questions
of religion which would break out again
when James succeeded him, made his
reality much different from the carefully
cultivated illusions of dalliance he so
successfully passed off to his realm and
even to history.
CAST
Ben Aaron Sir Peter Lely/
Male Emilia This is Ben Aaron’s
first production with
the University of South
Carolina Theater Department, but
he has previously played the roles of
Macbeth, Balthasar in Shakespeare’s
Romeo and Juliet, and the Governor
in Gogol’s Inspector General at Dutch
Fork High School. As a freshman
Comparative Literature major, Ben
hopes to continue his involvement
with the theatrical arts during his
undergraduate career.
appeared as Gregory in Workshop
Theatre’s production of Love! Valour!
Compassion! Earlier this year he
performed in the world premiere of
Hieronymus (written and directed
by Nic Ularu), at La Mama Theatre in
New York City.
James Costello Thomas Betterton
James is in his first
year as a MFA Acting
candidate
here
at
USC. Credits include: The Lion in
Winter, Timon of Athens, Les Liaisons
Dangereuses, A Midsummer Night’s
Dream, and The Full Monty. He would
like to thank his fellow cast, crew,
friends, and family for all their support.
Robert Paul Austin Ensemble
Kate Dzvonik Margaret Hughes
Robert Paul Austin is
a freshman at USC.
Kate is a first year
He is from Irmo, SC.
MFA Acting candidate.
This is his first theatre
She’s an International
performance at USC.
student from Kazakhstan, whose
recent credits probably won’t say
Park Bucker
much to American audiences. She is
Hyde
happy and thankful to be a part of this
production.
Park Bucker is an
Associate Professor of
Grace Fennell English at USC Sumter.
Mistress Revels
He
has
published
books on F. Scott Fitzgerald, Thomas
Grace
Fennell
is
Wolfe, and Joseph Heller. He recently
a sophomore media
directed Up2D8, a new play by Laura
arts major here at USC
Shamas for the Lab Theatre on the
with a minor in theatre.
USC main campus. He has acted in Her previous roles include
Miss
many USC productions including King Erikson in Present Laughter, Dash in
Lear (Oswald) , The Cherry Orchard HONK! The Ugly Duckling Musical,
(Pischik), Love’s Labour’s Lost (Sir General Matilda Cartwright in Guys
Nathaniel), The Country Wife (Quack), and Dolls, Devin in The Real Teens,
The Tempest (Alonso), and The and Carrie in Fourteen Lines. She was
Winter’s Tale (Antigonus). He also also awarded All-Star Cast Member
at the 2011 Southeastern Theatre Trey Hobbs is a first year MFA acting
Conference. She is looking forward candidate at USC. Trey received
to the challenge of playing a role so a BA in theatre from this excellent
different from her usual and would university in 2009 and is excited to be
like to thank Ryan Stevens and all her back. Some previous credits include
family and friends for their love and A Midsummer Night’s Dream, Gross
support.
Indecency, Cyrano de Bergerac, and
Reasons to Be Pretty, among others.
John Floyd Trey would like to thank this university
Olly/Ruffian
and cast & crew of this production for
the opportunity. And, above all, his
John
Floyd
is wife for her support
a sophomore theatre
major at USC. He was
Stephen Ingle
Assistant Stage Manager for Macbeth
Sir Charles Sedley on the main stage last semester.
He was most recently seen in The
Stephen Ingle is very
Importance of Being Earnest as an
excited to be making
ensemble member. He is thrilled to
his debut performance
be in this main stage performance,
on the USC stage in
and would like to thank Gary, the cast, Compleat Female Stage Beauty. After
crew, and family. Enjoy the show!
living in Los Angeles for 15 years where
he worked as an actor, writer, producer,
Kelsey Gibson
stand-up comic, and assistant to a
Ensemble
director/producer, Stephen returned
to his roots in South Carolina in 2006.
Kelsey Gibson is a fourth Recently, he graduated from USC
year theater major here with his Masters of Arts in Teaching
at USC and is excited in Theatre Education. He is currently
for her first onstage performance with teaching Drama in the Richland One
Theatre South Carolina. Recent credits School District. Some of his favorite
include: Oleanna (Stage Manager), roles have been Macduff in Macbeth,
The Winter’s Tale (Assistant Stage Judas in Jesus Christ Superstar, Barry
Manager/Child Wrangler), Spinning Champlain in Talk Radio, and Casper
Into Butter and Language of Angels in his award winning independent film
(Crew), and many performances Fish in a Barrel. Stephen would like to
through Greenroom Productions. She thank his parents Ron & Judy Ingle
would like to thank her friends and above all else, as well as Peter Duffy
family for all of the support they have for mentoring him through the USC
given over the last three years. Enjoy Masters program.
the show!
Josiah Laubenstein Trey Hobbs
Samuel Pepys Villiars, Duke of
Buckingham Josiah Laubenstein is
a first year MFA acting
student at USC. He’s happy to be a part
of his second show here, Compleat
Female Stage Beauty. Previous roles
include about fifty different characters
from The Hour We Knew Nothing of
Each Other. He’d like to thank his class,
Robyn, Steve and especially his fiance
Rachel.
Cory Lipman Charles II
Cory is a first year MFA
candidate at USC, and is
thrilled to be involved in
his second production of the season. A
graduate of McGill University with a BA
in Anthropology and Theatre, Cory’s
recent theatre credits include: The
Lawyer in A Dream Play, The Young
Man in The American Dream/Sandbox,
and Jean in Miss Julie. He would like to
thank the entire department, and the
wonderful cast and crew for making this
production possible.
Dennis Lopez Killigrew/Ruffian/Courtier stage and she is very excited to work
with new people and a guest director.
Other roles at the university include:
Grindhouse fall 2011 and Grindhouse
Spring 2012.
Emily Olyarchuk Miss Frayne
Currently a second year
student at USC, Emily has
performed in Lab Theater
productions as Arlequina in the comedia
del arte original play Tomfoolery and as
Malvolio in Shakespeare’s Twelfth Night.
Emily recently appeared in the very
entertaining main stage production
of The Importance of Being Earnest,
and she has enjoyed her previous
performances in West Side Story and
a Shakespeare in the Park production
of Cymbeline. Emily would like to give
many thanks to her family and friends
for their patience and support!
Melissa Peters Edward Kynaston
Melissa Peters is a first
year MFA candidate.
She
appeared
this
semester in The Hour
We Knew Nothing of Each Other at the
department’s Center for Performance
Experiment. Professional stage credits
include productions with Pacific
Performance Project, Opera Carolina,
The Warehouse Theatre, Out of Hand
Theater, and The Atlanta Opera. Melissa
has traveled extensively working
as an actor for the Federal Bureau
Kristina Montgomery of Investigations, the Department
Ensemble
of Homeland Security, and other
government entities. Her undergraduate
Kristina Montgomery is a degrees are in anthropology and vocal
sophomore theater major music. For Kyle.
at the university. This is
her first time on the main
Dennis Lopez is a senior
Theatre major. Compleat
Female Stage Beauty is
his first theatrical play,
here at USC and otherwise. Before
now, he has spent many years doing
comedic projects such as improv and
skit work. Once graduated, Dennis plans
on pursuing a career in stand-up/sitcom
acting.
Laurie Roberts University with a BA in Musical Theatre.
Maria
She thanks Gary Logan, Erica Tobolski,
Robyn Hunt and Steven Pearson and of
Laurie Roberts is a first course her fantastic parents George and
year
MFA
Acting Judy Rubin. candidate
at
USC. Originally
from
San
Olander Wilson Francisco, Laurie graduated from the
Bouncer/Ensemble
University of Washington in Seattle
where she studied theatre and dance.
Olander Wilson is a senior
Her most notable work includes two
Theatre major here at
collaborative theatre pieces that each
USC. He made a cameo
debuted at the Edinburgh International appearance in Theatre South Carolina’s
Festival Fringe, The Grind Show (2009) production of A Streetcar Named
and Ithaca, I’ll Never See (2010). USC Desire. Olander loves being in front of
credit: The Hour We Knew Nothing of the camera, making short films and
Each Other. Other credits in theatre: making people laugh. Besides acting,
Romeo and Juliet, The Miracle Worker, he enjoys long walks on the beach and
Our Town, and Rosencrantz and playing video games.
Guildenstern are Dead. Dance: Original
works Sakura Rising and Nobody, both
Kelsea Woods
premiered in new works festivals in
Mrs. Elizabeth Barry/
Seattle. Film: 100% Off: A Recession Era
Ensemble Romance (feature), Gone Again (short).
Kelsea is a sophomore
Leeanna Rubin
theatre major at USC.
Nell Gwynn
She is thrilled to make her Main stage
debut. Kelsea has previously stage
Leeanna is honored to managed Good Mourning and assistant
play one of the first female stage managed Twelfth Night in the
actresses in the history Lab theatre last semester. Some of
of English Theatre. Prior to attending her favorite credits to date include
the MFA Acting program, Leeanna The Threepenny Opera, Orestes, and
performed in Fiddler on the Roof (The A Midsummer Night’s Dream. Kelsea
Walnut Street Theatre, Barrymore would like to thank her family and
Nomination Best Ensemble), Eurydice friends for their continued support as
(The Eugene O’Neill Theatre Center), well as the cast and crew for their hard
The God of Isaac (The Jewish Ensemble work.
Theatre of Detroit), Elsewhere in
Elsinore (Folger Shakespeare Theatre),
Andrea Wurzburger
Dig N’ Tel (Adventure Theatre), Hail,
Lady Meresvale Mary! (Montgomery Theater), The
Contrast (Society Hill Playhouse), The
Andrea Wurzburger is
Good Doctor (Hedgerow Repertory
a sophomore English
Theatre), Spring Awakening and Pippin
major, Theatre minor.
(Mazeppa Productions), and The
She was most recently
Women (Theatre of the Seventh Sister). seen as Dr. Chasuble in USC’s Main
Leeanna graduated from American stage production of The Importance of
Xuemei Cao Scenic Designer Xeumei Cao is a second
year Scenic Design MFA
candidate who holds
a BA in Scenic Design
for Drama and Movies from China’s
ARTISTIC COMPANY
Central Academy of Drama in China.
From 2004 to 2011, she worked at the
Tianjin People’s Art Theatre as a scenic
Gary Logan designer. Previous design credits include
Director Cat and Rat (Children’s Art Theatre,
Tianjin), Born to Be
Coward (People’s
Gary Logan is the Director Art Theatre, Tianjin), Chinese Culture
of
the
Shakespeare (China Central Television, Beijing) and
Theatre
Company’s Meirenjiao (National Center for the
Academy for Classical Acting at The Performing Arts, Beijing). Among her
George Washington University in awards honors are “Best Project Award”
Washington, D.C. Some of his directing for The Hero of Jianghuai (2009) and
credits include Hamlet and Machinal “Best Visual Effect Award” for Beijing
(Denver Civic Theatre); Under Milk Courtyard (2003). At USC, she most
Wood, Shadowlands, Major Barbara, recently was scenic designer for Present
and Trip to Bountiful (Ensemble Theatre Laughter in February, 2012.
Company); and over thirty productions
for the National Theatre Conservatory
and others. As a Voice, Text, and Dialect
April Andrew Coach, his credits include productions
Costume Designer at the Shakespeare Theatre Company,
the Kennedy Center, Signature Theatre,
April Andrew is a second
Folger Theatre, Arena Stage, Ford’s
year Costume Design MFA
Theatre, Studio Theatre, Everyman
student.
She received
Theatre, the Chautauqua Theatre
her BA in German at
Company, and over 60 productions with Furman University where she worked
the Denver Center Theatre Company. as a costume shop assistant for four
He is a recipient of a 2006 Tyrone years. She has designed works for
Guthrie Award and is the author of The The Order of the Furman Theater,
Eloquent Shakespeare: A Pronouncing Furman University Pauper Players, and
Dictionary for the Complete Dramatic Centre Stage Theater in Greenville, SC,
Works, With Notes to Untie the Modern including Fat Pig, Little Shop of Horrors,
Tongue (University of Chicago Press). Driving Miss Daisy, and See Rock City.
He is also a faculty member of Canada’s Previous design credits at USC include
National Voice Intensive, held annually in Twenty-Seven Wagons Full of Cotton
Vancouver, B.C., and has taught courses and Polaroid Stories.
at The George Washington University,
the University of Colorado, Boulder and
Denver, and the University of Maryland.
Being Earnest and as Maria in USC Lab
Theatre’s Twelfth Night. She would like
to thank her family and amazing friends
for their constant love and support. She
hopes you enjoy the show!
Jim Hunter Company, Barrington Stage Company,
Lighting Designer/
CATF, the Smithsonian Institution, Ford’s
Chair/Artistic Director
Theatre, Arena Stage and Adventure
Theatre. Off-Broadway sound design
Jim’s scene and lighting credits include the Joseph Papp Public
designs have been seen Theatre/New
York
Shakespeare
at such theatres as Florida Festival. Film & TV credits include NBC
Stage, Arkansas Rep, Charlotte Rep, Sports, UFC on FOX, Epix Drive-In, A
Playhouse on the Square, Drury Lane Sleepover Story and The Long Road. He
Theatre, Theatre Virginia, the World is a founding member of audio theatre
Stage Exposition in Toronto, Heritage company The Audible Group and
Rep, Orlando Shakespeare Theatre, creator of the series Troublesome Gap.
Flat Rock Playhouse, Veggie Tales Live! Nielson is half of the team responsible
National Tour, Wall Street Danceworks for Sound Lab Studios, a recording
and others. Recent projects include the and production house in Asheville,
scene designs for A Christmas Story at NC. Samples can be heard online at
Phoenix Theatre in Arizona and Rumors matthewnielson.com at Florida Rep. Jim is a member of the
national designers union, United Scenic
Valerie Pruett Artists, Local 829, in scene and lighting
Hair/Wigs/Makeup design. He serves as an accreditation
team leader for the National Association
Valerie has been working
of Schools of Theatre and was recently
as a professional hair and
elected for his second term on the NAST
makeup artist for over
Commission for Accreditation. Visit his fourteen years. Before returning to the
website at www.jimhunterdesigns.com. University of South Carolina ten years
ago, she free-lanced and designed for
Matthew Nielson regional theatres across the country,
Composer/Sound
including: Milwaukee Repertory Theatre,
Designer Utah Shakespeare Festival, American
Players Theatre, New American Theatre,
Matthew M. Nielson is Dallas Theatre Center, American
happy to be making his Folklore Theatre and the Madison
debut with the Longstreet Theatre. Repertory Theatre. Valerie also worked
Matthew is the Resident Sound as a guest lecturer and adjunct faculty
Designer at Round House Theatre in at Lawrence University in Appleton,
Bethesda, MD, where his sound design WI and the Professional Theatre
& composition credits include Double Training Program at the University of
Indemnity, Crown of Shadows, Next Wisconsin-Milwaukee. In addition to
Fall, Amadeus, Around the World in 80 teaching and designing at Theatre SC,
Days, My Name is Asher Lev, Eurydice, Valerie maintains an active professional
The Book Club Play and A Prayer for career as a Hair and Make-up artist in
Owen Meany (Helen Hayes Award). the tri-state areas with film and media
Other credits: Catalyst Theatre (Helen productions. She firmly believes that
Hayes Award, 1984), Woolly Mammoth, a successful portrayal of any character
Signature Theatre, Olney Theatre, The must include the complete visual
Kennedy Center, Rorschach, Delaware transformation of that character in order
Theatre Company, Philadelphia Theatre to have a true balance and silhouette.
Erica Tobolski at Trustus. Most recently she worked as
Voice & Dialect Coach an Assistant Stage Manager on The Lost
Colony.
She would like to thank Gary for
Erica Tobolski is a voice this opportunity and the cast and crew
and speech trainer who for all their hard work. has coached voice/text/
dialects for a number of professional
K. Dale White theatres, including the Tony AwardProduction Manager winning Utah Shakespearean Festival
(3 seasons), the Clarence Brown
K. Dale is a proud member
Theatre, Charlotte Repertory Theatre
of Actors’ Equity. He has
and The Lost Colony outdoor drama
worked on Broadway,
(3 seasons). She was Dialect Coach
Off Broadway, regionally
for the independent film The Wise and has toured. He has worked with
Kids, set in Charleston, SC and Dialect David Rabe, Richard Greenberg, Anna
Consultant for several national and Deavere Smith, George C. Wolfe, Tony
international productions. She has a Kushner and John Rando, among
private voice practice, coaching clients others. Other credits include: The
in multiple professions and also works Berkshire Theatre Festival, Shakespeare
as a voice-over artist. Her publications and Company, Playwrights Horizons,
include four articles for The Voice and The Public Theatre, Manhattan Theatre
Speech Review and a chapter in The Club, La Mama, Cambridge Theatre
Voice and Speech Exercise Book, Janet Company, Available Light, Opera
Rodgers, Ed. Tobolski is an Associate Theatre St. Louis, the Repertory Theatre
Professor at the University of South of St. Louis and The Alley Theatre. He
Carolina where she was recently named teaches Stage Management at the
a Teaching Fellow for the Center for University of South Carolina. He has
Teaching Excellence. She is currently taught at Emerson College, Boston, Old
Treasurer of the University/Resident Dominion University, Norfolk, VA and
Theatre Association, a Board Member Bard College at Simon’s Rock, Great
of The Lessac Institute and is the South Barrington, MA. K. Dale is a graduate
Carolina editor for the International of the Conservatory of Theatre Arts,
Dialects of English Archive.
Webster University, St. Louis, MO.
Kasey Beard Stage Manager
Kasey Beard is a senior
undergraduate
theatre
major. Previous technical
credits for USC include
Present Laughter, An Evening of
One Acts, Comedy of Errors, The
Winter’s Tale, Radium Girls, Cyrano de
Bergerac,The Last Days of Judas Iscariot,
Bent, Interruptions, Ralph and Mary,
Spinning into Butter, as well as Kitty
Kitty Kitty and A Behanding in Spokane
Heather Abraham Props Master Heather
Abraham
has received a MFA
in Scenic Design from
the University of South
Carolina and works as a Real Estate
Agent in Columbia, SC. Recent credits
include Scenic Design for I Am My
Own Wife at Trustus, Hieronymus at
La Mama Theatre NYC, Les Sylphides
at the Hong Kong Academy for
Performing Arts, Macbeth, The Comedy
of Errors, Our Country’s Good and The
Arabian Nights at the University of
South Carolina, assistant Scenic Design
for Into the Woods at The Alliance,
Clyborne Park at the Steppenwolf, Red
at the Goodman, Pinocchio at Chicago
Shakespeare, MythBusters Explosive
Exhibition at The Museum of Science
and Industry, The Suicide at USC, New
Island Archipelago at Three Legged
Dog NYC, August Osage County at the
Florida Repertory Theatre and costume
workshop assistant in Sibiu, Romania.
Keep in touch, visit www.abrahamre.com,
or www.heatherabraham.com.
Mason Lee Branham Assistant Stage Manager Mason Lee Branham is
no novice to the world of
theatre. To date, Mason’s
most beloved role was
playing the Reverend Parris in a high
school production of The Crucible .
Whilst at USC, Mason has served under
Steven Pearson as the Assistant Stage
Manager for A Midsummer Night’s
Dream. Mason was also the Stage
Manager of a Greenroom production
entitled Gallery Piece and, most recently,
the Stage Manager for Legally Blonde:
The Musical at Workshop Theatre.
Mason is so excited to be working with
Gary Logan and Kasey Beard and is
thrilled about becoming acquainted
with the new MFAs. Talent is definitely
abundant with this production. Bob Gaines
Dramaturg
Bob Gaines holds a Ph.D.
in Theatre and Drama
from Indiana University.
He served for thirty years
as Department Head and/or Director
of his University Theatre at a branch
of Auburn University in Montgomery,
Alabama where he now holds the title
of Professor Emeritus. He has directed
over 75 productions. He spent the 1986
season in residence with The Stratford
Shakespeare Festival in Stratford,
Ontario, Canada and published John
Neville Takes Command, a book that
describes Neville’s first season as
Artistic Director of that Festival. His
research interests are in classical theatre
production and he has published on
both The Stratford and Shaw Festivals.
He is enjoying his students, immensely,
at USC this term.
Sam Gross Assistant Technical
Director Sam Gross is a graduate
of
Indiana
University
where he earned an MFA
in Theatre Technology. He specializes
in mechanized scenery, computercontrolled systems, electronics, set
construction, and rigging. He has
overseen the construction of USC
productions since 2005. Mr. Gross
received his Bachelor of Science
degree from the University of North
Alabama where he also worked as
a sound designer, lighting designer,
sound engineer, carpenter, and actor.
In his position as Assistant Technical
Director, Sam supervises graduate
and undergraduate students in the
construction of scenery and props for
USC Theatre and Dance productions.
Spencer Henderson Costume Studio
Supervisor M. Spencer Henderson is a
graduate of the University
of North Carolina at Chapel Hill where
he received an MFA in Costume Shop
Management and Costume Technology.
He received his BA in theatre from
Florida State University. His costuming
credits include Playmakers Repertory
Company, The Utah Shakespearean
Festival, and Glimmerglass Opera.
Recently, he spent the three summers
(‘09-’11) at the Williamstown Theatre
Festival as the Costume Shop Manager.
Spencer supervises the USC costume
shop, assists with the pattern-making
and construction of costumes, and
teaches costume construction classes.
the 2008 production of The Violet Hour.
Design credits in film include: Ruby in
Paradise, winner of the 1993 Sundance
Film Festival starring Ashley Judd; Ulee’s
Gold (1997) starring Peter Fonda, winner
of the Best Actor Golden Globe Award;
and, Coastlines (2002) starring Josh
Brolin and Timothy Olyphant. She has
designed costumes for several regional
theatres including American Folklore
Theatre, Asolo State Theatre, Aquila
Theatre Company of London, Charlotte
Repertory Theatre and Hippodrome
State Theatre.
Lisa continues to
Christine Jacky work as the wardrobe stylist for Mad
Assistant
Monkey,
a nationally recognized
Technical Director media production
company, and has
collaborated on numerous national
Christine Jacky received and regional award winning television
her MFA from Southern commercials including University of
Illinois University in Theater with South Carolina’s Bicentennial Campaign
emphasis in lighting design and theatrical and Cheerleader from the USC 2004
management. She specializes in stage recruitment
campaign.
Professor
electrics, sound technology, production Martin-Stuart also serves as the Director
management, and photography for of Undergraduate Studies for the
the stage. She has worked at Central Department of Theatre and Dance.
Piedmont Summer Theater, Long Lake Camp for the Arts, McLeod Summer
Tameshia McCants Playhouse, New York City International
Assistant Stage Manager Fringe Festival, and Lookingglass
Theater in Chicago.
Tameshia McCants is a
Junior Music Education
Lisa Martin-Stuart and Theatre Minor at USC.
Costume Design Advisor This
is her first show stage managing and
she is very grateful for the opportunity.
Professor Martin-Stuart Her on stage credits include “D.A.
has served as the Joyce/Ensemble” in Legally Blonde
Head of the Costume (Workshop Theatre), “Mae” in Andrew
Design Program at the Lippa’s Wild Party (Workshop Theatre)
University of South Carolina for the and “Sister Aloysuis” in Doubt (Studio).
past 17 years. Her training is in costume Tameshia would love to thank Gary, K.
design, historical costume research, Dale, friends, family and her husband
and costume technology. She has Kenneth for their support.
contributed on over 60 productions
for Theatre South Carolina, including
the recent Cyrano de Bergerac and
Gravity, which performed in 2008 at the
Connelly Theatre in New York City and
Andy Mills the Prague Quadrennial International
Technical Director Exhibition of 2007.
Besides his national
and international design activity Nic
Andy
has
designed Ularu is a playwright and director. His
professionally
at recent freelance work as playwright
Shakespeare
Theatre’s and director includes several acclaimed
Young Company (Washington, DC), productions at LaMaMa ETC - New
Charlotte Repertory Theatre, Carolina York, Sibiu International Theatre
Opera, USC Opera, and Trustus. Andy Festival - Romania, Teatrul Foarte Mic,
currently teaches Intro to Theatre Bucharest - Romania, “O” Teatret Design and Theatre Laboratory. He Sweden, National Theatre of Constanta
specializes in the area of properties, - Romania, and National Theatre of Cluj
finding or building the most obscure of - Romania.
items. Andy is a Member of USITT.
Nic Ularu Set Design Advisor Professor
Ularu
has
extensive design credits in
USA and Europe, including
theatres in Sweden, Northern Ireland
and Romania. Nic Ularu was the head
of scenography at the National Theatre
of Bucharest - Romania, and served
for four years as a board member of
The European League of the Institutes
of the Arts (ELIA), Amsterdam, The
Netherlands. He has taught scene
and/or costume design in Romania,
Germany, Sweden, UK, Italy, Denmark
and Hong Kong. Prior to USC, he taught
at Smith College, National Theatre
School of Denmark and The University
of Theatre and Film, Romania. In 2003,
Professor Ularu received an OBIE
award for outstanding achievement in
Off-Broadway theater. Ularu’s designs
appeared in the USA entries at the
Prague
Quadrennial
International
Exhibitions of scenography in 2007,
2003 and 1998. In 2005, Nic co-designed
the exhibit and designed the poster
of the World Stage Design Exhibition,
Toronto - Canada, and was appointed
by the United States Institute of Theatre
Technology as the leading designer and
curator of the USA National Exhibit at
CMA Chamber Music on Main
Featuring Artistic Director Edward Arron
2012 - 2013 Season
Tuesday, October 30
Wednesday, December 5
Internationally acclaimed artistic director
Edward Arron and world-renowned musicians
perform in the Museum’s gorgeous
DuBose-Poston Reception Hall.
Thursday, February 14
Thursday, March 21
Tuesday, April 30
Season pass: $175 or $130 for museum members
Single concert: $40 or $30 for members
Students: $5 the day of the concert
Presenting Sponsor
For tickets: columbiamuseum.org or 803.799.2810
BEHIND THE SCENES
Technical Director
Assistant Technical Directors
Assistant Stage Manager
Assistant Stage Manager
Properties Master
Dramaturg
Scenic Graduate Students/Scenic Artists
Scenic Undergraduate Assistants
Electrics Crew
Light Board Operator
Sound Board Operator
Andy Mills
Sam Gross, Christine Jacky
Mason Lee Branham
Tameshia McCants
Heather Abraham
Bob Gaines
Meredith Paysinger, Cao Xuemei,
Billy Love
Matthew Burcham, Audrey Jewell,
Derrick Frentzen, Chandler Walpole
Ashley Pittman, Jack Wood,
Seth Kahn, Alistor Lowery, Scott Horn
Katie Middleton
Rebecca Shrom
Running Crew Parker Byun, Eldren Keys,
Justin Carmichael
Costume Assistant Amy Thomson
Costume Graduate Students April Andrew, Vera DuBose,
Caitlin Moraska, Sean Smith
Undergraduate Assistants Elizabeth Coffin, Carrina LaCorata,
Justine Shelton-Poole, and the
students of the Theatre Lab Program
Dressers Amanda Alston, Michelle Ouhl,
Rachel Player, Rachel Spires,
Katie Mobley
Costume Studio Supervisor M. Spencer Henderson
Artistic Director/Chair Jim Hunter
Production Manager K. Dale White
Financial Manager Ray Jones
Administrative Assistants Charlotte Denniston, Leigh Cowart
Student Coordinator Lakesha Campbell
Marketing/Promotions Kevin Bush
Promotions Assistants Ashley Bruner, Bakari Lebby, Dennis Lopez, Rachel Player
Russell House Suite 227U | Columbia, SC 29208
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4480 Rosewood Dr. | Columbia, SC 29209
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Upcoming Events
Up Next on the Main Stage
written by
marc camoletti
directed by
richard jennings
longstreet theatre
february 22 - march 2, 2013