Theatre South Carolina
presents
william shakespeare’s
adapted and directed by
robert richmond
17-25, 2012
APRILFEBRUARY
14-22,
2012
LONGSTREET THEATRE
DRAYTON HALL THEATRE
COLLEGE OF ARTS AND SCIENCES
COLLEGE OF ARTS AND SCIENCES
Special thanks to our
DONORS!
Supporters of Theatre South Carolina
through our donor group
and through annual giving to the university of sc
(including the usc family fund)
Rick and Rory Ackerman
Dr. John L. Almeida, Jr.
Dr. Mary C. Anderson
Georgiana Baker
Dr. Sarah Baxter
Anne Bezuidenhout
Mary Ann Byrnes
Sally Boyd
Podie and Hal Brunton
Anthony Brett Butler
Dr. Carol J. Carlisle
David L. Clegg
Roger and Pat Coate
Thorne Compton
Dave and Sandy Cowen
Larry Curtis
Dr. Max Dent
Ellen Douglas Schlaefer
Mary Ellen Doyle
Robert and Judith Felix
John F. Hamilton
John and Lucrecia Herr
Elizabeth Joiner and Buford Norman
Alice Kasakoff and John Adams
Richard Katz
Kimberly Lane
Nina and Arnold Levine
Bob and Mylla Markland
Larry and Barbara McMullen
Deanne K. Messias
Mr. and Mrs. L. Fred Miller
Gail and Steve Morrison
Linda and Jeff Moulton
Jeff and Brigitte Persels
Dennis Pruitt
Willard Renner
Jean Rhyne
Judith Richardson
James B. Robey
Dan Sabia
Prof. and Mrs. John Safko
Dr. and Mrs. Jaime L. Sanyer
Dr. Roger Sawyer
William Schmidt
Brenda Shumpert
Brownie and Nancy Sides
Elizabeth Simmons and Al Sadowski
Wally and Barbra Strong
Erica Tobolski
Steve Valder
Isabel Vandervelde
Dick White
K. Dale White
Dr. Lauren Wilson and Greg Wilson
THANK YOU!
Join the CIRCLE today!
Visit our website for more information:
WWW.CAS.SC.EDU/THEA
(click on “The circle” link on the left-hand side)
List compiled from donations received at time of printing, April, 2012.
Theatre South Carolina
presents
william shakespeare’s
adapted and directed by
robert richmond
SCENIC DESIGN.............................................HEATHER ABRAHAM
COSTUME DESIGN.........................................CAITLIN MORASKA
LIGHTING DESIGN .................................................BRAD COZBY
SOUND DESIGN.......................................................ADAM BINTZ
HAIR/WIG/MAKE-UP DESIGN.............................VALERIE PRUETT
FIGHT DIRECTOR.................................................CASEY KALEBA
PRODUCTION STAGE MANAGER............................JANE HEARN
PRODUCTION MANAGER.....................................K. DALE WHITE*
CAST
MACBETH................................................................................DON RUSSELL*
MACDUFF..................................................................................JOE MALLON
DONALBAIN/LADY MACDUFF........................................CATHERINE FRIESEN
LADY MACBETH...................................................................YVONNE SENAT
BANQUO.........................................................................ANDY HERNANDEZ
MALCOLM......................................................................WILLIAM VAUGHAN
ROSS/PORTER..........................................................................JEFFREY EARL
HECATE/WEIRD SISTER....................................................ELIZABETH COFFIN
WEIRD SISTER...................................................................HANNAH LATHAN
WEIRD SISTER..........................................................................KATIE FOSHEE
WEIRD SISTER.........................................................................KATIE MCCUEN
DUNCAN..........................................................................NATHAN BENNETT
SEYTON............................................................................STEPHEN CANADA
BOY MACDUFF/MURDERER/LORD............................DEBORAH STEVENSON
FLEANCE/SINGER.................................................................CAYLA FRALICK
MURDERER/LORD..................................................................BECKY DORAN
MURDERER/LORD........................................................CHANDLER WALPOLE
There will be one intermission. Running time is approximately 2 hours.
*Appears by permission of Actors’ Equity Association. This theatre operates under an agreement
between the Uni­versity 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
“We’ve always tried to be at the intersection of technology and liberal
arts, to get the best of both worlds…”
- Steve Jobs, Founder of Apple, Inc.
Like many of you, I recently finished Walter Isaacson’s intriguing
biography of Steve Jobs. If you had been at the technical rehearsals
for tonight’s production of Macbeth you would have experienced a motivated team
of student performers, designers, managers and technicians striving with our expert
faculty and guest artists, living right at the intersection that Jobs so admired.
Formal study in the arts encourages creative expression that combines with critical
thinking, rigorous investigation and historical perspective as common threads. Training
artists for the twenty-first century must include a commitment to artistic discovery,
innovation, mastery of both traditional craft and evolving technologies, practical
commercial application of creativity and an emphasis on the relationship between art
and society.
Our faculty work to insure that students are well prepared for careers in their specific
field of study, but they also provide the tools for rewarding employment in the vast
expanse of creative industry opportunities. The students involved in Macbeth have
spent weeks together learning highly sought-after skills, including the ability to take
risks, demonstrate fundamental curiosity, integrate knowledge across disciplines,
communicate new ideas to others, identify and articulate problems, and express
themselves with originality and inventiveness.
There are more than 60 students and faculty named in the Macbeth program and
there are many more unnamed persons that contributed along the journey. We all
appreciate your attendance and support of the program. Without such support, we
would not be able to provide our students the opportunity to tackle one of the most
complex artistic and technical challenges of the theatre.
Jim Hunter
Chair, Department of Theatre and Dance
Artistic Director, Theatre South Carolina
The theatre programs of the USC Department of Theatre and Dance are accredited by the National
Association of Schools of Theatre. The Department is a member of the University/Resident
Theatre Association and is affiliated with the Shakespeare Theatre ofWashington, DC
and the Milwaukee Repertory Theatre.
FROM THE DIRECTOR
Robert Richmond
Are ye fantastical, or that indeed Which outwardly ye show?
- Act 1, Scene 3
My first encounter with Macbeth was as a teenager when I watched
Ian McKellen and Judi Dench at the Royal Shakespeare Company in
Stratford-Upon-Avon. The cast sat on stage for the entire play around a
white chalk circle, with no scenery at all. It was an intense, meta-theatrical experience
in which I felt we conjured spirits from the darker side. The production scared the life
out of me. I left the theatre consumed with paranoia and this reaction to the play has
long stayed with me.
When the design team and I started to discuss how to find the world for our production,
my hope was to create a reaction to the play similar to that which I had experienced 30
years ago. My initial research lead me to think of this world as a combination between
Game of Thrones and The Exorcist. We then began to ask questions like: What makes
a ‘good’ man turn to the darker side? What is ‘evil’ if it is personified on stage? What
is a witch? A world began to develop that is dark, primeval, barbaric and supernatural.
A time where violence, death and survival are tantamount, and ghosts are known to
interact with mortals.
In an age where horror films are so part of the popular culture, how would we make
someone attending a Shakespeare play terrified? How we could do this convincingly
for a modern audience has been the challenge for the designers, cast and crew. This
performance is a result of the many hours of hard work across the theatre program.
Without their enthusiasm and tenacity, none of this would be have been possible. We
hope that you find this performance a visceral, exciting encounter with Shakespeare
and that it becomes one that you will remember for some time to come.
CAST
Elizabeth Coffin
Hecate/Weird Sister
Elizabeth is a junior theatre
major. She is constantly involved in shows at USC in
some capacity or another,
but her focus for now and the not-so-distant future is in costumes. Her costume
design work was most recently seen in
the Lab Theatre’s Romeo and Juliet. But
as you will see, she also enjoys a physical
challenge onstage and was last seen as
a belly dancer in The Comedy of Errors.
Thanks goes to Robert for another opportunity working in the bizarre.
Nathan Bennett
Duncan
Nathan is thrilled to return to the USC stage for
the first time in four years.
Past productions at USC
include AS YOU LIKE IT, A CABAL OF
HYPOCRITES, OH WHAT A LOVELY
WAR (all under the direction of Mr Richmond), THE PILLOWMAN, NOISES
OFF, and THE TEMPEST. Other credits
include THE LOST COLONY at the Waterside Theatre, HENRY VIII at the Folger,
and ROMEO AND JULIET, KING LEAR,
DOG IN THE MANGER, TAMING OF THE
SHREW, TWELFTH NIGHT, and DESIGN
FOR LIVING at The Shakespeare Theatre
Company.
Stephen Canada
Seyton
Becky Doran
Murderer/Lord
Becky Doran is a senior
theatre major, film and media studies minor. She was
last seen as Irina in The
Suicide. This is her second time assistant directing, the previous time being for
The Comedy of Errors. She has enjoyed
this opportunity to act as well as assistant direct on the main stage. It’s been a
pleasure working with Robert Richmond
as well as the entire cast and crew!
Stephen Canada is a Junior at USC from Surfside
Beach, SC. He is a Media
Arts major with a minor in
theater. He didn’t start his career in theater until the end of his freshman year at
USC, but Stephen has always had a love
Jeffrey Earl
for singing and movies that has propelled
Ross/Porter
him into wanting to grow and develop as
an actor in his college career. This is his
Jeffrey Earl is an under2nd show on the main stage at USC, with
graduate senior wrapping
his other performances being Pablo in A
up his tour of duty at USC.
Streetcar Named Desire, Lord Bothwell/
He has appeared in many
Babington in The History of Queen Elizabeth I and a Nazi soldier in Bent in the Lab shows on both the main stage and the
Theater. Stephen would like to thank his Lab Theatre, most recently seen as Mer
parents and girlfriend for always support- cutio in Romeo and Juliet.
ing him in his heart’s desires, and also the
cast and crew for making this show such Katie Foshee
a wonderful experience.
Weird Sister
Katie Foshee is a junior
theatre major at USC.
She has split her time per-
forming on stage as well as helping out
backstage. Recent acting credits include:
Lady Montague in Romeo & Juliet (Lab
Theatre), Virtue in Anything Goes (Workshop), Tammy in Hairspray (Workshop),
Gina in Up2D8 (Lab Theatre) & Mayzie in
Seussical! (Greenwood). Backstage credits include: Language of Angels (SM), Arabian Nights (ASM), Big Love (PSM) and
Present Laughter (ASM), all at USC. Much
love to her family, friends, Wildcat family,
& most importantly Pa, who will always
have the best seat in the house.
direction of Gisela Cardenas. Catherine’s
theater training includes an undergraduate degree from Goshen College, study at
ACT and training with the SITI Company
and The South Wing. Catherine is grateful
for the privilege of being here with you.
Andy Hernandez
Banquo
Andy Hernandez is a second year MFA acting candidate from Newport, RI. He
received his BA in Theatre
Cayla Fralick
from The Ohio State University and has
Fleance/Singer
previously acted in Columbus, OH. Favorite past productions in the Columbus
Cayla Fralick is a senior area include Footloose, Mame, MachiTheatre major, English mi- nal, and Almost, Maine. He was previnor at USC. Her previous ously seen in Theatre South Carolina’s
appearances in USC The- productions of Big Love (Constantine),
atre productions include Rosaline in Ro- The Suicide (Alexander), The Comedy of
meo & Juliet and Tina in Up2D8 in the Lab Errors (Duke Solinus), the Tennessee WilTheatre. She’s also been seen around the liams Festival: Evening of One-Act Plays,
Columbia music scene playing with four Polaroid Stories (D/Dionysus), and Presother talented guys in the band kemp rid- ent Laughter (Morris). He spent this past
ley. This is her first main stage produc- summer at Theatre West Virginia in Becktion and she’s excited to take the stage ley, WV where he performed in Hatfields
as Fleance, climbing trees and singing & McCoys (Ellison Hatfield), Honey in the
songs in the last performance of her un- Rock (Sneath), All Shook Up (Sheriff Earl),
dergrad career.
and The Jungle Book (Kaa). He is thankful
to his family and friends for their support
in the pursuit of his career, and to Robert
Catherine Friesen
and the USC faculty for the opportunity
Donalbain/Lady Macduff
to be here.
Catherine Friesen is a second year MFA Acting canHannah Lathan
didate at USC. She has
Weird Sister
performed in the USC productions of
Present Laughter, Polaroid Stories, Lady
Hannah is a senior public
of Larkspur Lotion, Pretty Trap, The Suirelations major and public
cide, Big Love, and The Comedy of Errors.
health minor. At USC, she
Prior to South Carolina, she performed
previously acted in original
with The South Wing in New York City student works in the Greenroom Grindin AOI! at the Japan Society and Death house and adapted The Yellow Wallpaper
in Vacant Lot! Other New York credits in- for the stage with three inspiring actors.
clude Alcestis with East 3rd Ensemble, A graduate of the South Carolina GoverAgamemnon and Fires with the Vortex nor’s School for the Arts and Humanities,
Theater Company, AutoMotive with East she has played Emily in Our Town and
River Commedia, and Macbeth under the Madeline in The Women of Lockerbie.
Off stage, she loves to write and serves
as Garnet & Black Magazine’s executive
editor. She thanks her Scottish family
for their commitment to this project and
Robert for the opportunity to explore this
dark world.
Joe Mallon
Macduff
servatory for Dramatic Arts, where she
lived in Brooklyn and got a taste of the
professional acting world. Off stage, she
has enjoyed designing for USC’s theatre
marketing department. She loves to challenge herself, rising to a new creative task
every day. She is very excited to be in this
main stage performance and is loving the
experience!
Joe Mallon is a second
Don Russell
year MFA candidate at
Macbeth
University of South Carolina. He received a BFA in
Don Russell is a second
Acting from New York University’s Tisch
year MFA Acting candiSchool of the Arts. He was last seen
date. Previous productions
on the USC stage as Garry Essendine
he has been involved with
in Present Laughter. Other USC credits at USC include: Present Laughter, Polainclude Stanley Kowalski in A Streetcar roid Stories, 27 Wagons Full of Cotton,
Named Desire, Orpheus in Polaroid Sto- The Pretty Trap, The Comedy of Errors,
ries, Antipholus of Syracuse in The Com- The Suicide, Big Love, Earth and Sky and
edy of Errors, Aristarkh in The Suicide and 1942. Don received his B.A. from Slipas Piero/Bubba in Big Love. Other recent pery Rock University of Pennsylvania and
theater credits include: The Pharaoh in his M.A. from California State University,
Joseph and the Amazing Technicolor Northridge. He would like to thank the
Dreamcoat (New Candlelight Theatre), faculty and staff of USC for the many opThe Dentist in Little Shop of Horrors (Dev- portunities to explore and enrich his craft.
on Theater), Lt. Jack Ross in A Few Good
Men (Ritz Theater), Alan in Picnic (Mont- gomery Theater), and El Gallo in The FanYvonne Senat
tasticks (Kimmel Center). He would like
Lady Macbeth
to thank the USC faculty for the amazing
education and the chance to perform with
Yvonne Senat, originally
such talented people. He would also like
from Southern California,
to thank his family, friends and girlfriend
is currently a 2nd year MFA
for their continued support.
Acting Candidate.
She
graduated from California State University of Long Beach with a B.A. in Theatre
Katie McCuen
Arts. Previous roles on the USC Stage inWeird Sister
clude Joanna in Present Laughter, Neon
Girl in Polaroid Stories, Blanche DuBois
Katie is a senior Visual in A Streetcar Named Desire, Cleopatra
Communications
ma- Maximovna in The Suicide, and Thyona
jor and a Theatre minor. in Big Love. While she’s sad to be deWhile in Columbia, she livering her final main stage performance,
has worked on several theatrical proj- she couldn’t have asked for a better swan
ects including A Streetcar Named Desire song than the role of Lady Macbeth herand most recently an original commedia self. She’d like to thank her family and
dell’arte piece where she played Pan- friends for their constant love and suptalone. Last summer, she earned partial port. It has been her greatest motivation
scholarship to attend the New York Con- while pursuing this passion. She hopes
8
you enjoy the show and that you brought
someone to hang on to during the scary
parts.
being such a phenomenal director.
ARTISTIC COMPANY
Deborah Stevenson
Boy Macduff/Murderer/
Robert Richmond
Lord
Director
Deborah Stevenson is a
Robert Richmond is an
senior theatre major. This
Associate Professor and
is her sixth time performing
Head of Undergraduate
Shakespeare, most of which have been
Performance in the Deat the Upstate Shakespeare Festival, and partment of Theatre & Dance at the Uniher first time working in Drayton Hall.
versity of SC. He teaches acting and
directing in the Theatre program, the SC
Honors College and Media Arts program
William Vaughan
and hopes to inspire his students to beMalcolm come imaginators. Recent directing proj
ects include: Othello, Henry VIII at the
William Vaughan is a junior Folger Shakespeare Theatre, DC (nomitheatre major at USC, and nated for 10 Helen Hayes Awards) and
is excited to be appearing the Alabama Shakespeare Theatre, Roon the main stage for the meo & Juliet in the Lab Theatre at USC.
fifth time. His USC credits include This He was the winner of the South Carolina
Property is Condemned, The Comedy of Film Commissions Production grant and
Errors, Our Country’s Good, The Winter’s in collaboration with the College of Arts
Tale, Good Mourning, Romeo & Juliet, and Science, USC and Trident Technical
The Last Days of Judas Iscariot, Bent, College, he directed the short film DreadSpinning Into Butter, and Language of ful Sorry, written by Dionne O’Dell. This
Angels.
summer Robert will once again direct The
Lost Colony in Manteo, NC for the 75th
Anniversary season. For more informaChandler Walpole
tion visit: www.robertrichmond.com and
Murderer/Lord dreadfulsorrymovie.com.
Chandler Walpole is a Ju- nior theatre major at USC.
Heather Abraham
Originally from Boone,
Scenic Designer
North Carolina, he trained
at the Blowing Rock Stage Company,
Heather Abraham is a Third
working in sound, lighting, stage design,
Year MFA Scenic Design
and acting. Having spent the last term
Candidate. During her first
abroad, he is excited to be back at South
year, her Scenic Design
Carolina for Macbeth. He was last seen for The Arabian Nights was chosen to be
as Lieutenant Rooney in Arsenic and published in TD&T and presented in 2011
Old Lace at the Appalachian Community at the Prague Quadrennial. Recent credTheatre in Boone, NC. His last appear- its include Scenic Design for Hieronymus
ance on stage at USC was as Montfleury at La Mama Theatre NYC, Les Sylphides
in Cyrano de Bergerac. Good times were at the Hong Kong Academy for Performhad by all putting this show up, and he ing Arts, The Comedy of Errors and Our
would especially like to thank Robert for Country’s Good at the University of South
Carolina, assistant Scenic Design for 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. She is a graduate from
the University of Evansville and received
and honorable mention from ACTF for
her scenic design for Dr. Faustus and first
place for her props design for Into the
Woods. Macbeth will be her last production as a graduate student at USC. She
plans to spend the next few years further
developing her two businesses, Heather’s Feathers and Torn Curtain Boutique.
She wants to thank her mentor Nic Ularu
for all his guidance, the faculty, and staff
of USC for all of there patience, her family, and friends (especially her boyfriend
Robb and her best friend Tara) for all of
their loving support. She could have not
come this far without all of you, thank you!
Caitlin Moraska
Costume Designer
Caitlin is a first year MFA
candidate in Costume Design. This is her first full
cast main stage show at
the University of South Carolina. She previously was the costume designer for the
Tennessee Williams One Act plays, Lady
of Larkspur Lotion and This Property is
Condemned ,at USC. Caitlin is a recent
graduate of Savannah College of Art and
Design with a BFA in Production Design.
She has worked on several academic
productions at SCAD including, Assistant
Hair and Makeup Designer for Hair, and
Assistant Stage Manager for the original
dance production of The Station. She
would like to thank everyone backstage
and in the shop for all of their hard work
and dedication as well as, her family for
all of their love and support. She looks
forward to more USC shows and design
experiences in the future.
Brad Cozby
Lighting Designer
Brad Cozby is a third year
M.F.A. candidate in Lighting Design and is thrilled to
be working on Macbeth as
his final lighting design as a graduate student. Over the past three years working
with Theatre South Carolina he has had
the opportunity to design over 15 shows.
Before coming to the University of South
Carolina he received his BA in Theatre at
Grand Canyon University in Phoenix, AZ.
Last semester he had the opportunity,
through the tireless efforts of Nic Ularu, to
design Stars in the Morning Sky with the
Hong Kong Academy for Performing Arts
in Wan Chai, Hong Kong. Some of his
past notable designs include Our Country’s Good, Bent, The Suicide, The Arabian Nights, and Kabuki Lady Macbeth.
He would like to thank all of his friends
who have supported him these past three
years, his advisor Jim Hunter, and most
of all his parents, who finally have the
chance to see his work in person. To see
other designs of his, visit his website at
www.lostcozdesigns.com.
Adam Bintz
Sound Designer/Live
Sound Mixer
Adam is a senior Theatre
and Media Arts double
major at USC. His most
recent projects include acting in The History of Queen Elizabeth I and producing
his one-man show, Oneiros. In the fall,
he worked with Robert to design lighting,
sound, and projections for Romeo & Juliet. Adam has assisted Robert in many
other productions including Cyrano,
Bent, The Comedy of Errors, and Dreadful Sorry, but this is his last and most involved production with him. Adam is very
grateful for this sound design opportunity,
which is at the climax of his undergrad
career. Adam’s previous sound designs
include Good Mourning, Oleanna, Big
Love, Our Country’s Good, John & Jen,
Arabian Nights, Language of Angels, and
The Book of Liz.
Valerie Pruett
Hair/Wigs/Makeup
Valerie is the instructor
and designer for hair and
makeup at Theatre South
Carolina. She started out
in professional theatre as a makeup and
hair artist for such outdoor pageants as
Tecumseh! and Unto These Hills. After
paying her dues with the outdoor circuit
Valerie went on to work and sub-contract
with several regional theaters including
Milwaukee Repertory Theatre, American
Players’ Theatre, Utah Shakespearean
Festival, Dallas Theatre Center, Hippodrome, New American Theatre, Heritage
Repertory Theatre and most recently the
American Folklore Theatre. Before returning to USC, Valerie was a guest instructor
and artist at the University of WisconsinMilwaukee’s Professional Theatre Training Program and at Lawrence University
in Appleton, WI. She is a registered artist with the SC Film Commission and the
makeup artist for the Addy Award-winning media company, Mad Monkey.
Casey Kaleba
Fight Director
Casey Kaleba has arranged
violence for nearly 300 academic and professional productions, most recently for
the Folger Theatre’s production of Othello
with Robert Richmond. He is the resident
fight director for Round House Theatre, a
company member with Rorschach Theatre, and a teaching artist for both the Folger Shakespeare Library and the Shakespeare Theatre Company in Washington,
DC. Other work includes productions
with Studio Theatre, Forum Theatre, Signature Theatre, the New Brunswick Theatre Festival, and the Hub Theatre. He
is a Certified Teacher with the Society of
American Fight Directors and has been a
guest artist for both Fight Directors Canada and the Nordic Stagefight Society.
Jane Hearn
Stage Manager
Jane is a third-year Theatre
major in the Honors College
who has been stage managing since high school.
Past credits include The Lieutenant of Inishmore (Trustus Theatre), The Last Days
of Judas Iscariot (USC LAB), The Comedy of Errors (Theatre South Carolina),
and Romeo and Juliet (USC LAB). Jane
has also acted as Props Assistant at The
Lost Colony. This is her eleventh show at
USC, and she looks forward to more next
year! Many thanks to family, friends, faculty and staff for all of their support.
K. Dale White
Production Manager/
Stage Manager Advisor
K. Dale is a proud member
of Actors’ Equity. He has
worked on Broadway, Off
Broadway, regionally and has toured. He
has worked with David Rabe, Richard
Greenberg, Anna Deavere Smith, George
C. Wolfe, Tony Kushner and John Rando,
among others. Other credits include: The
Berkshire Theatre Festival, Shakespeare
and Company, Playwrights Horizons, The
Public Theatre, Manhattan Theatre Club,
La Mama, Cambridge Theatre Company,
Available Light, Opera Theatre St. Louis,
the Repertory Theatre of St. Louis and
The Alley Theatre. He teaches Stage
Management at the University of South
Carolina. He has taught at Emerson College, Boston, Old Dominion University,
Norfolk, VA and Bard College at Simon’s
Rock, Great Barrington, MA. K. Dale is a
graduate of the Conservatory of Theatre
Arts, Webster University, St. Louis, MO
ing on his first main stage production at
Walter Clissen
Sound Design Advisor USC. John’s previous acting credits include Greenroom Production’s Gallery
Walter has 25+ years of Piece and The Grindhouse. He was also
experience in all aspects Stage Manager for The History of Queen
of the audio world. He re- Elizabeth I in the Lab Theatre’s Original
ceived his BFA/MFA from Works. John is grateful for the opportuthe Higher Institute of Theatre and Culture nity to work with the amazing cast and
Spreading in Brussels, Belgium. Born in crew, and would like to thank his friends
Belgium and working in venues all over and family.
Europe, he moved to Los Angeles, CA
in 1988. His Sound Designs have been
Sam Gross
heard internationally in Theatre and OpAssistant Technical Director era houses (e.g. L.A.’s Center for Bilin
gual Arts, La Mama ETC - New York City,
PCPA Theatrefest - Santa Maria-Solvang
Sam Gross is a graduate of
CA, Arizona Repertory Theatre - Tucson
Indiana University where he
AZ, Romanian National Theatre - Cluj,
earned an MFA in Theatre
Romania, The Flanders Opera - Belgium,
etc.). Recent work includes Arno Raunig’s Technology. He specializes in mechaBarrock and Subsonic Sonar’s Emerald nized scenery, computer-controlled sysGreen Vortex. He composed and de- tems, electronics, set construction, and
signed the new musical, Seven Stars in rigging. He has overseen the construcParadise, with his partners Jean-Louis tion of USC productions since 2005. Mr.
Milford (France) and Francis Dixon (Eng- Gross received his Bachelor of Science
land). He started Sound Design on a new degree from the University of North Alamusical My Fairy Tale (a musical about bama where he also worked as a sound
Hans Christian Andersen, original idea designer, lighting designer, sound en& concept by Flemming Enevold, Music gineer, carpenter, and actor. In his posi& Lyrics by Stephen Schwartz, book by tion as Assistant Technical Director, Sam
Phillip LaZeb), commissioned by PCPA supervises graduate and undergraduate
Theatrefest to have it’s American pre- students in the construction of scenery
miere Summer 2011 in Solvang, CA. He and props for USC Theatre and Dance
has taught several audio courses, work- productions.
shops and lectures in Europe, at UCLA,
CSU Fresno, Pacific Conservatory of
Spencer Henderson
Performing Arts in Santa Maria,CA, and
Costume Studio Supervisor
at the University of Arizona in Tucson, AZ.
He is currently Asst. Professor in Sound
Design at the University of South CaroM. Spencer Henderson is a
lina teaching Sound Design courses for
graduate of the University
the Dept. of Theatre and Dance and the
of North Carolina at Chapel
Dept. of Media Arts.
Hill where he received an MFA in Cos
tume Shop Management and Costume
Technology. He received his BA in theatre
John Floyd
Assistant Stage Manager from Florida State University. His costuming credits include Playmakers Repertory
Company, The Utah Shakespearean FesJohn is a freshman the- tival, and Glimmerglass Opera. He has
atre major from Loris, SC. spent the last three summers at the WilHe is excited to be work- liamstown Theatre Festival as the Cos-
tume Shop Manager. Spencer supervises
the USC costume shop, assists with the
patternmaking and construction of costumes, and teaches costume construction classes. He has also designed at
Workshop Theatre here in Columbia
Jim Hunter
Chair/Artistic Director/
Lighting Design Advisor
Jim’s scene and lighting
designs have been seen
at such theatres as Florida
Stage, Arkansas Rep, Charlotte Rep,
Playhouse on the Square, Drury Lane
Theatre, Theatre Virginia, the World Stage
Exposition in Toronto, Heritage Rep, Orlando Shakespeare Theatre, Flat Rock
Playhouse, Veggie Tales Live! National
Tour, Wall Street Danceworks and others. Recent projects include the scene
designs for A Christmas Story at Phoenix
Theatre in Arizona and Rumors at Florida
Rep. Jim is a member of the national designers union, United Scenic Artists, Local 829, in scene and lighting design. He
serves as an accreditation team leader
for the National Association of Schools
of Theatre and was recently elected for
his second term on the NAST Commission for Accreditation. Visit his website at
www.jimhunterdesigns.com.
Fringe Festival, and Lookingglass Theater
in Chicago.
Kimi Maeda
Properties
Kimi Maeda has designed
sets and costumes in Virginia, Atlanta, South Carolina, Philadelphia, Boston,
New York, Indiana, and Baltimore. She
has written and directed several puppet
shows, including The Crane Wife, Snow
White, and The Little Mermaid. She received her MFA in scenic design from the
University of South Carolina and was the
recipient of the 2005 Rose Brand Award
from the United States Institute of Theatre
Technology. She received her MA in Scenography from Central Saint Martins College of Art and Design in London and her
BA in Studio Art from Williams College.
Lisa Martin-Stuart
Costume Design Advisor
Professor
Martin-Stuart
has served as the Head of
the Costume Design Program at the University of
South Carolina for the past 17 years. Her
training is in costume design, historical
costume research, and costume tech nology. She has contributed on over 60
Christine Jacky
productions for Theatre South Carolina,
Assistant Technical
including the recent Cyrano de Bergerac
Director
and Gravity, which performed in 2008 at
the Connelly Theatre in New York City
Christine Jacky received and the 2008 production of The Violet
her MFA from Southern Il- Hour. Design credits in film include: Ruby
linois University in Theater in Paradise, winner of the 1993 Sundance
with emphasis in lighting design and the- Film Festival starring Ashley Judd; Ulee’s
atrical management. She specializes in Gold (1997) starring Peter Fonda, winner
stage electrics, sound technology, pro- of the Best Actor Golden Globe Award;
duction management, and photography and, Coastlines (2002) starring Josh
for the stage. She has worked at Central Brolin and Timothy Olyphant. She has
Piedmont Summer Theater, Long Lake designed costumes for several regional
Camp for the Arts, McLeod Summer theatres including American Folklore ThePlayhouse, New York City International atre, Asolo State Theatre, Aquila Theatre
Company of London, Charlotte Repertory
Theatre and Hippodrome State Theatre.
Lisa continues to work as the wardrobe
stylist for Mad Monkey, a nationally recognized media production company,
and has collaborated on numerous national and regional award winning television commercials including University of
South Carolina’s Bicentennial Campaign
and “Cheerleader” from the USC 2004
recruitment campaign. Professor MartinStuart also serves as the Director of Undergraduate Studies for the Department
of Theatre and Dance.
Andy Mills
Technical Director
Andy has designed professionally at Shakespeare
Theatre’s Young Company
(Washington, DC), Charlotte Repertory Theatre, Carolina Opera,
USC Opera, and Trustus. Andy currently
teaches Intro to Theatre Design and Theatre Laboratory. He specializes in the area
of properties, finding or building the most
obscure of items. Andy is a Member of
USITT.
Neal Tucker
Assistant Director
Neal Tucker holds a BA in
Theatre from Samford University’s School of the Arts
and is currently pursuing an
MA in Theatre here at USC. He has also
trained at the Chicago College of Performing Arts and Second City. Recently,
he has been seen on the USC stage in
Arthur Miller’s Broken Glass and will play
Sir Toby Belch in Shakespeare’s Twelfth
Night later this month. Other notable USC
production credits include Dead Man’s
Cell Phone, A Streetcar Named Desire,
and Good Mourning. He would like to
thank Robert for this incredible opportunity, and his wife and family for their continued love and support. Please visit his
website at nealtucker.net.
Nic Ularu
Scenic 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 the Prague Quadrennial International Exhibition of 2007. Besides his
national and international design activity
Nic Ularu is a playwright and director. His
recent freelance work as playwright and
director includes several acclaimed productions at LaMaMa ETC - New York,
Sibiu International Theatre Festival - Romania, Teatrul Foarte Mic, Bucharest Romania, “O” Teatret - Sweden, National
Theatre of Constanta - Romania, and National Theatre of Cluj - Romania.
TO KILL A KING: MACBETH AND THE GUNPOWDER PLOT
by assistant professor victor holtcamp
Macbeth is the last of the four “great tragedies” of Shakespeare, in company with
King Lear, Othello, and Hamlet. Shorter
than the others (shorter, in fact, than nearly
any of Shakespeare’s other plays) Macbeth has the additional distinction of being closely tied to King James I, who until
Queen Elizabeth’s death in 1603 had been
James VI of Scotland. Not for nothing is
it Banquo who “shalt get kings” according to the witches. According to legend
– later disproved – Banquo’s son Fleance
escaped from Scotland to Wales, married,
and his son returned to Scotland, leading
to the founding of the Stuart line, and thus
to James’s eventual, rightful, succession to
the English crown.
Succeeding the virgin queen, James’ arrival on the throne had made many hopeful of
greater toleration for Catholics in England.
When this promise did not come to pass,
some felt that they needed to take matters
into their own hands, and the Gunpowder
Plot was hatched.
The Gunpowder Plot was domestic terrorism, pure and simple. The conspirators
planned to blow up the Houses of Parliament, kill James and his wife, and kidnap
the royal children in the hopes of precipitating a civil war that would break the Protestant hold on the country. The most famous
conspirator was Guy Fawkes, and the discovery and thwarting of the Gunpowder
Plot are recalled every November 5th on
Guy Fawkes Day:
Remember, remember
The Fifth of November
Gunpowder, treason and plot.
I see no reason
Why Gunpowder Treason
Should ever be forgot…
After the arrest of Guy Fawkes and his fellow conspirators, it was quickly announced
that James himself had played a hand in
discovering the foul plan and ending it, linking him to the preservation of the country.
What followed were interrogations augmented by torture, trials both open and
secret, and finally the public execution of
the conspirators via drawing and quartering. As was customary in cases of treason,
after death the plotters’ heads were cut off
and displayed to the populace.
Of critical interest to the inquisitors and
the public at large was the supposedly
Jesuit technique of “equivocation,” which
was designed to allow Catholics to maintain their truthfulness in the face of hostile
questioning from Protestant authorities.
Much of the equivocator’s technique relied
on wordplay and the ambiguities inherent in the language. For example, when
asked if a certain priest was staying at his
house, the owner could say, “He does not
lie here,” which would be interpreted by the
questioner as meaning he was not staying there, but instead meant (to the person
questioned) that the priest, while there, told
no lies.
It is no accident that this is the same
technique the witches use with Macbeth.
James, like many in the audience, was an
absolute believer in witches and witchcraft.
He had even written a book on witches
called Daemonologie, which purported to
explain how to tell a real witch from the innocent, and cataloged some of the methods the devil and his demons would use to
ensnare the souls of men.
Shakespeare puts all these elements – the
recent trauma of the Gunpowder Plot, the
concerns over equivocation, and James’
fascination with witches – to masterful effect in this play. The literal and figural darkness that pervades nearly all of Macbeth is
both a metaphoric reflection of England’s
mood after “Gunpowder,” and of the growing horror of Macbeth’s own actions and
reactions, as the momentum of his crimes
pushes him forward to disaster and destruction.
Against this tide of evil stands righteous
rule, and James – and his subjects – could
see his own ancestors portrayed as fighting the fight he saw himself continuing in
the present. Shakespeare, of course, was
too good a writer to make Macbeth a mere
allegorical tale of James vs. the Jesuits.
Instead, Shakespeare used the concerns
of the time, and specifically of his royal patron, to craft a compelling tale of ambition,
duplicity, greed and disaster.
For further reading:
Witches and Jesuits:
Shakespeare’s Macbeth, by Garry Willis
WADSWoRTH
Chamber Music Series
Featuring Edward Arron & Friends
Presented by U.S. Trust
2011 - 2012 Season
Thursday, November 3, 2011
Wednesday, December 4, 2011
Internationally acclaimed artistic director
Edward Arron and world-renowned musicians
perform in the Museum’s gorgeous
DuBose-Poston Reception Hall.
Thursday, February 16, 2012
Thursday, March 22, 2012
Tuesday, May 1, 2012
Season pass: $150 or $125 for museum members
Single concert: $35 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 Director
Assistant Stage Manager
Properties
Sound Mixer
Electricians
Scenic Graduate Students
Scenic Undergraduate Assistants
Lighting Graduate Students Lighting Undergraduate Assistants
Andy Mills
Sam Gross, Christine Jacky
Neal Tucker
John Floyd
Kimi Maeda
Adam Bintz
Dave Stancik, Aaron Pelzek
Mary Miles
Ashley Merritt
Ashley Merritt, Rebecca Shrom
Light Board Operator
Sound Board Operator
Playback Operators
Heather Abraham, Meredith Paysinger, Cao Xuemei
Matt Burcham, Katie Perry, Chandler Walpole, Ait Fetterholf and students of the Theatre Lab Program
Marc Hurst, Brad Cozby
Adam Bintz, Ashley Pittman, Arienne Thacker, Mary Tilden, Jack Wood, Jeremy Woods, Rachel Player, and students of the Theatre Lab Program
Deck Crew Elizabeth Turner, Karleigh Brunson
Fly Crew Eldren Keys, Olander Wilson
Costume Graduate Students April Andrew, Sean Smith,
Caitlin Moraska
Undergraduate Assistants Colleen Dobson, Elizabeth Coffin, Justine Shelton-Poole, and students of the Theatre Lab Program
Dressers Justine Shelton, Jennifer Daniels,
Stephanie Bingman, Katie Joslin, Neci Pedergrass
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 LaTrell Brennan, Doni Fisher, Octavius Galloway, Merranda Michels, Emily Olyarchuk, Curry Stone
Special Thanks
Kevin Curtis, USC Arborist, USC Landscaping & Environmental Services
Upcoming Events
April 20-21
with the
USC Dance
Conservatory
Two Dance Concerts
for the Price of One!
6pm, April 20
2pm, April 21
Tickets:
777-5112
8pm, April 20
4pm, April 21
Theatre South Carolina
Longstreet Theatre
Columbia, SC 29208
803-777-4288
[email protected]
http://www.cas.sc.edu/thea