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2
List compiled from donations received at time of printing, February, 2013.
Theatre South Carolina presents
Written by Marc Camoletti
Translated by Beverley Cross & Francis Evans
Directed by Richard Jennings*
Scenic Design..............................................................................Meredith Paysinger
Costume Design..................................................................................Caitlin Moraska
Lighting Design..................................................................................Robert Eubanks
Sound Design.......................................................................................Danielle Wilson
Hair/Wig/Make-Up Design...........................................................Valerie Pruett
Dialect Coach...............................................................................Marybeth Gorman*
Stage Manager......................................................................................Kathren Martin
Production Manager..........................................................................K. Dale White*
CAST
Bernard, an American Architect Living in Paris.............................Trey Hobbs
Gloria, an American Air Hostess...........................................................Melissa Peters
Berthe, Bernard’s Housekeeper.......................................................Leeanna Rubin
Robert, a friend of Bernard’s......................................................Josiah Laubenstein
Gabriella, an Italian Air Hostess...........................................................Kate Dzvonik
Gretchen, a German Air Hostess........................................................Laurie Roberts
Flight Attendant.........................................................................................Sarah Ensley
The play takes place over a single day in Bernard’s
apartment near Orly Airport in Paris.
Act One
Scene 1: Morning
Scene 2: Afternoon
[Intermission]
Act Two
Evening
There will be one intermission. Running time is approximately 2.5 hours.
Boeing-Boeing is presented by special arrangement
with SAMUEL FRENCH, INC.
*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
3
FROM THE CHAIR
Jim Hunter
“…a farce is built on a lie. A character lies and then to keep from getting caught must lie
again. The lies multiply, the character digs himself into a deeper hole. And generally, there
are several characters forced to lie. Often the lies contradict each other.
Needless to say, this takes careful planning. The structure of a farce is critical. Things have
to happen with exact precision. The pressure must never let up. Constant roadblocks
must be introduced. Complications on top of more complications. The vice tightens…and
tightens…and tightens.”
- Ken Levine, Emmy Award Winning Writer
M*A*S*H, Cheers, Frasier, The Simpsons
Theatre South Carolina strives to use the intellectual and creative
expertise of the university to advance our long tradition of
promoting serious intellectual discourse on the most pressing
matters of society……but not tonight!
Tonight our stage is a
vortex of escapism. Yes, the complexity and craft of farce, as
described by Ken Levine, is a difficult performance style for
actors to master, a challenge worthy of educational theatre; yet, tonight is also
a distracting entertainment which we hope you will immerse yourself in. Let go
and enjoy!
So, jump in with both feet and forget your worries…. and…don’t worry about
gravitas…
King Lear is coming soon.
Warmest Regards,
Jim Hunter
Artistic Director, Theatre South Carolina
Chair, Department of Theatre and Dance
4
FROM THE DIRECTOR
Richard Jennnings
“Analyzing humor is like dissecting a frog. Few people are interested and the frog dies.”
- E.B. White
“The only honest art form is laughter, comedy. You can’t fake it... try to fake three laughs
in an hour -- ha ha ha ha ha -- they’ll take you away, man. You can’t.” - Lenny Bruce
“The duty of comedy is to correct men by amusing them.” - Moliere
I directed my first play at the University of South Carolina
in Longstreet Theatre in 1979. It was William Shakespeare’s
Twelfth Night. For the next several decades I directed about
three plays a year. My fondest memories are of the comedies
that I directed during that period of time. I have always been
drawn to comedies both as an actor and as a director. When
I was growing up as a boy some of my favorite actors were
Charlie Chaplin, Buster Keaton, Sid Caesar, Jonathan Winters,
Jackie Gleason and Ernie Kovaks. All of these actors were known for their
brilliant physical comedy, as well as their abilities to tell a good joke.
One of my all time favorite films is It’s A Mad, Mad, Mad, Mad World, which was
released in 1963. It was directed by Stanley Kramer who assembled a veritable
“Who’s Who” of film comedians in this slapstick cinematic masterpiece. A
couple of years later I saw the film Boeing-Boeing, which starred Jerry Lewis
and Tony Curtis. The film was advertised as “The Big Comedy of NineteenSexty-Sex”. The film was based on the immensely successful French farce
of the same name written by the French playwright Marc Camoletti. BoeingBoeing premiered in Paris in 1960, where it became the longest running French
farce and the most–performed French play in the world. I first saw the stage
version in London in about 2007. Rhea Pearlman, who played Carla Tortelli on
Cheers, played Berthe in the production that I saw. An American stage version
of Boeing-Boeing later became a hugely successful Tony Award®-winning play
on Broadway.
When I was asked by Jim Hunter if I would like to direct Boeing-Boeing for
Theatre South Carolina, I replied that I would love to direct the play. People have
asked me what I think the play is about. I tell them it is a play about sex, doors
and dialects, whose sole purpose is to make the audience laugh. With the help
of an immensely talented group of MFA actors, designers and technicians, we
have attempted to give our audiences the gift of laughter. As Eric Idle, of Monty
Python fame, once said, “Life doesn’t make any sense, and we all pretend it
does. Comedy’s job is to point out that it doesn’t make sense, and that it doesn’t
make much difference anyway.”
*I would like to dedicate this performance to my dear friend, RIG Hughes.
I first saw the stage version of Boeing-Boeing with Rig in London.
RIG was a man of wit, intelligence and charm.
Richard Jennings
Director
Distinguished Professor Emeritus, University of South Carolina.
5
FARCE: EXPOSING THE COMEDY OF HUMAN EXISTENCE
Farce probably gets its name from
the French farcir -- to stuff: As a
dramatic form it was used as a
fill-in, a stuffing at other theatrical
performances (also, as a form, it is
itself stuffed full of business and
comic ingenuity). The term came
into use in France in the 15th Century.
From that time, farce gained
increased significance as a dramatic
genre until it achieved a peak in 19th
Century France -- with Labiche and
Feydeau -- and in England with
Pinero. However, as a popular form
under other names, farce goes back
to the very roots of Greek dramatic
performance and shows markedly
consistent features throughout the
long history of drama.
The roots of farce are probably
to be found in the kind of mimic
plays with which primitive people
celebrated the return of spring, with
all its associations with seed sowing,
fertility and renewal of life. Eating,
drinking, playing and copulating are
expressions of fundamental human
needs -- representations of the life
force at its most primitive level.
Early revelers in this manner were
the Dorian Greeks, whose burlesque
playlets may well have been a source
for the later, more sophisticated
comedies of Aristophanes in the 5th
Century, BC Athenian celebration of
Dionysia.
Greek New Comedy tended to take
over the masks of its predecessors
and add a sentimental love interest
in the form of a young man and
young woman; the humor became
6
less physical and intrigue more
significant. But when we move on to
Rome we find early sexual energies
combined with sophisticated form in
Plaurine farces, which are based on
love intrigue, seduction and money,
and whose character types include
young lovers, miserly and impotent
men, pimps, swaggering soldiers
and both stupid and cunning slaves
-- all the consistent elements of
farce’s historical evolution.
After Plautus, the actor in the
Roman theatre became highly
unpopular with the moralistic,
nascent Catholic Church. As we
have suggested, there is a certain
phallic energy at the root of all
farce, and pagan peoples, however
sophisticated, were willing to accept
the fact and expression of sexuality,
with its attendant bawdiness and
vulgarity, as a necessary part of
human experience. But in the
Christian church sex somehow
became bound up with original sin,
and immaculate conceptions were
preferred to fertility rites. So out
went the actors into the wilderness
of excommunication, to be classed
with thieves and sturdy beggars for
the next millennium.
It is difficult for tragedy to survive
in the wilderness, but farce can.
Based on stock characters and
human foibles that are common to
any geographical situation, farce
requires mainly physical skills and
improvisation, and it thrives upon
the fairground arts of juggling,
tumbling, singing and dancing. It
can also be performed on the back
of a cart in any marketplace; on
an inn-room table; or in the great
hall of a medieval mansion. This it
was that small groups of itinerant
actors under many names -clowns, skops, jongleurs, goliards,
minstrels, farceurs, cabotins -- kept
popular drama alive for a thousand
years. The drama itself took many
names -- mummings, sotties,
drolls, interludes and “farces” -- but
however performed and under
whatever name, popular drama
was based on similar situations
dealing with stealing or hiding
money, sexual intrigue, deception,
trickery and practical joking of all
kinds. The characters in dramas
took local forms, but were all some
variation of a cunning or stupid
peasant or servant, tricky lawyer,
voluptuous priest, clever or sexually
potent young man, randy matron,
impotent and miserly husband.
They were all thrown together and
mixed up in a physical intrigue or
romp. We still find them today, less
robust, watered down, geared to
the needs and sensibility of a late
20th Century bourgeois, capitalist
society, but little changed in stock
situation and type -- on television, in
situation comedies.
After its wanderings through the
Middles Ages, the spirit of popular
drama and its farcical instinct next
found a permanent form in 16th
Century Italy. Here the commedia
dell’arte developed -- performed
by troupes of about ten actors and
based on a stock set of characters
and situations. The characters were
identifiable by a facial mask and
costume, which hardly varied from
troupe to troupe or place to place.
The plots were equally defined in
structure, and the art of this form
of theatre lay in the improvised
changes the actors could ring
within the givens of their character
and the set nature of the plot. It
was essentially an actor’s theatre:
There were no literary overtones.
It found its roots and expressed
itself through the popular, farcically
oriented sensibility that we have
shown to be a consistent form of
human communication.
a
Why do the same characteristics,
the same intrigues, the same
responses to the same stimuli,
keep repeating themselves to
maintain the consistency of farce
structure over more than two
thousand years of theatre history?
Essentially because farces take a
particular perspective upon certain
unchanging qualities in humankind
and its relationships. The qualities
are the most basic human drives,
and the perspective is essentially
physical. Farce goes for the belly
and backside. It makes us laugh at
the fact that we look funny, or at a
disadvantage with our pants down.
Ever since Adam and Eve
discovered original sin and tried to
cover it with fig leaves, humanity
has been constantly caught with
its pants down. Farce relies upon
both the literal and metaphoric
sense of this statement: the literal,
because farce as been concerned
with the most primitive of all
continued , pg. 16
7
CAST
Trey Hobbs
Bernard
Kate Dzvonik
Gabriella
Kate is a first
year
MFA Acting
candidate.
She’s
an International student from
Kazakhstan. Recent credits: The
Hour We Knew Nothing Of Each
Other (Center for Performance
Experiment), Margaret Hughes,
Compleat Female Stage Beauty
(Longstreet
Theatre);
Gwen,
Away (Center for Performance
Experiment).
Sarah Ensley
Flight Attendant
Sarah Ensley is a
freshman
dance
major here at USC,
and she’s very grateful that she is
able to be a part of this fabulous
show. Sarah has participated in
theatre before, but not since high
school where her most notable
role was Dromio of Ephesus in
Shakespeare’s Comedy of Errors
(yes, she pretended to be a boy).
Theatre is Sarah’s second love (after
dance), and she hopes to have
a successful dance career in the
future which employs the numerous
skills she has learned through her
theatrical endeavors.
8
Trey Hobbs is in his
second
semester
as a first year MFA
candidate in acting
at USC. He graduated with a BA
in theatre from USC in 2009 and
has spent time doing shows with
Trustus Theatre, NiA Company and
Theatre South Carolina as an actor
and a lighting designer. Some of
Trey’s acting credits include Greg
in Reasons to be Pretty at Trustus,
Pinky in the NiA Company’s Our
Lady of 121st Street and Quince/
Demetrius in A Midsummer Night’s
Dream with P3East, among others.
USC credits include The Hour
We Knew Nothing of Each Other
(Ensemble), Compleat Female
Stage Beauty (George Villiars),
and Away (Jim). Trey would like to
thank this program and above all his
wife Katie. Enjoy the show.
Josiah Laubenstein
Robert Josiah Laubenstein is
a first year MFA acting
candidate at USC. His
recent credits here include Roy in
Away, Samuel Pepys in Compleat
Female Stage Beauty, and various
roles in The Hour We Knew Nothing
of Each Other. Thanks to Robyn
and Steve, his fellow MFA class,
everyone involved in the show, and
most especially his wife Rachel.
Melissa Peters
Gloria Melissa Peters is a first
year MFA candidate.
Departmental
credits
include
Compleat Female Stage Beauty
(Edward Kynaston), the surrealist
The Hour We Knew Nothing
of Each Other, Away, and A
Midsummer Night’s Dream (Puck).
Professional stage and opera
credits include productions with
Pacific Performance Project/east,
Opera Carolina, The Warehouse
Theatre, Out of Hand Theater, and
The Atlanta Opera. Melissa has
traveled extensively contracting as
an actor to the FBI, the Department
of Homeland Security, and other
government entities.
Laurie Roberts
Gretchen
Laurie Roberts is a
first year MFA Acting
candidate at USC.
Originally from San Francisco,
Laurie received her BA from the
University of Washington in Seattle
where she studied theatre and
dance. Her most notable work
includes two collaborative theatre
pieces that each debuted at the
Edinburgh International Festival
Fringe, The Grind Show (2009) and
Ithaca, I’ll Never See (2010). USC
credit: The Hour We Knew Nothing
of Each Other, Compleat Female
Stage Beauty, and Away. Other
credits in theatre: Romeo and Juliet,
The Miracle Worker, Our Town,
and Rosencrantz and Guildenstern
are Dead. Dance: Original works
Sakura Rising and Nobody, both
premiered in new works festivals in
Seattle. Film: 100% Off: A Recession
Era Romance (feature), Gone Again
(short).
Leeanna Rubin
Berthe Bonjour! Leeanna is a
first year MFA Acting
Candidate. Other
USC credits include:
Compleat Female Stage Beauty
(Nell Gwynn), Away (Coral Baker),
The Hour (Ensemble), and she
developed a Clown named Marsha
Mellow which was part of the MFA
Actor Clown Showcase. Leeanna
has performed at The Walnut Street
Theatre, Montgomery Theater,
The Jewish Ensemble Theatre of
Detroit, Society Hill Playhouse,
Hedgerow Rep, Adventure Theatre,
and the Folger Shakespeare
Theatre. Leeanna is a graduate of
American University with a BA in
Musical Theatre. She thanks Richard
Jennings, Marybeth Gorman, her
parents, and her boy friend Robert
Carter.
9
ARTISTIC COMPANY
10
Professor and Designer Nic Ularu
for Polaroid Stories, assisted design
for Present Laughter, and designed
Richard Jennings
Looking Over the President’s
Director Shoulder. Graduating from Sweet
Briar College, with a BA in
Studio Art
A member of Actors’ and Art history, she was awarded
Equity
Association with the 2010 Leigh Woolverton
and the Screen Actors Prize for Excellence in the Visual
Guild, Richard is a professional Arts. Designing for Boeing-Boeing
film and stage actor who has has been a wonderful experience
been acting professionally since and she would like to give a special
1966. He was Director of Theatre thanks to Richard Jennings, Nic
for several years at Morningside Ularu, Andy Mills, and Sam Gross
College. Richard has been a guest for being ever so helpful and
master acting teacher at colleges encouraging
throughout
this
and universities across the country. process.
Richard has acted in professional
companies from the Pearl Theatre
in New York to the Odyssey Theatre
Caitlin Moraska
in Los Angeles and numerous
Costume Designer
theatres in between. He has acted in
and directed over a hundred stage
Caitlin is a second
productions. He has also acted and
year MFA candidate
directed at the Clarence Brown
in Costume Design.
Theatre in Tennessee playing such Her previous design work at
diverse roles as Mozart in Amadeus USC includes Macbeth and the
and Valmont in Les Liaisons Tennessee Williams One Act plays
Dangereuses. Richard has recently Lady of Larkspur Lotion and This
appeared in two productions at Property is Condemned. She has
LaMama in New York City. Richard also recently done some wardrobe
has appeared in national film and and hair and make-up work for two
television productions, as well.
regional television commercials.
Caitlin is a Cum Laude graduate of
Savannah College of Art and Design
Meredith Paysinger
with a BFA in Production Design.
Scenic Designer
At SCAD she worked on several
academic production crews for
Currently
in
her wardrobe, props, scenic painting,
second year as a hair and make-up as well as, assistant
M.F.A. candidate in hair and makeup designer for Hair,
Scenic Design at the University of and assistant stage manager for the
South Carolina, Boeing-Boeing is original dance production of The
her second main stage set design. Station. Her film experience includes
During her first year, she assisted Hair and Make-up designer for a
SCAD senior thesis Anise’s Bakery.
She would like to thank everyone
backstage and in the shop for all of
their hard work to bring this show to
life. Hope it makes you laugh!
Robert Eubanks
Lighting Designer
Robert is joining
Theatre
South
Carolina
for
his
second design since graduating
with an MFA in 2006 from USC.
While a graduate student Robert
lit many shows for the department
including Polaroid Stories, Bus
Stop, The Love Song of J. Robert
Oppenheimer, and Trojan Women
to list some.
Since leaving
Columbia, Robert has been working
primarily as a lighting designer
and production manager for ballet
and dance companies. He has
designed for Dominic Walsh Dance
Company, Houston Ballet II, Dance
Salad Festival, Pittsburgh Ballet and
Cincinnati Ballet. Currently he is the
Director of Production at Cincinnati
Ballet. Robert would like to thank
Theatre South Carolina for the
opportunity to come back again.
He would also like to thank the
design team professors Jim Hunter,
Richard Jennings, and Nic Ularu for
a great process and lots of support.
Danielle Wilson
Sound Design
Danielle is always
pleased to return
to Theater South
Carolina. She graduated from the
MFA lighting design program
at USC in 2003. She worked as
the house lighting designer for
the Blumenthal Performing Arts
Center’s Spirit Square where she lit
Derek Trucks, The Avett Brothers,
Arlo Guthrie, and Eve Ensler,
among others. She returned to
USC and worked for four years as
the Assistant Technical Director
for lighting and sound. Danielle is
currently a freelance lighting and
sound designer. She would like to
thank her (growing!) family.
Valerie Pruett
Hair/Wigs/Makeup
Valerie has been
working
as
a
professional hair and
makeup artist for over fourteen
years. Before returning to the
University of South Carolina ten
years ago, she free-lanced and
designed for regional theatres
across the country, including:
Milwaukee Repertory Theatre, Utah
Shakespeare Festival, American
Players Theatre, New American
Theatre, Dallas Theatre Center,
American Folklore Theatre and the
Madison Repertory Theatre. Valerie
also worked as a guest lecturer
and adjunct faculty at Lawrence
University in Appleton, WI and
the Professional Theatre Training
Program at the University of
Wisconsin-Milwaukee. In addition to
teaching and designing at Theatre
SC, Valerie maintains an active
professional career as a Hair and
Make-up artist in the tri-state areas
11
with film and media productions.
She firmly believes that a successful
portrayal of any character must
include the complete visual
transformation of that character in
order to have a true balance and
silhouette.
Marybeth Gorman
Dialect Coach
Marybeth
Gorman
(Dialect Coach) is a
graduate of USC’s
MFA Acting Program and was the
dialect coach for Theatre South
Carolina’s production of OUR
COUNTRY’S GOOD.
Marybeth
has acted regionally with theaters
including Milwaukee Repertory
Theater,
Utah
Shakespearean
Festival, Hippodrome Theater,
Arden Theatre Company, and most
recently in KIMBERLY AKIMBO with
Theatre Horizon in Philadelphia.
Favorite roles at Theatre South
Carolina
include
Isabella
in
MEASURE
FOR
MEASURE,
Helena in A MIDSUMMER NIGHT’S
DREAM, and Varya in THE
CHERRY ORCHARD. Marybeth is
a proud member of Actors’ Equity
Association. Love and thanks to J
and the boys.
Kathren Martin
Stage Manager
Kat is a first year
Theater MA student,
she received her BA in
English/Drama from
Queens University of Charlotte in
12
2006. Last semester she Assistant
Directed August Snow in USC’s Lab
Theater. This is her first Mainstage
show and she is very grateful for
the opportunity to work with such
a talented cast and crew. She would
like to thank her family and friends
for their love and support. Thanks
for coming enjoy the show.
K. Dale White
Production Manager 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.
Amanda Alston
Assistant Stage
Manager
scenery and props for USC Theatre
and Dance productions.
This is Amanda’s
fourth
show
at
USC, where she is
a freshman Theatre major in the
Capstone Scholars program. She is
from Richmond, Virginia where she
was active in her high school theatre
and in the local theatre community,
stage managing Anything Goes
and Steel Magnolias, amongst
others. Amanda would like to thank
her family, friends, and the theatre
faculty for their help and support,
as well as the cast and crew for
making this such an unforgettable
experience!
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
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.
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
13
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.
Christine Jacky
Assistant Technical
Director
Christine
Jacky
received her MFA from
Southern Illinois University in Theater
with emphasis in lighting design
and theatrical management. She
specializes in stage electrics, sound
technology, production management,
and photography for the stage. She
has worked at Central Piedmont
Summer Theater, Long Lake Camp for
the Arts, McLeod Summer Playhouse,
New York City International Fringe
Festival, and Lookingglass Theater in
Chicago.
Andy Mills
Properties/Technical
Director
Andy has designed
professionally
at
Shakespeare Theatre’s
Young
Company
14
(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.
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
technology. She has 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 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
work as the wardrobe stylist for Mad
M o n k e y , 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 Martin-Stuart also serves
as the Director of Undergraduate
Studies for the Department of Theatre
and Dance.
Morgan Moore
Assistant Director
Morgan Moore is a
senior Media Arts major
at USC with a double
minor in Theatre and English; she is
also an aspiring filmmaker. Morgan
is currently interning for the South
Carolina Film Commission and acting
as the videographer for Richard
Jennings’ film acting classes. Morgan
also hosts a radio show with her friend
Gabrielle Wingate on WUSC (90.5
FM) called Soundtrack To Your Lives,
which airs Fridays from noon-2pm.
This is Morgan’s first time assistant
directing a main stage play and she
is very excited to be working with
Richard Jennings on his production of
Boeing-Boeing.
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 codesigned 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.
15
FARCE: EXPOSING THE COMEDY... (CONTINUED)
drives -- phallic sex -- ever since the
fertility rites from which it traces its
roots; metaphorically, because of
farce’s concern to debunk all forms
of human pretension -- to reveal the
urgent, primitive reality beneath the
most supercilious and sophisticated
of human masks. However dignified
the human soul, however aspiring the
human spirit, both are trapped within
and must express themselves through
a body that is basically geared to
ingesting and excreting through
various orifices in a very down-toearth manner. The romantic tends to
become melancholic at the conflict
of flesh and spirit; the tragedian kills
the body to release and magnify the
soul; the farceur makes us laugh at our
pretensions so that we may accept
ourselves for what we are in the
physical sense: fools of mortals, fated
to repeat the comic pattern inherent
in human existence, and doomed to
never give up trying to escape it. The
characters on this human-created
carousel are all pursuing either basic
human wants or those that social
structures have made desirable: love,
sex, food, money, power, glory. They
also suffer from the corruptions that
the pursuit or possession of these
aims has given them: greed, lechery,
avarice, vainglory, undue self-esteem,
intellectual pomposity. The merry-goround spins within a closed system of
values -- social, moral and economic
-- that tent to favor those with power
and authority.
Reprinted from Acting With Style. Harrop,
John; Epstein, Sabin R. Boston: Allyn and
Bacon, 2000. Print.
16
Stock characters Capitano (The Captain) and
Arlecchina (The Trickster) are pictured from a 2012 Lab
Theatre commedia dell’arte production.
CP_USCAd_2.13.indd 1
2/13/13 8:49:19 PM
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
17
BEHIND THE SCENES
Technical Director
Assistant Technical Directors
Assistant Stage Manager
Properties Master
Scenic Graduate Students/Scenic Artists
Scenic Undergraduate Assistants
Electrics Crew
Andy Mills
Sam Gross, Christine Jacky
Amanda Alston
Andy Mills
Meredith Paysinger, Cao Xuemei,
Billy Love
Matthew Burcham, Chandler Walpole,
Jane Hearn
Ashley Pittman, Jack Wood,
Katie Middleton, Nicole Bellas,
Alexander Bush
Light Board Operator Jack Wood
Sound Board Operator Curry Stone
Costume Graduate Students April Andrew, Vera DuBose,
Caitlin Moraska, Sean Smith
Undergraduate Assistants Elizabeth Coffin, Clarissa Felima,
Christine Parham, Justine Shelton-
Poole and the students of the theatre Lab Program
Dressers Lauren Grier, Jalissa Fulton,
Justine Shelton, Liam MacDougall
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, Octavius Galloway,
Eldren Keys, Michelle Ouhl,
Kiera Walker, Olander Wilson
THANK YOU
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