feel th by william shakespeare - university of colorado ... · 2/14 paco peña “flamenco vivo!”...

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THEATRE DANCE www.colorado.edu/theatredance www.facebook.com/cutheatredance Tix: 303.492.8181 University Theatre Building, University Theatre www.colorado.edu/theatredance 303-492-8181 February 15-16 and February 20-23 @ 7:30pm • Matinees February 17 and 24 @ 2:00pm the full season.... march OPEN SPACE Student produced dance concert CHESAPEAKE by Lee Blessing (Un) W.R.A.P. Writing, Research and Performance april ADVICE FROM A CATERPILLAR by Douglas Carter Beane LITTLE WOMEN, the Musical by Jason Howland, Mindi Dickstein, Allan Knee THE CURRENT Faculty & Guest Artists dance concert CU FRINGE FESTIVAL All arts, all free, all weekend feel the thrill 1/17 Ninety Miles featuring Stefon Harris, Nicholas Payton & David Sánchez 2/14 Paco Peña “Flamenco Vivo!” 3/5 Danú Traditional Irish Music 3/21 Orpheus Chamber Orchestra with Richard Goode, piano 4/18 Ukulele Orchestra of Great Britain Plus CU Opera, Takács Quartet, & Spring Swing cupresents.org | 303.492.8008 j Pastoral Comedy and Original Context: Dramaturgical Note i by Bianca Gordon William Shakespeareʼs As You Like It is a brilliant example of a “Pastoral Comedy,” in which characters escape the rigid court life to the green world of Arden. Marjorie Garber, author of Shakespeare After All, observes that pastoral was powerful as it allowed characters a “way of offering a criticism of contemporary social, political, and religious practices in a ʻsafcontext of coded Shakespeare takes this literary tradition and brings it alive on stage. Scholars conjecture that As You Like It was written in 1598; however, its printed edition is found in the First Folio of 1623, and no quarto edition exists. The title of the play may have come from Chaucerʼs The Wife of Bathʼs Tale, in the moment when a knight gives his wife the “sovereignty and mastery which women desire” when he says: “for as you liketh, so it me.” The theme of a powerful woman is echoed in Rosalind, and might have pleased the Queen at the time, Elizabeth I. The original date that As You Like It was performed is uncertain. Arguments exist that link the performance with Shrove Tuesday, the holiday before Lent celebrated with pancakes and mustard, on 20 February 1599. As You Like It might have been performed before the theatres closed for Lent on Ash Wednesday. As for the location of the performance, it is also unknown if As You Like It was performed in court for Elizabeth I, or was possibly enjoyed by the court outdoors at the Great Hall of Richmond Castle. As You Like It might have coincided with the opening of the new Globe Theatre in the autumn of 1599. The melancholy man of Arden, Jaques, speaks the line “All the worldʼs a stage,” which echoes the motto of the Globe: “All the world plays the player.” Thus, Jaquesʼ sentiment may have actually served as an advertisement for the new theatre. It is important to note that in Elizabethan theatre, it was considered immoral for women to be on the stage, and so men performed all the roles in As You Like It. Shakespeare is certainly playful and suggestive with the comical nature of that situation. This device of layered gender representation is one of the multiple examples of the freedom these characters discover in Arden. We dedicate this production to Martin Cobin, Professor Emeritus of the Department of Theatre & Dance. Martin rehearsed with us in the role of Adam for many weeks before health issues caused him to withdraw. He quipped: “I’m working hard at playing an old man!” Martin is 92 years young! AS YOU LIKE IT By William Shakespeare part of the Rubenstein Arts Access Program, is generously funded by David and Alice Rubenstein. Additional support is provided by the U.S. Department of Education, the Dr. Gerald and Paula McNichols Foundation, the National Committee for the Performing Arts. this national theater education program are to identify and promote quality in college-level theater production. To this end, each production entered is eligible for a response by a regional KCACTF representative, and selected students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, dramaturgs, playwrights, designers, stage managers and critics at both the regional and national levels. Productions entered on the Participating level are eligible for inclusion at the KCACTF regional festival and can also be considered for invitation to the KCACTF national festival at the John F. Kennedy Center for the Performing Arts in Washington, DC in the spring of 2012. Last year more than 1,300 productions were entered in the KCACTF involving more than 200,000 students nationwide. By entering this production, our theater department is sharing in the KCACTF goals to recognize, reward, and celebrate the exemplary work produced in college and university theaters across the nation. THEA TRE DANCE

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Page 1: feel th By William Shakespeare - University of Colorado ... · 2/14 Paco Peña “Flamenco Vivo!” 3/5 Danú Traditional Irish Music 3/21 Orpheus Chamber Orchestra with Richard Goode,

THEATRE DANCE

www.colorado.edu/theatredancewww.facebook.com/cutheatredanceTix: 303.492.8181

University Theatre Building, University Theatre www.colorado.edu/theatredance 303-492-8181February 15-16 and February 20-23 @ 7:30pm • Matinees February 17 and 24 @ 2:00pm

the full season....marchOPEN SPACE Student produced dance concertCHESAPEAKE by Lee Blessing(Un) W.R.A.P. Writing, Research and Performance

aprilADVICE FROM A CATERPILLAR by Douglas Carter BeaneLITTLE WOMEN, the Musical by Jason Howland, Mindi Dickstein, Allan KneeTHE CURRENT Faculty & Guest Artists dance concertCU FRINGE FESTIVAL All arts, all free, all weekend

feel thethrill 1/17 Ninety Miles

featuring Stefon Harris, Nicholas Payton & David Sánchez

2/14 Paco Peña“Flamenco Vivo!”

3/5 DanúTraditional Irish Music

3/21 Orpheus Chamber Orchestra with Richard Goode, piano

4/18 Ukulele Orchestra of Great Britain

Plus CU Opera, Takács Quartet, & Spring Swing

cupresents.org | 303.492.8008

j Pastoral Comedy and Original Context: Dramaturgical Note iby Bianca Gordon

William Shakespeareʼs As You Like It is a brilliant example of a “Pastoral Comedy,” in which characters escape the rigid court life to the green world of Arden. Marjorie Garber, author of Shakespeare After All, observes that pastoral

was powerful as it allowed characters a “way of offering a criticism of contemporary social, political, and religious practices in a ʻsafeʼ context of coded Shakespeare takes this literary tradition and brings it alive on stage.

Scholars conjecture that As You Like It was written in 1598; however, its printed edition is found in the First Folio of 1623, and no quarto edition exists. The title of the play may have come from

Chaucerʼs The Wife of Bathʼs Tale, in the moment when a knight gives his wife the “sovereignty and mastery which women desire” when he says: “for as you liketh, so it me.” The theme of a powerful woman is echoed in Rosalind,

and might have pleased the Queen at the time, Elizabeth I.

The original date that As You Like It was performed is uncertain. Arguments exist that link the performance with Shrove Tuesday, the holiday before Lent celebrated with pancakes and mustard, on 20 February 1599. As You Like It might have

been performed before the theatres closed for Lent on Ash Wednesday.

As for the location of the performance, it is also unknown if As You Like It was performed in court for Elizabeth I, or was possibly enjoyed by the court outdoors at the Great Hall of Richmond Castle. As You Like It might have coincided with the opening of the

new Globe Theatre in the autumn of 1599. The melancholy man of Arden, Jaques, speaks the line “All the worldʼs a stage,” which echoes the motto of the Globe: “All the world plays the player.” Thus, Jaquesʼ sentiment

may have actually served as an advertisement for the new theatre.

It is important to note that in Elizabethan theatre, it was considered immoral for women to be on the stage, and so men performed all the roles in As You Like It. Shakespeare is certainly playful and suggestive with the comical nature of that situation.

This device of layered gender representation is one of the multiple examples of the freedom these characters discover in Arden.

We dedicate this production to Martin Cobin, Professor Emeritus of the Department of

Theatre & Dance. Martin rehearsed with us in the

role of Adam for many weeks before health issues caused him to withdraw. He quipped: “I’m working hard at playing an old man!”

Martin is 92 years young!

AS YOU LIKE ITBy William Shakespeare

part of the Rubenstein Arts Access Program,is generously funded by David and Alice Rubenstein.

Additional support is provided bythe U.S. Department of Education, the Dr. Gerald and Paula

McNichols Foundation,

the National Committee for the Performing Arts.

this national theater education program are to identify andpromote quality in college-level theater production. To thisend, each production entered is eligible for a response by aregional KCACTF representative, and selected students and

faculty are invited to participate in KCACTF programsinvolving scholarships, internships, grants and awards foractors, directors, dramaturgs, playwrights, designers, stage

managers and critics at both the regional and national levels.

Productions entered on the Participating level areeligible for inclusion at the KCACTF regional festival and can

also be considered for invitation to the KCACTF nationalfestival at the John F. Kennedy Center for the Performing Arts

in Washington, DC in the spring of 2012.

Last year more than 1,300 productions were enteredin the KCACTF involving more than 200,000 studentsnationwide. By entering this production, our theater

department is sharing in the KCACTF goals to recognize,reward, and celebrate the exemplary work produced in college

and university theaters across the nation.

THEATRE          DANCE

Page 2: feel th By William Shakespeare - University of Colorado ... · 2/14 Paco Peña “Flamenco Vivo!” 3/5 Danú Traditional Irish Music 3/21 Orpheus Chamber Orchestra with Richard Goode,

j special thanks iJames Symons

Andrew Rosenberger

j cast iOrlando

AdamOliver

Dennis/Courtier/ForesterCharles/Forester

RosalindRosalind

CeliaCelia

Duke Frederick/Duke SeniorTouchstone

Le Beau/ForesterCourtier/Amiens

JaquesSilviusCorin

AudreyAudreyPhebePhebe

Courtier/Forester/William“Gloriana,” Elizabeth Regina

Daniel LeonardSam SandoeTucker LewisEddy JordanTait PetersenKatie Crossy

Hana Christensonn

Stacey Ryany

Stephanie Prughn

Kevin CroweJames MillerTony DostertTanner SandsCole CribariDavid GoldbergerJesse PachecoRya Dyesy

Megan Montalbanon

Morgan Meyery

Morgan Petersn

Sergio KingBud Coleman

Department ChairProduction Coordinator

Technical DirectorScene Shop Foreman

Lighting, Sound & Projections AdvisorCostume Shop ManagerCostume Shop Foreman

Costume Storage/Rental ManagerCostume Shop Financial Coordinator

Loft Production CoordinatorFront of House Manager

House Managers

BoxOfficeManagerBoxOfficeAssistants

Publicity DirectorMarketing Director

Public Relations Assistants

PR Photographer/Videographer

Bud ColemanConnie LaneKerry CripeStephen BalgooyenJason BanksTed StarkBrenda KingKatelyn SmolskiKatie CrossJenn CalvanoHadley Kamminga-PeckKaitlin BarkerSarah BowersKate BoylesHeidi SchmidtKatie DeVoreKayleigh Marsh DavisKaren LuMichelle McLambSahvanna PhelpsKayla PinneyCarolyn StroudClay EvansLaima HaleyDaniel LeonardEmily ScraggsChris WarrenAlexis NyekiDaniel Leonard

j department staff i

j scene shop assistants iMichael BatemanSarah Baughman

Kate BoylesWayne BreyerMegan Chaney Austin CoffinKarter DeaneMolly Gillard

Elizabeth JamisonChris Koncilja

Kassandra KunischGeneva Mattoon

Kelly McDermott Justin Mier

Melissa Neal Alex Rausch

Dmitriy Yumba

Stage ManagerAssistant Stage Manager

Master ElectricianLight Board Operator

Sound Board OperatorDeck Crew

Deck Crew/SoundDeck Crew

Wardrobe HeadDressers

Megan ChaneySarah BaughmanAlex RauschTina TaylorDevyn VarnerForest FowlerTheodora DirimCarly SillimanKatelyn SmolskiAmy RichmanAly RayDarrian WallsLindsey Belaga

j production team i

j artistic team iDirector

Assistant DirectorDramaturgandDirector’sAssistant

Scenic DesignerLighting Designer

Assistant Lighting DesignerCostume Designer

Costume Design Assistants

Wig DesignerOriginal Music Composer

Co-Sound Designers

Dance ChoreographerVocal Music Coaches

Fight DirectorFight Captain

Movement/Style Specialist

Lynn NicholsKevin CroweBianca GordonBruce BergnerChris KonciljaMelissa NealMarkas HenryAlice MatosianHaley GochaKevin BrainerdKarl LundebergJustin MierElizabeth JamisonTamara MeneghiniTamara MeneghiniTanner SandsDaniel LeonardJames MillerTamara Meneghini

j costume practicum/tech students iNathan Blackwell

Kayla Clowes Nellie Conboy

Annie DahlbergAlyssa GallotteJillian GoodmanAmanda HerreraChristie HerwigKatherine Holvik

Jamie HolzmanTucker JohnstonCarissa KesselChris Koncilja

Yating LuJulie Luehring

Justin MierAmy Millennor

Taylor MinckleyStephen Moreno

Alex RauschJenni SkluthJenn Sonick

Stephanie SpectorReba Todd

Taylor TolibasJessica TroppmannMisah Zimmerman

Willa Wilde

j costume shop employees iSarah AdlerErin BurnettSatya ChavezTony DostertAlexa Frank

Hayley GochaBrittany HandlerBrendan MiloveBrianna Provda

Sonya Smith

j tech studio iLindsey AndersonMichael Bernacchi

Erin BurnettGina Lovell

Stephen MorenoKayla Wall

In order of appearance

y Castn Cast

February 15, 17, 21, 23February 16, 20, 22, 24