Holliday’s Spooktacular Shakespeare Horror Experience
Contract Rider
Prometheus Guild
Management will contact sponsors and the Prometheus Guild for the beginning of load in and hospitality concerns.
Run of Performance October 26th, 2009 through October 31st, 2009.
Two (2) hour run time each night.
Company: cast of ten (10) performers, two (2) costumers/makeup technicians, one (1) manager/runner.
Load-in:
• Company requires four (4) members of theatre personnel to assist with load-in, including personal effects for green room area. Two (2) technicians, one (1) lights and one (1) sound.
• Company requires stage, theatre area, and green room cleared and prepared for load-in before arrival.
• Sponsor agrees to provide clean working space, included stage and backstage areas swept and free of debris.
• Set Up: three(3) to five (5) hours primarily, one (1) hour before each performance (including 30 minutes house)
• Strike/Load-out: Up to three (3) hours.
Stage Requirements:
• 30’ x 30’ x 14’ (unimpeded by light fixtures or ducts)
• Black painted floor, and black surroundings.
• A darkened auditorium is necessary.
• A black or deep red backdrop.
Hospitality:
Sponsor agrees to have all dressing/makeup/green rooms available before company arrival, and at least two (2) hours prior to performance, and up to one (1) hour post performance.
• At least 3 dressing rooms, with accessible or nearby restroom.
• Green room for actors not on stage, and for temporary technical repairs.
• Green room and other cast designated areas should be well lighted, and space enough for makeup and hair needs. Rooms should contain tables and chairs.
• Sponsor agrees to provide cold, bottled water for each performance.
• On days of multiple performances, the sponsor agrees to provide a light lunch (ex: sandwiches, veggie/fruit platter, cookies) for all company members.
• Accommodations: sponsor agrees to provide 4 double rooms in local hotel not more than 15 minutes (driving) from venue.
Lighting:
• Professional technician available during load-in, and technical rehearsal time.
• Experienced technician during run of show to execute light cues.
• Ambient red lighting for backstage area (glow may be seen from stage)
• Lighting technician able to provide necessary changes for company during load-in.
• One white spotlight needed, downstage center.
Sound:
• All sound systems prepared and ready for use prior to company arrival.
• Company agrees to use available in-house sound system.
• Professional technician available on site during load-in, and technical rehearsal.
• Experienced technician during run of show to execute sound cues.
• Surround speakers necessary.
Recording:
• Sponsor agrees to allow one recording of performance by the company (performance chosen at company discretion)
• Audience cameras, flash photography, and sound recording devices are prohibited.
Important:
• Sponsor agrees to contact Elizabeth Frances (1-500-5555) or franceseq@hotmail.com if technical guidelines set out in this contract are not met by the venue.
• In mind of safety, the company requests that only authorized people touch the set or are allowed into theatre areas. Audience is not allowed on stage.
This contract rider is set out to insure the audience, sponsor, and company the best performance possible.
Contract Rider accepted
____________________________________ ___________________
(Signature of Sponsor) (Date)
__________________________________ _________________
(Signature of Company Representative) (Date)
Wednesday, April 29, 2009
Terms List
Manager: someone who manages aspects of a business. In the theatre realm there are many different types of managers: general, business, marketing, programming, house, company, and many more.
Mission statement: the idea that is expressed in the mission statement serves as the standard by which a venture is ultimately judged to be a success or failure. It can be thought of as the constitution or conscience of the operation. A mission statement is in fact a legal requirement when a group incorporates and applies to the IRS for tax-exempt status, which virtually all performing arts entities have.
Art manager (ideal): … a person who is knowledgeable in the art with which he is concerned, an impresario, labor negotiator, diplomat, educator, publicity and public relations expert, politician, skilled businessman, a social sophisticate, a servant of the community, a tireless leader – becoming humble before authority – a teacher, a tyrant, and a continuing student of the arts.
Impresario: outdated term for producers who rarely own their own theatres, who usually concentrate on the fields of opera, dance, and music, and who organize world-class tours of performing artists and ensembles.
Producer: British – person who stages and directs the play; continent – regisseur or metteur en scene. American – person who finds property, secures performance rights, raises capital. Not-for-profit – the entity itself is the producer. The holder of the fiscal responsibility.
Theatre Operator: owns or rents a theatre and may also produce or book in the entertainment.
Presenter/Promoter: the person or group who promotes the theatre to the community.
Freelance General Manager: independent professionals who often maintain a permanent office and core staff and are hired by produces to take general management responsibility for specific shows or projects.
Other Freelance Producing Managers include the artistic director, executive director or president/ceo, general manager (on a staff), general director, managing director, actor-manager, director of theatre/performing arts, and chairperson of the theatre/music/dance
Financial managers are in charge of the finances , taxes, and accounting of a theatre or performing arts center. Under the realm of the financial managers are certain titles such as: director of finance, controller/comptroller, accountant, and business manager. This seems to be one of the departments that could stand to have jobs doubled.
Fundraising managers: while the financial managers are in charge of the money within the institution, the fundraising managers are in charge of bringing in and organizing new income. People in this realm of the business could be a development director, associate director of fundraising, special events director, and a director of volunteer services.
Marketing and Income-Related Managers include such titles as director of marketing, director of membership, director of audience development, director of public relations, press representative, director of community relations, director of advertising sales, director of publications, ticketing services manager, box office/ticketing manager, head treasurer, group sales manager, subscription sales manager, merchandise-marketing manager, and concessions manager. In general someone in this field would work with the public advertising the production and theatre, and also working with the public when they desire tickets for the show.
Production and Operations Managers: are the ones who actually run the shows and the location. They’re in charge of making sure that things run smoothly on a daily basis and during the run of a show. These positions include: director/manager of information systems, literary manager/dramagturg, production manager, facilities manager, human relations/personnel manager, stage systems manager, company manager, house manager/theatre manager, production stage manager/stage manager, technical director/technical supervisor, tour manager or tour director, advance stage manager, internship director, school director or administrator, director of security, and maintenance supervisor. Some will be on crew full time to keep the building up and running, and others may only be hired during a production.
Program: a word used because it embraces a spectrum of guiding principles that include the building’s purpose, expected activities, and functions, and spaces to be built.
Pro forma: describing something provided in advance to prescribe form. (knowing how a business typically runs to build a building that fits those needs.
Program portfolio: a document developed in the early stages of the planning of a building or design, to be used later with the executive board and advisors and design professionals.
Scale: the ratio of audience intimacy to the size needs of the space.
Dark Theatre: a theatre that is only used part time (sometimes rented out during the offseason)
Black Box/Multiform Theatre: a theatre, or theatre space that can be changed to fit the individual show and audience needs.
A professional is someone who is paid to work, and their work is of a high quality.
A nonprofessional is someone who works without monetary compensation (despite other rewards.)
Covered employment (employees): being covered by the company in regards to benefits such as health insurance, pension, and annuity contributions that union workers receive through their negotiated contracts. Or a position protected by union agreements
Common labor relations terminology: arbitration, boycott, closed shop, fact-finding, fire for cause, in good faith, injunction, local, lockout, mediation, to serve, settlement, sidebar, strike, strikebreaker, unfair labor practice, union busting, union shop, wildcat. All individual definitions may be found in chapter 3 (p 67-8) These terms would be used in a contract, or in regards to a union worker.
Budget: a financial estimate of future income and expenses.
Commercial theatre: operates without subsidy and is centered in New York City – on Broadway and Off- Broadway and its behavior in terms of product, talent, and box office influences all other theatre activity in America; it even has an impact on film and television.
Property – a script, a piece of theatrical-literary real estate that has the potential for making money. The producer also sees the script as a “vehicle,” a medium that allows his or her ability to be displayed before an audience.
Not-for-Profit Professional Theatre – The theater Communications Group, an arts service organization serving American not-for-profit theatres, estimates that there are between 1300 and 1500 nonprofit theatres in the United States. While many of these theatres may resemble the resident stock companies of the 1800s, the grew out of a completely different tradition; indeed they have created their own tradition in American theatre. The not-for-profit theatres are governed by boards of trustees and artistic directors who, unlike the actor-managers of yesteryear, have their sights fixed on artistic and organizational rather than commercial goals, although the lure of a commercial transfer often looms large.
Amateur: from the Latin amare (to love), an amateur is a lover (of theatre)
Community theatre: civic theatre, local theatre – performed by residents for residents.
College Theatre: a theatre program on a college campus, run by faculty and students involvement. Audiences consist of the school community, relatives, and the local community.
Stock and Dinner Theatre: stock theatres are generally a “summer” production and are mainly nonprofessional. A dinner theatre may or may not be professional, but includes the audience enjoying a meal while watching the production.
Presenter: those who concern themselves with the presenting of the productions that have been produced by others.
Box office: the non-internet version is the front line of ticket selling and purchasing. May also include a “will call” table and other ticket concerns. Online box offices can be used to sell tickets without the paper hassle – a device of convenience.
Audit: checking over the finances (or any situation) to make sure that things are going as planned, and funds are being appropriated.
Sponsorship: footing the bill for a production, and subsequently having your name (or business name) attached to the production.
Intern: an unpaid worker who is usually a student trying to make their way in the career or vocation they are interning with.
Development: the code word for fundraising.
Marketing: presenting the production or theatre to the public to have it recognized and to gain popularity. Notifying possible patrons to the upcoming events. Putting on a good face for the general public, trying to create good press for the theatre or production. May consist of posters, radio/tv ads, a viral campaign (think youtube) and word of mouth.
Merchandising: part of marketing – providing the public with items that represent the theatre or production, either for sale, or give aways (good PR)
Focus group: the target group that the theatre is trying to reach. The demographic.
Publicity director: someone who is a promoter that is enthusiastic about the product being promoted.
Facility management: in charge of taking care of the grounds and theatre area. Cleaning, repairing, general upkeep, building/injury insurance, safety.
House/Theatre management: front of house staff that coordinates the box office and other public relations within the theatre. There to take care of the patron, and to make all audience members feel comfortable.
Mission statement: the idea that is expressed in the mission statement serves as the standard by which a venture is ultimately judged to be a success or failure. It can be thought of as the constitution or conscience of the operation. A mission statement is in fact a legal requirement when a group incorporates and applies to the IRS for tax-exempt status, which virtually all performing arts entities have.
Art manager (ideal): … a person who is knowledgeable in the art with which he is concerned, an impresario, labor negotiator, diplomat, educator, publicity and public relations expert, politician, skilled businessman, a social sophisticate, a servant of the community, a tireless leader – becoming humble before authority – a teacher, a tyrant, and a continuing student of the arts.
Impresario: outdated term for producers who rarely own their own theatres, who usually concentrate on the fields of opera, dance, and music, and who organize world-class tours of performing artists and ensembles.
Producer: British – person who stages and directs the play; continent – regisseur or metteur en scene. American – person who finds property, secures performance rights, raises capital. Not-for-profit – the entity itself is the producer. The holder of the fiscal responsibility.
Theatre Operator: owns or rents a theatre and may also produce or book in the entertainment.
Presenter/Promoter: the person or group who promotes the theatre to the community.
Freelance General Manager: independent professionals who often maintain a permanent office and core staff and are hired by produces to take general management responsibility for specific shows or projects.
Other Freelance Producing Managers include the artistic director, executive director or president/ceo, general manager (on a staff), general director, managing director, actor-manager, director of theatre/performing arts, and chairperson of the theatre/music/dance
Financial managers are in charge of the finances , taxes, and accounting of a theatre or performing arts center. Under the realm of the financial managers are certain titles such as: director of finance, controller/comptroller, accountant, and business manager. This seems to be one of the departments that could stand to have jobs doubled.
Fundraising managers: while the financial managers are in charge of the money within the institution, the fundraising managers are in charge of bringing in and organizing new income. People in this realm of the business could be a development director, associate director of fundraising, special events director, and a director of volunteer services.
Marketing and Income-Related Managers include such titles as director of marketing, director of membership, director of audience development, director of public relations, press representative, director of community relations, director of advertising sales, director of publications, ticketing services manager, box office/ticketing manager, head treasurer, group sales manager, subscription sales manager, merchandise-marketing manager, and concessions manager. In general someone in this field would work with the public advertising the production and theatre, and also working with the public when they desire tickets for the show.
Production and Operations Managers: are the ones who actually run the shows and the location. They’re in charge of making sure that things run smoothly on a daily basis and during the run of a show. These positions include: director/manager of information systems, literary manager/dramagturg, production manager, facilities manager, human relations/personnel manager, stage systems manager, company manager, house manager/theatre manager, production stage manager/stage manager, technical director/technical supervisor, tour manager or tour director, advance stage manager, internship director, school director or administrator, director of security, and maintenance supervisor. Some will be on crew full time to keep the building up and running, and others may only be hired during a production.
Program: a word used because it embraces a spectrum of guiding principles that include the building’s purpose, expected activities, and functions, and spaces to be built.
Pro forma: describing something provided in advance to prescribe form. (knowing how a business typically runs to build a building that fits those needs.
Program portfolio: a document developed in the early stages of the planning of a building or design, to be used later with the executive board and advisors and design professionals.
Scale: the ratio of audience intimacy to the size needs of the space.
Dark Theatre: a theatre that is only used part time (sometimes rented out during the offseason)
Black Box/Multiform Theatre: a theatre, or theatre space that can be changed to fit the individual show and audience needs.
A professional is someone who is paid to work, and their work is of a high quality.
A nonprofessional is someone who works without monetary compensation (despite other rewards.)
Covered employment (employees): being covered by the company in regards to benefits such as health insurance, pension, and annuity contributions that union workers receive through their negotiated contracts. Or a position protected by union agreements
Common labor relations terminology: arbitration, boycott, closed shop, fact-finding, fire for cause, in good faith, injunction, local, lockout, mediation, to serve, settlement, sidebar, strike, strikebreaker, unfair labor practice, union busting, union shop, wildcat. All individual definitions may be found in chapter 3 (p 67-8) These terms would be used in a contract, or in regards to a union worker.
Budget: a financial estimate of future income and expenses.
Commercial theatre: operates without subsidy and is centered in New York City – on Broadway and Off- Broadway and its behavior in terms of product, talent, and box office influences all other theatre activity in America; it even has an impact on film and television.
Property – a script, a piece of theatrical-literary real estate that has the potential for making money. The producer also sees the script as a “vehicle,” a medium that allows his or her ability to be displayed before an audience.
Not-for-Profit Professional Theatre – The theater Communications Group, an arts service organization serving American not-for-profit theatres, estimates that there are between 1300 and 1500 nonprofit theatres in the United States. While many of these theatres may resemble the resident stock companies of the 1800s, the grew out of a completely different tradition; indeed they have created their own tradition in American theatre. The not-for-profit theatres are governed by boards of trustees and artistic directors who, unlike the actor-managers of yesteryear, have their sights fixed on artistic and organizational rather than commercial goals, although the lure of a commercial transfer often looms large.
Amateur: from the Latin amare (to love), an amateur is a lover (of theatre)
Community theatre: civic theatre, local theatre – performed by residents for residents.
College Theatre: a theatre program on a college campus, run by faculty and students involvement. Audiences consist of the school community, relatives, and the local community.
Stock and Dinner Theatre: stock theatres are generally a “summer” production and are mainly nonprofessional. A dinner theatre may or may not be professional, but includes the audience enjoying a meal while watching the production.
Presenter: those who concern themselves with the presenting of the productions that have been produced by others.
Box office: the non-internet version is the front line of ticket selling and purchasing. May also include a “will call” table and other ticket concerns. Online box offices can be used to sell tickets without the paper hassle – a device of convenience.
Audit: checking over the finances (or any situation) to make sure that things are going as planned, and funds are being appropriated.
Sponsorship: footing the bill for a production, and subsequently having your name (or business name) attached to the production.
Intern: an unpaid worker who is usually a student trying to make their way in the career or vocation they are interning with.
Development: the code word for fundraising.
Marketing: presenting the production or theatre to the public to have it recognized and to gain popularity. Notifying possible patrons to the upcoming events. Putting on a good face for the general public, trying to create good press for the theatre or production. May consist of posters, radio/tv ads, a viral campaign (think youtube) and word of mouth.
Merchandising: part of marketing – providing the public with items that represent the theatre or production, either for sale, or give aways (good PR)
Focus group: the target group that the theatre is trying to reach. The demographic.
Publicity director: someone who is a promoter that is enthusiastic about the product being promoted.
Facility management: in charge of taking care of the grounds and theatre area. Cleaning, repairing, general upkeep, building/injury insurance, safety.
House/Theatre management: front of house staff that coordinates the box office and other public relations within the theatre. There to take care of the patron, and to make all audience members feel comfortable.
Tuesday, April 28, 2009
Scholarship evaluation example
Scholarship/Volunteer Evaluation
Student: Fill out the first page and turn this packet into your Crew Head.
Crew Head: Fill out middle section and turn into appropriate Faculty member. Faculty member will review, and consider revision of the student status if needed.
NAME: ____Kylea Dieken_______ DATE: __4/28/09__
1. List Productions and type of participation (performance, technical, administrative) you have been involved in:
____The Importance of Being Earnest (admin)____
____South Pacific (tech)________
____No Exit (admin and tech)________________________
____________________________________________
2. How many shop hours did you complete for this semester?
20
3. How many hours of work days did you participate in?
8
4. Please give an example of typical activities during shop hours.
___I run errands for the theatre or production (purchasing makeup or finding props)i clean the theatre suite, or do paper work.__
5. Is the crew you are currently on satisfactory? If you were to be on another crew, which would you choose and why?
___I do enjoy being on the theatre management crew. I would put myself on the light crew possibly as another option.__
6. Crew Head Only: Please evaluate this crew member and rate on a scale of 1-5 (1 being completely incompetent, 5 being a strong and contributing crew member)
__Kylea does a great job. I'm glad to have her on my crew. she gets a 4.__
Professor Comments:
__yay__
Student: Fill out the first page and turn this packet into your Crew Head.
Crew Head: Fill out middle section and turn into appropriate Faculty member. Faculty member will review, and consider revision of the student status if needed.
NAME: ____Kylea Dieken_______ DATE: __4/28/09__
1. List Productions and type of participation (performance, technical, administrative) you have been involved in:
____The Importance of Being Earnest (admin)____
____South Pacific (tech)________
____No Exit (admin and tech)________________________
____________________________________________
2. How many shop hours did you complete for this semester?
20
3. How many hours of work days did you participate in?
8
4. Please give an example of typical activities during shop hours.
___I run errands for the theatre or production (purchasing makeup or finding props)i clean the theatre suite, or do paper work.__
5. Is the crew you are currently on satisfactory? If you were to be on another crew, which would you choose and why?
___I do enjoy being on the theatre management crew. I would put myself on the light crew possibly as another option.__
6. Crew Head Only: Please evaluate this crew member and rate on a scale of 1-5 (1 being completely incompetent, 5 being a strong and contributing crew member)
__Kylea does a great job. I'm glad to have her on my crew. she gets a 4.__
Professor Comments:
__yay__
No Exit Work Report - Fiebig Approved
As stage manager for “No Exit” I performed many duties.
• Attended auditions, coordinated the audition forms and handing out of scripts. I notified people when it was their turn to audition, and I kept of record of the cast selections for both “No Exit” and “Doubt.”
• Once the director had set the rehearsal times, I notified the cast and made sure questions were answered either by me or by the director. During rehearsals, I took notes of the blocking and details that needed to be remembered. I assisted some with the choreography by contributing ideas and noting sightline issues.
• If a rehearsal was cancelled, or the time was changed, I would notify the cast.
• I kept in contact with the crew to make sure that progress was being made on the door and speaker covers, lights were being fine-tuned, sounds were being collected, and costumes were being finished.
• I found set pieces (lamp, table) among the props and brought them to the rehearsal/performance spaces.
• When the cast was finally off book, I prompted and took line notes. I did a lot of prompting as there were many line issues up until two nights before the performance. I also completed Rehearsal Report forms and posted them to the Moodle forum. On these rehearsal reports, I noted sound, light, set, props, costume, and makeup/hair notes.
• I researched the 50s era, and found hair and makeup designs/ideas. Andrew and I worked together on this. Information was found here: http://www.fiftiesweb.com/fashion/fashion-wh.htm. The idea for the Estelle character was to be very youthful and innocent. Inez was a little bit harsher. The Valet was given shadows and a gaunt look. Garcin had little change – beard and eyebrow darkening, and hair combed over. (See Pictures) I focused mainly on Estelle and Inez, and Andrew took care of Garcin and the Valet. I also helped Andrew become more familiar and comfortable with makeup application.
• Not only did I do the makeup and hair designs, I also did the makeup and hair applications for Inez and Estelle, and assisted Andrew with his applications of Garcin and the Valet. (See Pictures) I also worked at covering Sam’s tattoo so it wouldn’t show under her dress.
• During tech days, I cleaned the theatre, and put the chairs back where they belong. I helped set the chairs on the stage for the in-the-round effect.
• During the run of the show, I ran the booth. I took care of lights and sound.
• I helped with strike at the end of the run of the show, putting away furniture and props, and sweeping the floor.
Thursday, April 23, 2009
South Pacific PR Info
Information about the cast and crew of Waldorf's production of South Pacific I collected and organized for the Press Release.
Cast List for South Pacific:
Katie Austin – Owatonna, MN, Senior, Humanities Major
Elizabeth Breen - Mingo, IA, Freshman, Psychology/Theatre Arts Major
Professor Blair Buffington - Director of Choral Activities/Chair, Department of Music, Waldorf College, Forest City IA
Alexandra J. Collins – Mission Hills, CA, Junior, Theatre Arts Major
Jetta Cox, Forest City, IA, 5th Grade
Tena Cox, Forest City, IA, 3rd Grade
Alicia Danielson – Story City, IA, Sophomore, History Major
Braden Falline – Everly, IA, Freshman, History Major
Andrew C. Gross – Rockford, IA, Senior, CIS/History Major
Sara Harper – Cambridge, IA, Sophomore, Vocal Performance Major
Jason Homard – Des Moines, IA, Sophomore, Music Education Major
Marissa Hopper – Keystone, IA, Sophomore, Theatre Arts Major
Andrea Markey – Colo, IA, Sophomore, Business/Language/Math and History Education Major
Rebecca Marty – Elmwood, WI, 2008 Waldorf Alum, K-12 Music Education Major
Steven Pals – Belmond, IA, Sophomore, History Major
Noel Priester – Harvard, IL, Junior, Creative Writing Major
Jake Sharar – Sumner, IA, Freshman, Communications Major
Casey Simmons – Clarion, IA, 2008 Waldorf Alum, Elementary Education Major
Whitney MF Tait – Owatonna, MN, Junior, Humanities Major
Peter Teigen – Fort Worth, TX, Junior, Business/Marketing/Finance Major
Dana Uhrig-Fox – Excelsior, MN, Freshman, Undecided Major
Steven Van Overbeke – Forest City, IA, Senior, Business/Theatre Arts Major
Laura Verbrugge – Britt, IA, Senior, Communications Major
Tanner Zirbel – Armstrong, IA, Junior, Business Management/Banking and Finance Major
South Pacific Crew List:
Director – Dr. Robert AuFrance
Technical Director – Jeremy Fiebig
Music Director – Blair Buffington
Orchestra Director – Dr. Marc Reed
Stage Manager – Whitney Tait
PR – Laura Verbrugge, Kylea Dieken, Heather Jordon, Joy Newcom
Set/Scene Designers – Kirk Reisetter, Andrew Gross, Scott Thompson, Jeremy Fiebig
Scene painters – Samantha Kohner, Marissa Hopper, Sara Harper, Dana Uhrig-Fox
Light Design – Jeremy Fiebig
Assistant Light Design – Andrew Harrison
Sound Design – Jeffrey Fiebig
Costume Design – Alexandra Collins and Andrew Harrison
Costumers – Alexandra Collins, Andrew Harrison, Cassandra Snow, Immanuel Elliott
Box Office – Whitney Tait
Running Crew – Jessie Bacon, Elyse Erickson, Sadie Hickman, Elizabeth Breen
Orchestra Ensemble: Andrew Blum (tuba), Maggie Dickman (clarinet), Rebecca Fahrmann (horn), Drew Jackson (bassoon), Sarah Knott (flute), Allen Mannes (percussion), Kristen Nielsen (trombone), Dr. Marc Reed (trumpet)
Additional Crew: Jessie Bacon, Elizabeth Breen, Alexandra Collins, Bailey Dean, Kylea Dieken, John Eliason, Immanuel Elliott, Elyse Erickson, Braden Falline, Jeff Fiebig, Andrew Gross, Sara Harper, Andrew Harrison, Elena Henriksen, Marissa Hopper, Ashley Johnson, Samantha Kohner, Melissa Oswald, Noel Priester, Kirk Reisetter, Caitlyn Rogers, Jessica Schiermeister, Jake Sharar, Cassandra Snow, Whitney Tait, Peter Teigen, Scott Thompson, Dana Uhrig-Fox, Steven Van Overbeke, Laura Verbrugge
Cast List for South Pacific:
Katie Austin – Owatonna, MN, Senior, Humanities Major
Elizabeth Breen - Mingo, IA, Freshman, Psychology/Theatre Arts Major
Professor Blair Buffington - Director of Choral Activities/Chair, Department of Music, Waldorf College, Forest City IA
Alexandra J. Collins – Mission Hills, CA, Junior, Theatre Arts Major
Jetta Cox, Forest City, IA, 5th Grade
Tena Cox, Forest City, IA, 3rd Grade
Alicia Danielson – Story City, IA, Sophomore, History Major
Braden Falline – Everly, IA, Freshman, History Major
Andrew C. Gross – Rockford, IA, Senior, CIS/History Major
Sara Harper – Cambridge, IA, Sophomore, Vocal Performance Major
Jason Homard – Des Moines, IA, Sophomore, Music Education Major
Marissa Hopper – Keystone, IA, Sophomore, Theatre Arts Major
Andrea Markey – Colo, IA, Sophomore, Business/Language/Math and History Education Major
Rebecca Marty – Elmwood, WI, 2008 Waldorf Alum, K-12 Music Education Major
Steven Pals – Belmond, IA, Sophomore, History Major
Noel Priester – Harvard, IL, Junior, Creative Writing Major
Jake Sharar – Sumner, IA, Freshman, Communications Major
Casey Simmons – Clarion, IA, 2008 Waldorf Alum, Elementary Education Major
Whitney MF Tait – Owatonna, MN, Junior, Humanities Major
Peter Teigen – Fort Worth, TX, Junior, Business/Marketing/Finance Major
Dana Uhrig-Fox – Excelsior, MN, Freshman, Undecided Major
Steven Van Overbeke – Forest City, IA, Senior, Business/Theatre Arts Major
Laura Verbrugge – Britt, IA, Senior, Communications Major
Tanner Zirbel – Armstrong, IA, Junior, Business Management/Banking and Finance Major
South Pacific Crew List:
Director – Dr. Robert AuFrance
Technical Director – Jeremy Fiebig
Music Director – Blair Buffington
Orchestra Director – Dr. Marc Reed
Stage Manager – Whitney Tait
PR – Laura Verbrugge, Kylea Dieken, Heather Jordon, Joy Newcom
Set/Scene Designers – Kirk Reisetter, Andrew Gross, Scott Thompson, Jeremy Fiebig
Scene painters – Samantha Kohner, Marissa Hopper, Sara Harper, Dana Uhrig-Fox
Light Design – Jeremy Fiebig
Assistant Light Design – Andrew Harrison
Sound Design – Jeffrey Fiebig
Costume Design – Alexandra Collins and Andrew Harrison
Costumers – Alexandra Collins, Andrew Harrison, Cassandra Snow, Immanuel Elliott
Box Office – Whitney Tait
Running Crew – Jessie Bacon, Elyse Erickson, Sadie Hickman, Elizabeth Breen
Orchestra Ensemble: Andrew Blum (tuba), Maggie Dickman (clarinet), Rebecca Fahrmann (horn), Drew Jackson (bassoon), Sarah Knott (flute), Allen Mannes (percussion), Kristen Nielsen (trombone), Dr. Marc Reed (trumpet)
Additional Crew: Jessie Bacon, Elizabeth Breen, Alexandra Collins, Bailey Dean, Kylea Dieken, John Eliason, Immanuel Elliott, Elyse Erickson, Braden Falline, Jeff Fiebig, Andrew Gross, Sara Harper, Andrew Harrison, Elena Henriksen, Marissa Hopper, Ashley Johnson, Samantha Kohner, Melissa Oswald, Noel Priester, Kirk Reisetter, Caitlyn Rogers, Jessica Schiermeister, Jake Sharar, Cassandra Snow, Whitney Tait, Peter Teigen, Scott Thompson, Dana Uhrig-Fox, Steven Van Overbeke, Laura Verbrugge
Friday, April 10, 2009
Thursday, April 9, 2009
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