1SCHOOL of THEATRE DANCEand PERFORMANCE STUDIES

UNIVERSITY of MARYLAND

February 10 - 18, 2017KOGOD THEATRE

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A Trivial Com

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by Oscar W

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THE CALL by Tanya Barfield Eleanor Holdridge, director KAY THEATRE SEPTEMBER 30- OCTOBER 8, 2016

MFA DANCE THESIS CONCERT WAKING DARKNESS. WAITING LIGHT. by Colette Krogol and Matt Reeves KOGOD THEATRE OCTOBER 7-9, 2016

THE WILD PARTY Book, Music, and Lyrics by Andrew Lippa Based on the Poem by Joseph Moncure March Alvin Mayes and Scot Reese, directors KOGOD THEATRE NOVEMBER 4-11, 2016

MFA DANCE THESIS CONCERT RENDER EDIT by Sarah Beth Oppenheim

FULL CIRCLE: BRIDGING THE GAP by Chris Law

DANCE THEATRE DECEMBER 9-11, 2016

THE IMPORTANCE OF BEING EARNEST A Trivial Comedy for Serious People by Oscar Wilde Amber Paige McGinnis, director KOGOD THEATRE FEBRUARY 10-18, 2017

THE AMISH PROJECT by Jessica Dickey Mitchell Hébert, director KAY THEATRE FEBRUARY 24-MARCH 3, 2017

THE SCHOOLING OF BENTO BONCHEV by Maksym Kurochkin translated by John Freedman Yury Urnov, director KOGOD THEATRE APRIL 28-MAY 6, 2017

UMOVES: UNDERGRADUATE DANCE CONCERT Christopher K. Morgan, director DANCE THEATRE MAY 5-7, 201716

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UMD School of Theatre, Dance, and Performance StudiesLeigh Wilson Smiley, Producing Director

THE IMPORTANCE OF BEING EARNESTA Trivial Comedy for Serious People

by Oscar Wilde

Friday, February 10, 2017 . 7:30pm

Saturday, February 11, 2017 . 2pm

Saturday, February 11, 2017 . 7:30pm

Sunday, February 12*, 2017 . 2pm

Wednesday, February 15, 2017 . 7:30pm

Thursday, February 16, 2017 . 7:30pm

Friday, February 17, 2017 . 7:30pm

Saturday, February 18, 2017 . 2pm

Director ............................................................................................ Amber Paige McGinnisScenic Designer ................................................................................... Matthew ButtreyLighting Designer .......................................................................................... Brandi MartinCostume Designer ....................................................................Jeanette Christensen Sound Designer .............................................................................................Neil McFaddenVocal/Dialect Coach ........................................................................... Jen Rabbitt RingDramaturgs ...................................................................................................Victoria Scrimer

Fraser StevensStage Manager ............................................................................................................. Josie Felt

THE VIDEOTAPING OR OTHER VIDEO OR AUDIO RECORDING OF THIS

PRODUCTION IS STRICTLY PROHIBITED.

This performance will last approximately 2 hours and 20 minutes, including a 15 minute intermission.

*Please stay for a panel discussion following the performance on February 12, 2017. Featured panelists will be Professor Michael Olmert, Professor Jason Rudy, & lighting designer Brandi Martin.

Michael Olmert is a professor in the English Department. He has written 5 books, 7 plays, 2 feature films, a hundred television documentaries, and approximately 200 articles, essays, and reviews. He has also won three Primetime Emmys. And in 2005, he was inducted into the University of Maryland's Alumni Hall of Fame.

Jason Rudy is an associate professor in the English Department. His research and teaching focus on the British nineteenth century, as well as Britain's colonial spaces: Australia, New Zealand, Canada, and South Africa.

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CAST

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TING CAST (in order of appearance)

Lane ..........................................................................................................................Andrew SaundryAlgernon Moncrief...............................................................................Montana MonardesJohn Worthing, “Jack”............................................................................. Kristen El YaoutiLady Bracknell ......................................................................................................Radcliffe AdlerGwendolen Fairfax ..................................................................................................Alicia GraceCecily Cardew ..............................................................................................................Claire WinkMiss Prism .................................................................................................. Iliana PapanicolaouRev. Canon Chasuble ..............................................................................................Yari JamaliMerriman ...........................................................................................................................Nicole Lust

UNDERSTUDIESLane ............................................................................................................................................. Ben FishAlgernon Moncrieff ............................................................................. Michael Greenblatt John Worthing, “Jack" ...........................................................................................Maria Viera Lady Bracknel .................................................................................................................. Ivan Carlo Gwendolen Fairfax .................................................................................................. Karen Dolle Cecily Cardew ......................................................................................................Margot TrouvéMiss Prism ............................................................................................................ Maureen RoultRev. Canon Chasuble ..........................................................................................Justin Alson Merriman ................................................................................................................. Ilana Bernstein

Time and Setting: London, 1895

ACT IAlgernon Moncrieff’s Flat in Half-Moon Street, W.

ACT IIThe Garden at the Manor House, Woolton.

ACT IIIDrawing-Room at the Manor House, Woolton.

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The Importance of Being #Earnest

Given an infinite choice of costumes, props, and settings, what would the profile picture of your life look like? Would it change over time? Audience? Occasion? In this digital age our interactions are so often superficial. Social media has made it easier than ever to construct, display, and change our personalities. We can like, delete, hide, or block a friend with the click of a button. And while we may laugh at the seeming triviality of strangers snapping selfies until they find just the right one, they are, in fact, engaged in a serious dialogue with society about who they are and who they want to be. Such is the case with The Importance of Being Earnest. We smile at the absurdities of the characters’ superficialities, despite knowing full-well that social forces weigh on us to perform the “right” versions of ourselves. Wilde’s characters, however, are not without mirth and self-awareness – they play the game of keeping up appearances, and they win. This suggests that the act of self-representation is not always donning a burdensome mask but an exercise in creativity, a process by which we come to know ourselves.

Oscar Wilde famously subtitled his play “A Trivial Comedy for Serious People.” This subtitle can be read as a dismissal of the play’s earnest engagement with social issues, but Wilde’s own dire struggle against the superficialities of society at the time of the play’s premier suggests that the “trivialities” satirized in Earnest have serious consequences. On opening night, February 14th, 1895, John Douglas the Marquess of Queensberry stalked the St. James’s Theatre in London’s West End, armed with rotten fruit, and later left an incendiary note accusing Wilde of, “posing as a Somdomite [sic].” The rich, powerful, and by all accounts unlikeable Queensberry was furious over Wilde’s public romance with his son, Lord Alfred Douglas. Wilde pursued an ill-advised libel suit against Queensberry, and in the process was publicly humiliated and eventually jailed and sentenced to two years hard labor for committing acts of “gross indecency.”

An obsession with public appearance precipitated Wilde’s tragic story, which was played out on the most public of stages. In an instant, Wilde fell from a successful, charming playwright to a loathsome joke. The bon-vivant suffered in prison and never wrote another play. Wilde could not have predicted the extent of his fall when writing Earnest, but the play’s theme of a necessary double-life, which Wilde treats lightly on stage, must have weighed heavily on the author’s mind as he pursued a socially forbidden love affair with Lord Douglas. In Earnest, Wilde smiles knowingly at the absurdity of the social forces shaping his own life. He does, however, allow his characters, amidst their shallow survivalism, to occasionally drop their masks, to evade society’s censure, and to find happiness. In effect, Wilde staged a far kinder ending to his story than society devised for him.

It is against the backdrop of Wilde’s own struggle against society’s expectations that we present our production of The Importance of Being Earnest. From the costumes to the set, the show brings to the fore issues of self-representation. Our costumes nod to the play’s traditional Victorian history in which elaborate dress was a matter of taste and class. But, as they do today, the costumes we choose have the ability to reveal personal truths: practicality, over-compensation, whimsy. The larger-than-life gilt frame at the center of our set is a playful reminder that the confines of self-representation are not always jailhouse bars. More often, they are ornate constructs to which we willingly submit. In addition to laughing at Algy’s absurd social dictums, we hope you will consider how, why, and for whom we frame our public selves. Are things today very different from Victorian London? Do we still have our own “Bunburys” to which we turn in times of need? Are the many faces we present to the world all falsehoods, or are they different facets of truth?

PROGRAM NOTES

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If you have not already, please notice the selfie-station in the lobby. I encourage you to have fun crafting an Earnest version of yourself. I believe Wilde would have wanted us to recognize the act of self-representation not only as a superficial activity dictated by society, but also as an endeavor of self-authorization in which we have infinite creative possibilities—funny, sad, upright, or debauched. As Wilde wrote in “The Critic as Artist,” “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”

-Victoria Scrimer, dramaturg

ABOUT THE ARTISTS

Radcliffe Adler (Lady Bracknell), gender pronouns: he/him, senior theatre performance major. UMD credits: The Me Nobody Knows (Lillian), The Matchmaker (Ermengarde). Alumni of Erasable Inc.

Justin Alson (Rev. Canon Chasuble u/s), sophomore theatre performance major. Outside credits: Purlie (Gitlow), The Wiz (Wiz), As You Like It (Jaques), Princess and the Frog (Louis the Alligator), Motown the Musical (Ensemble).

Agyeiwaa Asante (assistant stage manager), senior theatre major. Co-President of African Diaspora Reading Group. Member of Kreativity Troupe. This is Agyeiwaa’s first production as an ASM. UMD credits: The Weeping Philosopher (Performer), The Call (Assistant Director), Baltimore (Alyssa), Intimate Apparel (Mayme).

Ilana Bernstein (Merriman u/s), junior theatre and broadcast journalism double major. Ilana is thrilled to be involved with her first production at UMD! Outside credits: Curtains (choreographer), The Drowsy Chaperone (choreographer), and Godspell (Soloist/ Ensemble).

Matthew Buttrey (scenic designer), second-year MFA candidate in scenic design. UMD credits: The Amish Project (scenic designer). Outside credits: Olney Theatre: Guys and Dolls (assistant scenic designer); The Rio Las Vegas: Penn & Teller (assistant scenic designer); Mosaic Theatre Company DC: Charm (assistant scenic designer); The Muny St. Louis, MO: Mamma Mia (assistant scenic designer), Young Frankenstein (assistant scenic designer), 42nd Street (assistant scenic designer), Aida (assistant scenic designer).

Ivan Carlo (Lady Bracknell u/s), junior theatre major. Ivan is thrilled to be a part of his first production at the University of Maryland! Outside credits: Spring Awakening (Melchior at ArtsCenteric) and Conference of the Birds (Heron at Montgomery College).

Jeannette Christensen (costume designer), second-year MFA candidate in costume design. UMD credits: The Call (Dir. Eleanor Holdridge, 2016), Spring 2016 MFA Dance Thesis Concert: Hauntings (Choreographer Julia Smith) and Invoking Justice (Choreographer Curtis Stedge). Outside credits: JQA: A Theatrical Inquiry (Dir. Aaron Posner, American University, 2016), The Freshest Snow Whyte (Dir. Psalmayene 24, Imagination Stage, 2017). Find more of Jeannette’s work on her website: www.jchristensendesign.com

Karen Dolle (Gwendolen Fairfax u/s), third-year theatre major. President of the Undergraduate Theatre Artists Society. Performance Credits: Goldfish (TDPS Second Season), The Odd Couple (The Weekday Players), The Lost World (TDPS Mainstage).

Kristen El Yaouti (John Worthing, “Jack”), senior theatre performance and family sciences double degree. Creative and Performing Arts Scholar. UMD

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credits: Baltimore (Lin Mae), Measure of our Lives (Ruth Asawa), Lost World (Mom), The Me Nobody Knows (Melba).

Josie Felt (stage manager), is an alum of the TDPS stage management program and is thrilled to be returning to UMD as a guest artist. Josie is the resident stage manager for Pointless Theatre. Select credits include: King Ubu (Pointless Theatre), Satchmo at the Waldorf (Mosaic Theatre), Hugo Ball: a dada puppet adventure! (Pointless Theatre), A Christmas Carol (A.C.T.), Love and Information (A.C.T.).

Ben Fish (Lane u/s), freshman broadcast journalism major. Outside credits: Pippin (Leading Player), Les Miserables (ensemble), Much Ado about Nothing (Hero, Dogberry), A Midsummer Night’s Dream (Francis Flute), Guys and Dolls (Rusty Charlie).

Daniela Gomes (assistant director), third-year theatre, psychology, philosophy triple major; graduate of the University Arts Scholars Program. UMD credits: The Human Capacity (dresser), Tartuffe (Mariane), Spring MFA16 Dance Thesis (assistant stage manager), The Call (assistant stage manager), and Second Season’s Goldfish (stage manager).

Alicia Grace (Gwendolen Fairfax), third-year theatre major and Spanish/ global poverty double minor. UMD credits: The Call (Drea),Tartuffe (Dresser), Troilus and Cressida (dresser), UMoves (run crew); The Weekday Players: The Odd Couple (assistant costume designer); Second Season: B.W.A.: Black Women Anonymous, Weeping Philosophers, Untitled Homage... (assistant costume designer). Outside credits: Marketing Apprentice at The Shakespeare Theatre Company.

Michael Greenblatt (Algernon Moncrieff u/s), second-year theatre and communication major. Outside credits: The Complete Works of William Shakespeare Abridged, The Foreigner, and It Takes a Village. Proud to be a part of this fun and amazing cast and crew.

Heather C. Jackson (assistant costume designer), third-year MFA candidate in costume design. UMD credits: The Wild Party, Baltimore. Outside design credits: Mosaic Theater Company: Gospel of Lovingkindness; Single Carrot Theatre: Utopia Parkway, Social Creatures, A Beginner’s Guide to Deicide, Hotel Cassiopeia, Eurydice, and others; Chesapeake Shakespeare Company (company member): The Three Musketeers (co-design, wig design), Comedy of Errors, Uncle Vanya, Richard II, Richard III; Loyola University, Baltimore Shakespeare Festival, Stillpointe Theatre, Dance Exchange, among others. heathercjackson.com

Yari Jamali (Rev. Canon Chasuble), senior communication major. UMD productions: Intimate Apparel Mr. Marks u/s), Troilus and Cressida (Pandarus). Outside productions: Blithe Spirit (Charles), This Is Our Youth (Dennis).

Nicole Lust (Merriman), senior theatre, dance, and psychology triple degree. Creative and Performing Arts Scholar. University Honors Program. Presidential, BSOS, Katz, Stringer Foundation Performing Arts Scholar. UMD credits: The Lost World (Student/Dinosaur, Reporter/Apatosaurus u/s), Tartuffe (Dorine u/s), Prophets of Doom (Prince Bishop/Heidi).

Brandi Martin (lighting designer), second-year MFA candidate in lighting design. Brandi has a BA in Theatre from California State University of Fresno. Her UMD design credits include Don Giovanni, Spring 2016 MFA Dance Thesis Concert: Invoking Justice, and Fall 2016 MFA Dance Thesis Concert: Render Edit and Full Circle: Bridging the Gap.

ABOUT THE ARTISTS

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Neil McFadden (sound designer). Neil’s sound and lighting designs have been heard (or seen) in many area theatres, including Arena Stage, Studio Theatre, Woolly Mammoth, Olney Theatre, Adventure Theatre, the Washington Savoyards, Rep Stage, Everyman Theatre, Flying V (where he is a company member), and Round House Theatre (where he was the Resident Sound Designer for eleven years). A ten-time nominee, Neil received the Helen Hayes Award for his design of Round House’s Heathen Valley. Neil is also a musician and composer: he has played in many area shows; he also performs regularly with his rock/blues band Mike’s Garage, and as a solo acoustic performer. Love to Elizabeth.

Amber Paige McGinnis (director) is a DC-based artist whose local directing credits include The Welders: Girl in the Red Corner; Constellation Theatre: Equus; Forum Theatre: World Builders; Flying V Theatre: Lobster Alice, The Oregon Trail; Pinky Swear Productions: The Last Burlesque; WSC: Orlando; American University: Spring Awakening; Source Festival: The Uses of Enchantment; as well as collaborations with Folger Theatre, Keegan Theatre, Olney Theatre, and Rorschach Theatre. Amber is also a screenwriter and film director for WILL Interactive, and has worked as a Producer for the Kennedy Center Honors. She holds an MFA in Directing from Baylor University. Upcoming: Dry Land at Forum Theatre. www.amberdirector.com

Montana Monardes (Algernon Moncrieff), junior theater major. Co-Artistic Director of Kreativity. UMD Credits: The Wild Party (Oscar, Burrs u/s), Troilus and Cressida (Aeneas), Tartuffe (Damis), This Is Our Youth (Sound Designer), Baltimore (Asst. Sound Designer), The Odd Couple (Sound Designer).

Sydney Morrison (assistant stage manager), third-year theatre major. This is her first UMD production.

Iliana Papanicolaou (Miss Prism), senior government and politics and theatre performance double major. UMD credits: Tartuffe (Elmire), Troilus and Cressida (Ulysses). Outside credits: Noises Off (Dotty) The Diary of Anne Frank (Edith), The Importance of Being Earnest (Cecily).

Jen Rabbitt Ring (vocal/dialect coach), is an actress and teaching artist training in Linklater Voice. She has been on the faculties of UMD, Fairleigh Dickinson University, Hudson County Community College, Westminster Choir College at Rider University, and Rutgers University in addition to co-founding the education program of CoLab Arts. She specializes in teaching Acting, Movement, Michael Chekhov Technique, Voice, Speech and Public Speaking. UMD Alumna. MFA, Rutgers University.

Maureen Roult (Miss Prism u/s), senior theater major. Recent community theater credits include HMS Pinafore (Cousin Hebe), Harvey (Veta Louise Simmons), The Yeomen of the Guard (Dame Carruthers), and Daddy’s Dyin’, Who’s Got the Will? (Sara Lee Turnover).

Andrew Saundry (Lane), second-year theatre performance and history double major. Honors Humanities student. Creative and Performing Arts Scholar. UTAS Board Member. UMD credits: The Call (Peter u/s), Troilus and Cressida (Paris), Tartuffe (Officer, Valere u/s). Outside credits: Flowers for Algernon (Teenage Charlie), Almost, Maine (Steve, Pete).

Victoria Scrimer (dramaturg), first-year PhD candidate in theatre and performance studies. Credit(s): 0- Insert Coins.

Rob Siler (assistant lighting designer), third-year MFA candidate in lighting design. UMD Credits: The Wild Party, Baltimore, From the Stoop, Octavia’s

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Brood, The Human Capacity, Not Leading Material. BFA: Shenandoah University. Special thanks and love to his wife, Colleen. www.silerlights.com

Fraser Stevens (dramaturg) is a first year PhD student whose work is focused on the relationship between espionage and actor training. Outside of his academic work he runs the experimental theatre company Almost Human co-located in the United Kingdom. Almost Human Credits: When We Grow Up We’ll Be Old (performer/scenographer/technical director), Dante Undone (performer/co-director/technical director), Letters from another Island (performer/co-director/technical director).

Kyle Travers (assistant director), senior theatre major. College Park Scholars: Arts Citation. UMD credits: The Schooling of Bento Bonchev (stage manager, upcoming), The Wild Party (Burrs), UMoves (assistant stage manager), Troilus and Cressida (Patroclus), Tartuffe (assistant stage manager), The Human Capacity (ensemble, Richter u/s), Collidescope (ensemble), Twilight: LA, 1992 (male u/s).

Margot Trouvé (Cecily Cardew u/s), freshman theatre performance major. Outside credits: Nunsense (Sister Amnesia), Steel Magnolias (Ousier), Pride and Prejudice (Ms. Bingley), Murder's in the Heir (Fiona).

Maria Viera (John Worthing, “Jack” u/s), sophomore marketing and theatre double major. Stringer Scholarship award recipient. UMD credits: New Visions/New Voices. Outside credits: The Wiz (Dorothy), 1984 (Parsons), Into the Woods (Little Red). Thank you to her family their support.

Claire Wink (Cecily Cardew), junior theatre major. Transfer student from Carroll Community College. This is her first UMD production. Outside credits: reasons to be pretty (Steph), Taming of the Shrew (Katherine), One Flew Over the Cuckoos Nest (Nurse Ratched).

Sydney Ziegler (assistant stage manager), sophomore theatre major with a focus in stage management. UMD credits: The Wild Party (ASM). Outside credits: The Three Musketeers, Chesapeake Shakespeare Company (stage management intern).

PRODUCTION STAFF

ASSISTANT DIRECTORS, DESIGNERS, AND STAGE MANAGERSAssistant Directors Daniela Gomes, Kyle TraversAssistant Lighting Designer Rob SilerAssistant Costume Designer Heather C. JacksonAssistant Stage Managers Agyeiwaa Asante, Sydney Morrison, Sydney Ziegler

BUILD/LOAD-IN CREW

COSTUMESDraper Dorothy DriggersCrafts Ben WeigelFirst Hand Amy VanderstaayWardrobe Supervisor Kristina MartinStitchers Stephanie Austin, Ilana Bernstein, Amber Chaney, Vannya Cisneros, Madison Freeman, Aitana Garrison, Rina Goldman, Maria-Julieta Gozalo-Michaud, Evangelina Hakes, Margaret Warner, Gabrys Wronka, Shuping Yang

PRODUCTION STAFFABOUT THE ARTISTS

PRODUCTION TECHNOLOGYLighting Crew Monica Albizo, Andrew Cho, Sam Elmore, Jamaal McCray, Martin Mitchell, George Srouji

PROPERTIESProperties Construction Crew George-Edward Burgtorf, Andrea MooreProp Shop Graduate Assistant Katie StepanekProp Shop Student Workers Karen Dolle, Rachel Grandizio, Sydney Morrison, James StubbsProperties Student Crew Theo Couloumbis, Madison Freeman, Robert Gandy, Mia Levenson, Gabriel Metzger, Trehana Riley, Maureen Roult, Christopher Walkup

PAINTSAssistant Scenic Artists Kristin Brain, Lisa DreibelbisStudent Scenic Painters Alex Beveridge, Aijha Byrd, Samarra Coakley, Gabriella Di Giuseppe, Erin Lenahan, April Monu, Sydney Morrison, Sofia Moustahfid, James Nelson, Morgan Scott, Nabreyia Scott, Lei Yan

SCENICSet Construction Crew Mike Delaney, Madison Freeman, Kaitlin Graham, Ryan Harvey, Jordan Jones, Devin Kohn, Amber Masters, Alex Monsell, Niusha Nawab, Macy Regner, Ruth ShatkayStudent Set Construction Crew Alex Beveridge, Whitney Geohagan, Samuel Getty, Mikey Greenblatt, Gabriel Metzger, James Nelson, Christopher Walkup

SHOW CREWDressers Suzanne Creedoen, Lilia Hinojosa, Erin TaylorLight Board Operator Christopher WalkupSound Board Operator Trehana RileyRun Crew Alex Beveridge, Robert Gandy, Morgan Scott

FACULTY AND STAFF

Leigh Wilson Smiley Director Maura Keefe Associate DirectorAlvin Mayes Director of Undergraduate StudiesFranklin J. Hildy Director of Graduate StudiesKaren Bradley Head of MFA Dance; Head of Dance Performance and Scholarship Misha Kachman Head of MFA in DesignScot Reese Head of Theatre PerformanceEsther Kim Lee Head of MA/PhD Theatre Scholarship and Performance Studies; Head of History/Theory

FACULTYJennifer Barclay Playwright and PerformanceKaren Bradley Dance History, Theory and EducationFaedra Carpenter Theatre History and DiversityDaniel Conway Scene DesignAdriane Fang Dance Technique and RepertoryLeslie Felbain Movement for Actors and ActingLaurie Frederik Performance StudiesCary Gillett Stage ManagementJames Harding Theatre and Performance Studies

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FACULTY AND STAFFMitchell Hébert Acting and DirectingFranklin J. Hildy Theatre History and TheoryHelen Q. Huang Costume DesignPaul D. Jackson Production and Lighting DesignMisha Kachman Costume and Scene DesignMaura Keefe Dance History and TheoryEsther Kim Lee Asian American TheatreBrian MacDevitt Lighting DesignCaitlin Marshall Theatre History and TheoryAlvin Mayes Dance Technique and ChoreographyJared Mezzocchi Production Media and TechnologyLisa Nathans Voice and ActingSara Pearson Dance Technique and ChoreographyMiriam Phillips Global Perspectives, Movement Analysis and FlamencoScot Reese Directing, Black Theatre, and Musical TheatreKorey Rothman Theatre HistoryLeigh Wilson Smiley Voice for the Actor, Acting, Speech & DialectsPatrik Widrig Dance Technique and Choreography

Patti P. Gillespie Professor EmeritaRoger Meersman Professor EmeritusWilliam V. Patterson Associate Professor EmeritusDaniel Wagner Professor EmeritusAnne Warren Professor EmeritusAlcine Wiltz Professor Emeritus

ARTIST-IN-RESIDENCEChristopher K. Morgan Dance Technique LECTURERSKevin Augustine PuppetryCate O. Barger Technical ProductionLisa Burgess Costume CraftsMichael Driggers Computer Assisted DesignTessa Lew Costume ConstructionJohanna Greuenhut Scenic DesignMané Rebelo-Plaut BalletCheryl Williams Sound Design

GRADUATE ASSISTANTS AND FELLOWSKristen P. Ahern, Christina Banalopoulou, LaTefia Bradley, Mustapha Braimah, Chris Brusberg, Matthew Buttrey, Stacey Carlson, Jeannette Christensen, Po-Hsien Chu, Alexandra Kelly Colburn, Mark Costello, Patrick Crowley, Renee Cyr, Paul Deziel, Connor Dreibelbis, Alexa Duimstra, Sanaya Forbes, Jenna Gerdsen, Brittany Ginder, Jennifer Graham, Leslie Gray, Christine Hands, Allison Hedges, Tyler Herald, Kelley Holley, Heather Jackson, Jeff Kaplan, Colette Krogol, Ama Law, Chris Law, Peter Leibold, Emily Lotz, Sudesh Mantillake, Brandi Martin, Kioumars Mazandarani, Sarah Beth Oppenheim, Richard Ouellette, Matthew Reeves, Leticia Ridley, Victoria Scrimer, Rob Siler, Katherine Stepanek, Fraser Stevens, Dylan Uremovich, Jonelle Walker, Benjamin Weigel, Allen Xing

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KEEP ME MARYLANDStudents in the School of Theatre, Dance, and Performance Studies have the profound

advantage of learning in a world-class facility while engaging in cross-disciplinary collaborations with faculty and artists who are transforming the way we think. They

also have the benefit of onsite research in the building’s special performing arts library. Thoughtful support from alumni, parents and friends helps ensure that the School has

significant financial aid to be more competitive with other top-tier programs in the country.

Cast of TDPS’ Spring 2015 production, Good Kids. Photo by Stan Barouh.

ALL GIFTS, REGARDLESS OF SIZE, HAVE THE POWER TO MAKE A DIFFERENCE.

To support the School of Theatre, Dance, and Performance Studies, go to http://go.umd.edu/givetdps or call David Robinson-Slemp at 301.405.4623.

The UMD School of Theatre, Dance, and Performance Studies advances and transforms the research

and practice of the performing arts through a commitment to excellence and innovative education.