Hand print from a Graduating Senior

Nightly I have terrible dreams about walking out of my commencement ceremony. Sometimes I slip and crash into cold mud. Other times I suspect there is no ground at all, and I am running as fast as I can, defying gravity for a brief moment like Wile E. Coyote, not daring to look down for fear of falling with a shriek.

Anxiety rules the night, but in these final two weeks at UNC, joy and excitement rule the daytime. I get weepy at embarrassing moments, not with sadness but with happy release. Yesterday I looked at a fellow senior, and I couldn’t help but grab her hand and shout in her face, “This is good!” She didn’t know what I meant, and I’m not sure I did either, but it felt important.

Such impulsive, gut-driven behavior is the goal of us actors on stage. I’m certain I never accomplished that on stage here at school. But I have gotten closer with each day. I strive to obey Mrs. Frizzle’s immortal command to “take chances, make mistakes, and get messy.” It’s a wonderful law, because the only way to break it is by being perfect. I didn’t get too messy, but I made a fair share of mistakes. Even the days which feel like two steps back are part of the journey towards that impossible destination.

Finances forbid personal exploration in the professional theater. It is results we’re after, not a journey. So in the educational theater, we must develop some sense of artistic identity. My great fortune is to have good friends and confidants as my collaborators. Perhaps never again will I work with people so certain that together we can change the world, or at least the rehearsal schedule. There is no hierarchy between us, at least to my awareness. There are only mutual goals, namely, to make good theater, to have fun, to learn how we might be better.

Never again will I take a course on women’s studies or economics fifteen minutes apart from a speech or movement training session. Never again will I drop in on a point or two of Ultimate on my walk to rehearsal.

I may never even act at all again. Each time I am cast, I think, “This is the last time. Everyone’s going to find out I’m a fraud.” And if I’m not good at acting, I must be good at acting like I know how to act, because so far the parts haven’t dried up.

I thought at some point here I would pass into the foyer of adulthood, and suddenly know how I’m supposed to live. It never happened, because I discovered there is no such thing. Everyone’s faking it, doing their best, working with what they guess is best. I respect my grown-up heroes all the more for that. It’s the grandest acting gig of all: our off-stage characters. My character is the best thing I’ve got going for me. And like a character on stage, I will never hit the mark, but if I keep trying, and follow Beckett’s advice to “fail better,” I can get a little closer every day.

Mark Maxwell

Spring One Acts!

Sometimes it seems that this semester at UNC has been filled with as many performances as the trailer for “Expendables 2” has action stars*. Hopefully though, you can find time during the next few days to squeeze in the marvelous Spring One Acts. The  aspect of theatre is how the collaboration of very different people creates a cohesive whole, and, starting this Sunday you can see six such shows in a single afternoon. I have been working as one of the Stage Managers for the One Acts, and, along with other cohorts from this semester’s stage management class, can’t begin to express how excited I am to see these plays finally come to fruition.

If you are not familiar with the One Acts, they are student directed, acted, designed, and managed plays that happen each semester. This semester the directors are Angela Gabardi, Virginia Jimenez, Arielle Yoder, Abby Ritt, Judd Farmer, Kayla Reynolds, and Carolyn Warner, a group of talent that represents the full range of the different theatre programs at UNC, from theatre education, to acting, to our graduate program. My favorite part about the performance is that in one fell swoop you get to experience a huge range of theatre: comedy and drama, witty and bizarre, straight-forward and nearly impossible to describe. A word of warning to well intentioned audience members, these plays are so brilliant and the price is so good (Free, in case you didn’t know) that the only way to guarantee yourself a seat in the size limited Norton Theatre is to show up at least an hour early. Last semester these plays were so popular that many people had to be turned away from the productions.

Tomorrow I will have the opportunity to preview all of the One Acts as we go into our final dress rehearsal, and let me tell you, this is not a thing to miss. The performances are Sunday, starting at 1:00pm, and then from Monday to Thursday, alternating performances between three shows on Monday & Wednesday, and the other three shows Tuesday & Thursday. I know this semester is winding up and the next few weeks are assignment filled and challenging for all of us students, I hope you use the One Acts as a great way to take a break this week, free entertainment doesn’t get better than this!

Josh Dasher

*(To explain the analogy if you don’t get it: http://www.youtube.com/watch?v=7rkdTcQLwZ4)

The People Called it RAGTIME

By: Rachelle Cole

          When thinking of my experience seeing the University of Northern Colorado’s production of Ragtime, one word comes to mind: Spectacular. This word describes not only the cast, but also the crew, designers, and the director David Grapes who created such a success with this spring musical.

          The set design was larger than life in the way that it was so minimalistic yet so powerful with the daunting images that carry you away with the story and leave the settings of the play up to your imagination. Chris Lundahl’s lighting design was powerful as well as appropriate. The silhouettes and mood that the colors created on stage were powerful and clearly done by a professional. In addition, Anne Toewe’s costumes were authentic as always for this experienced designer and the costumes became part of the characters as they should. With a cast so large, we can assume that blocking and choreography were a nightmare yet even with these slight disadvantages, the cast was able to pull through with their impeccable talent and class that they have fostered through UNC’s renowned theatre program. This was done without completely overwhelming the audience. The actors and singers in this show were nothing short of influential. Every note was intact and the performances were heartbreaking. The power that this cast exhibited on stage gave me goose bumps and a clear reverberation after the story was over. I was very impressed by almost every performer and I respect the talent that I saw on stage.

          The musical Ragtime has been on Broadway multiple times and it’s no surprise since the music is breath taking and the story is haunting. However, it’s been easy for me personally to get caught up in the technical aspects of the show since I’ve been working in UNC’s electric shop. It’s also easy for me to be caught up in the conversations around me while waiting for the show to start. This mostly involved old husbands telling their wives not to worry since the second act would be shorter than the first. But seeing this particular show reminded me why I am involved in this theatre program in the first place. The performance was not only impressive, but also heart wrenching, emotional, and authentic. I found myself with tears on my cheeks at the end being thankful for the experience.

Ragtime will be playing Friday-Saturday night at 7:30pm and Sunday at 2:00pm.

Don’t miss this unique experience.

Gala 30 - Better than ever!

          On a freezing cold day I walked into Susan Nelson’s office and got the chance to hear about the arts administration that happens behind the scenes here at UNC in addition to receiving information about an event that is legendary in our school’s history. Susan is the Director of Community Art in Greeley in addition to working as an arts administrator.  She helps find ways for UNC to connect with the Greeley community through the Arts and one of the primary venues for this goal is the annual Gala. People hear of the Gala, but hardly anyone gets the opportunity to be a part of it or even attend. The Gala is a fundraiser put on by the community advisory board in order to showcase the arts and raise funds for scholarships at UNC.  It is an opportunity for University Bands, Jazz Bands, Choirs, and Art students alike to show off how hard they have been working to make our arts program one of the best in the nation.   In the past, it has always been difficult to involve Theatre students in the Gala. Although there have been students performing skits in between acts and a performance by the musical theatre students, there are so many theatre students and not as many easy chances to showcase their talents at this opportunistic event. This year, Susan, Dr. Andrea Moon, and the rest of the community advisory board are searching for theatre students to present more of their talents on stage. They are looking for monologues, scenes, improvisations, and any other creative ideas that showcase the theatre program we have at UNC.  So come take a risk and audition because risk-taking is encouraged for the Gala; this is a chance for all of the art students to feel the camaraderie that creative people like us tend to have when all put in the same room. The Gala takes place on February 11th 2012 at the Union Colony Civic Center and the Friday night rehearsal before the event is free for UNC students to attend and support their art family. Auditions will be in December so check the Theatre call board and don’t miss this chance to join in this occasion that showcases…well, us!

Here is the article selected by the Editorial Advisory Board as the winning submission in our Next Five Years writing competition. Thanks to everyone who participated in the competition!


Garrett Spradlin:


Theatre defined, is a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place I was always taught that entertainment, whether that be movies, television, or theatre, was an escape from our reality. It was a new world that we could stop worrying about the stress and constant go of our own. I never knew theatre would impact my life, in all honesty getting on stage scares me. Theatre began at a very young age and forced me out of my comfort zone a lot, it continued in high school where I could be doing lights and sound, stage management and even directing. I like being in charge, rather then people in charge of me. Hah! I gained a group of friends that were so close to each other and supported one another that I decided to accommodate that in some way to my college journey.

I unlike most that will tell you they have been touched by theatre am not a theatre major. I began as an elementary education major at the University of Northern Colorado and began an emphasis in creative drama, one of three accepted into that emphasis that year. It was that idea of bringing the arts back in the classroom. The department seemed to want everything to be taught through skits and plays, when I took a different approach. To me it was how I could perform better. The classroom was my stage; I had an audience for 7 hours a day, 5 days a week. How were my expressions, my actions, my voices while reading going to influence my audience. I still wanted to be a celebrity but maybe just in the eyes of a different audience.

In the summer of 2010, I was chosen to attend an acting and modeling conference in New York City. I was put into a room with major producers, writers, directors, and casting agents. These people had power in the entertainment world. During this time I had just come out as a gay male and was already dealing with my whole world changing. I didn’t go to New York with the rest of my group wanting to be the next big movie star... I mean hey sure, I would have taken it... but anyway, I went because I knew that if I could go into a room where 20 judges were writing down thoughts, and literally judging me, then I knew I could go anywhere in this world and be judged everyday. It was the hardest thing to do in my life but sometimes it is the art of theatricality aligns with life perfectly.

Now I as a telecommunications (broadcast) journalism major, with a minor in communications continue to take theatre arts courses, and hoping I can still build them into my life. During the switch of my major I was taking a script analysis course with a professor, who shall remain anonymous. She was crazy; some might say a Nazi of the arts. She was hard, she had high expectations, her speeches demanded attention... yet she was incredible. I am literally taking a class from her right now, just because she is teaching it. Her love and passion for the arts... her view and open mind to others views of the arts is what inspires all her students to do the same.


To be honest I don’t know how I am going to reach out and touch others with theatre, or when that opportunity will come. I don’t know if it will be in the classroom, in a new production, in helping GLBT youth, or as the next Oprah or Ryan Seacrest. All I know is theatre doesn’t have to be a play, theatre is life. You always have your live audience. Its not an escape from our reality. It IS our reality. You were born cast in your very own show with a lot of hard times, happiness, love, a climax... and an end. You may even be judged, cried with, laughed at, or applauded by your fans.

I have been touched by theatre, it changed my life, and here’s to the next five years...

BIG LOVE

It has been 14 years since Jessi Hill last stepped through the door of Norton Theater – the theater where she directed her first play and where she now has been welcomed back as a guest director for UNC’s first mainstage play this year, Big Love. It is a special treat for her to be asked back to her alma mater to direct a show, especially in the theater that first presented her talents to the world.

The intimacy of Norton’s black box theater is perfect for this type of play. The issues that it addresses are questions and perspectives that we all have asked or followed at some point in our lives. And the methods for getting these points across are by no means subtle. The first thing I always hear whenever people find out I’m assistant stage managing Big Love is, “Oh that’s the play with all the nudity right?”

Well, yes, it has nudity. No, it is not over the top and neither is it unnecessary. It tells the audience that, as Jessi said, “This is no joke – some serious stuff is going to go down here.” The play is underscored by classical music – as dictated in the script – which also strengthens the emphasis that this is not just a play for “wild teenagers,” but is actually presenting important life questions and requiring answers from the audience. She said that she wanted the play to “feel dangerous” which should be easy to accomplish, both with the violence in the script and the sensitive subjects that are addressed non-stop throughout.

Fifty brides are being forced to marry their fifty cousins against their will. They will they will stop at nothing to escape their fate. But why are they so unyielding in their choice and what does that say about gender stereotypes and mentality?

Big Love is a modernized version of Aeschylus’ The Suppliants. For those of you who have not read that play, the first two lines of the previous paragraph basically say it all. However, Charles Mee interpreted Aeschylus’ play as not just a dramatic struggle by these women to avoid their fate at all costs, but as an opportunity to explore the deeper struggles that men and women encounter in their everyday interactions with each other. Big Love is a play that will have you laughing, crying, and above all wondering why we complicate things which could be so easily solved with understanding and compromise.

As the days draw closer to opening night, the cast have grown comfortable with the space and have begun to really sink into their characters. I remember Jessi commenting early-on about the remarkable hard work and excellent work ethic from everyone in the cast. From my table across the room I can tell she is pleased when I see her eyes literally gleam and a giddy smile starts to play across her face. The magical moments in the plays are starting to come to life. Unfortunately, soon I will have to resign my privileged position of being able to watch the show from the front and take my place backstage where I will only get to listen as the play continues to evolve. My job as ASM is to be the backstage coordinator and “head honcho” for the crew. As this show takes place in one location without scene changes, I will have very little to do during the performances, but before and after I will have much to do and oversee as my crew cleans and organizes the stage and props. I wouldn’t trade it for anything. Being an integral part of a theater production and being the one ensuring that everything backstage goes smoothly is exactly the kind of responsibility I thrive under. The only downside is not seeing any of the show once I put my headset on.

From what I’ve seen so far, however, I can picture things as they happen onstage simply by listening. As Jessi said to the cast early on in rehearsals, “It’s my job to make you all look like rockstars.” and it looks like everyone’s hard work is paying off.

Eliza Howard

Noel Johnston: Guest Artist

Many people I know are looking forward to this weekend’s performances of “You Can’t Take it With You”, and I am certainly excited for it, but before I get to see the actual show I had the opportunity to sit down with guest star Noel Johnston and listen to him share his journey. Johnston plays the part of Martin Vanderhof, better known as grandpa, in the production. This role seems particularly fitting in light of the fact that Mr. Johnston is about three times the age of any other member of the cast. A fact to which he responds quite cheerfully and said that he has even brought in cookies like a good grandfather might do. As he put it, “I’m very happy to be asked to play the role, and not quite as happy that I am old enough to play it!”

Noel Johnston started acting when his older sister played a role in “The King & I” and, when the cast was told to bring younger siblings to fill out the younger cast, he was brought along. He was raised in a family of singers and musicians for several generations and, as the family saying goes, “You never had to tell a Johnston where the spotlight was" so he stood on the stage and impressed everyone by confidently belting a song in his audition and landed his first role as Chulaongkom, the crown prince. He was in several more productions but then got caught up in the world of high school sports and did not return to the theatre until he moved to a small town. He was begged to audition for the school musical his junior year and finally agreed which, in hindsight, was an excellent decision because it was here that he met the star of the show who is now the co-star of his forty-one year marriage.

Mr. Johnston did not pursue acting professionally and has never taken an acting class in his life; instead, he worked as an English teacher until his recent retirement. He had auditioned for a play in his freshman year of college but, displeased by the quality of the department, he left the theater for several years while he pursed his English studies. After finding himself a job teaching English, he was drafted into directing a play; his first directorial debut was Neil Simon’s “The Odd Couple”. He moved to Colorado a few years later where he became a part of the Stampede Troupe community theatre company, he and his wife played the leads in “The Pajama Game” in 1977 and his family has worked in over a hundred productions with the company since that time.

His first connection with UNC came not as an actor but as a teacher in Greeley’s schools. Here he taught several children of different faculty members as well as one of UNC’s current faculty members, and it was this connection that led him to work with UNC on numerous productions including a father in “The Fantasticks” and the Modern Major General in “The Pirates of Penzance”. This relationship with the theatre department has spanned many years and led to Noel Johnston’s current casting in the production of “You Can’t Take it With You”.

He was filled with nothing but praise for all aspects of the production, saying particularly that the set was probably the best set most of the cast had ever worked on, and that the whole group from the sound designer to the stage crew to the actors to the costume shop were a “testament to the quality of the theatre program.” This program, he said, was filled not only with good performers, but also with all-around good people. His philosophy has always been simple, as he puts it: “The goal is just to do this really, really well.” And it sounds like that is exactly what the theatre department at UNC has cooked up!

-Joshua Dasher