Program - Krannert Center for the Performing Arts

programDraculaAdapted for the stage by Liz LochheadBased on Bram Stoker’s novelTom Mitchell, directorDepartment of TheatreThursday-Saturday, October 11-13, 2012, at 7:30 pmThursday-Saturday, October 18-20, 2012, at 7:30pmSunday, October 21, 2012, at 3pmColwell PlayhouseThis production is supported, in part, by donations to The Producers Group, Friends of Theatre, and the Bunch Family Guest Artist Fund.The Department of Theatre gratefully acknowledges these gifts, which assist theatre students in their professional training.Many changes were in the air as Europe approachedthe end of the nineteenth century and the beginningof the twentieth century. Among those changes wasthe developing understanding of how the inner lifeof the mind worked. In 1893, Edvard Munch paintedhis expression of inner torment, The Scream. In 1897,Constantin Stanislavski established the MoscowArt Theatre, dedicated to the performance ofpsychological realism. Sigmund Freud’s Interpretationof Dreams was published in 1899.During this same time, three authors created worksthat delved deeply into the psyche in different ways.In 1890, Frank Wedekind wrote Spring’s Awakening;in 1901, August Strindberg wrote A Dream Play; andin 1897, Bram Stoker wrote the novel, Dracula.A German playwright, Wedekind created acontroversial work that explored the impulses ofsexuality among adolescents. Restricted by a rigideducational system, struggling with the expectationsof parents, and revolting against the attitudes ofsociety, the young people of the play reveal theirdesires and pay the price for their transgressions.Strindberg used the stage to capture the experienceof the dream state. A Dream Play immerses itsaudience in an intellectual and sensual whirlpoolthat defies the traditional orderly narrative in favorof random associations and abrupt reframing ofaction and idea. The psychologically intense authormanifests the complex and contradictory experienceof dreams and challenges the viewer to consider hisor her own somnambulant experience.Director’s NoteNightmares, Dreams, and DesiresFinally, Bram Stoker, the theatrical manager for thequintessential English actor Sir Henry Irving, uses thetale of an exotic foreign count from the mysteriousCarpathian Mountains to explore the nightmaresand fears of a generation facing change. Draculabrings uninhibited sexuality and irrational violenceto a culture that had reached a peak of control andreason. Just as the rumblings of war in the East arebeginning, and the suffrage leagues begin to growmilitant, Count Dracula seduces the young ladies ofEngland and challenges their male protectors.The theatre offers an excellent means to explore theinner longings and fears that reside in our minds.Three of the plays offered by the Department ofTheatre this season allow us to consider the minds ofour nineteenth century forbearers and also to exploreour own nightmares, dreams, and desires.—Tom Mitchell4 5

DRACULACastPlaywrightLiz LochheadMina Westermanellen FredDirectorTom MitchellLucy WestermanSally HamerScenic Design EnsembleCostume DesignerLighting DesignerSound DesignerProperties MasterScenic Charge ArtistVoice and Dialect CoachFight DirectorStage ManagerTechnical DirectorDramaturgAndrew BevacquaJustice JanowskiArielle Ness-CohnKevin Tianyu QiuTricia WrinkleLiz RoweKevin PelzGarrison FrickJulie RundellChristina RainwaterRobert RamirezRobin McFarquharAustin LinMichael J. SusongRachel BennettNurse GriceNurse NesbittDr. GoldmanDr. Arthur SewardRenfieldDrinkwaterJonathan HarkerFlorrie HathersageMrs. MannersDraculaVampire Bride 1Vampire Bride 2Vampire Bride 3Van HelsingRyan JenkinsMartasia JonesAkua SarheneDavid KaplinskyBrian ZielnickiMark E. FoxChristopher Terrell BrownStephanie GalvinLydia CornejoJ.W. MorrissetteMargaret KellasNaomi MarkMaeve DevittNeal Moeller6 7

Scene BreakdownTime:Turn of the twentieth centuryDramaturg’s noteApproaching a New Century, Reviving Old MonstersPlace:Act IHeartwood House, Whitby, EnglandStoneyfields Asylum, LondonDracula’s Castle20-minute intermissionAct IIThis production includes haze effects.Produced by arrangement with Nick Hern Books.Liz Lochhead’s Dracula is one of many adaptationsof Bram Stoker’s gothic novel that captured theconcerns of fin de siècle England. Stoker was wellacquainted with the major trends and anxieties of histime and adapted his text for the stage soon after itwas published in 1897. There is something incrediblytheatrical about this story of an old vampire travelingto England to terrorize the modern world. It isboth thrilling and challenging to see Victorian menand women fight against an old terror like Draculadespite their modern, scientific mind-sets. In heradaptation from 1985, Liz Lochhead moves beyondthe kitsch that many recent interpretations embraceto revive the transgressive potential of Stoker’soriginal story. She exposes the sexual tension andclass conflict that remain just under the surface of theoriginal text.Liz Lochhead emerged as a rare female presenceamong the talented Scottish writers of the early1970s. Her work often addresses questions ofScottish national identity and challenges traditionalgender expectations. She wants to make space forwomen to tell stories, a role often reserved for menin Scotland. In Dracula, Lochhead places women andother seemingly powerless and displaced charactersat the center of the narrative, giving them voicesand agency in this story. For example, Mina and Lucyeach display great potential for love and power, butthis potential is violently suppressed by Victoriansocial expectations. Dracula reveals the dangerinherent in this suppression and pushes his victims toembrace their potential for good and bad.However, Mina and Lucy are not just victims. Theyalso are instigators. Lochhead has said that she wasdrawn to the vampire tale by Rule One for becomingDracula’s victim: “First of all, you have to invite himin.” These women desire the sexual freedom andpower Dracula offers. They are complicit in theexchange. Lucy desires an adult sexual relationshipand takes dangerous steps to fulfill her desire. Minadesires a relationship of equals with men, but sheis denied this by traditional social expectations.Dracula’s presence pushes these women to followtheir desires, which initiates powerful changes in thesocial hierarchy that Dracula may not fully appreciate.Lochhead explores class as well as gender throughthe maid, Florrie, who is limited by both her genderand her social position. While Mina expresses adesire to treat Florrie as an equal—by asking her tosimply call her “Mina” not “miss”—Florrie recognizesthat some social divides remain despite the rhetoricMina uses. Mina still gives the orders. In this society,Lochhead demonstrates that social mobility isprimarily open to men. Arthur Seward gained statusthrough hard work in school to become a doctor.Mina and Lucy’s father gained status as a wealthybusiness owner.Lower in status even than the women in this Victorianworld is the psychiatric patient, Renfield. He hasless potential for mobility than anyone else in thisplay. Lochhead captures Stoker’s exploration ofninteenth-century mental health facilities—places inwhich science greatly outweighed humanity. Renfieldis barely regarded as a human being. Nurses in theasylum treat him like an animal, so Renfield respondsby acting like one. Seward dismisses Renfield’swarnings and pleas for help, considering him nomore than a scientific experiment. His potentialfor good is ignored, and Dracula exploits onlyRenfield’s negative qualities. There remain seeminglyimpassable divides in this society despite the promiseof a new age of science, exploration, and equality.8 9

ProfilesDracula insinuates himself into the lives of thedisenfranchised and the powerless. He encouragestheir desires and troubles their minds. As an ancientcreature who feeds off violent and oppressiveculture, Dracula fears the promise that the twentiethcentury offered many at the end of the nineteenthcentury as expressed by Jonathan Harker, “I hopewe are done with wars and bloodshed. Surely as thetwentieth century dawns, mankind will see sense.”Dracula scoffs at the “age of modernity,” having noplace in the twentieth century that Jonathan hopesfor. The potential of this future is overwhelmingfor those, like Dracula, who face the prospect oflosing power. The looming twentieth century of thenovel, with its threats and promises, has come andgone, but the anxieties that it prompted remain. Theviolence and conflict of the last 100 years suggeststhat our cultural vampires were not defeated. Thefact that we continue to struggle with issues ofgender and social status despite massive gains duringthe twentieth century is significant. We have notmoved entirely beyond tradition and old fears. Weremain fascinated by vampires and the violent oldworld they represent.—Rachel E. BennettChristopher Terrell Brown(Jonathan Harker) is so veryproud to be presenting BramStoker’s classic vampire mythwith the U of I Department ofTheatre. Currently pursuing aBFA in acting, Brown is veryactive in the community—as awriter, director, and teacher—all the while committed to lifelong learning in thearts and humanities. Previous productions includeThe Last Days of Judas Iscariot (Jesus), Dawn andthe King’s Decree (Teacher/Director), and Hairspray(Seaweed J. Stubbs).Lydia Cornejo (Mrs. Manners)is a junior in the BFA ActingProgram at the Universityof Illinois. Prior to studyingat the U of I, she attendedthe Illinois Mathematics andScience Academy. Lydia haspursued her love of theatre byattending workshops throughvarious groups including the Second City. Lydiahas performed in For Colored Girls Who HaveConsidered Suicide When the Rainbow is Enuf,Cigarettes and Chocolate, and Impulse 24/7 at theArmory Free Theatre. Her most recent KrannertCenter show was Battle of Angels. She has alsoworked behind the scenes for some of KrannertCenter’s productions including Rigoletto and AMidsummer Night’s Dream—It’s a Bacchanal! Lydia isvery excited to be part of both this production andthis acting program. Her greatest aspiration is to be acast member of Saturday Night Live.Maeve Devitt (Vampire Bride3) is a sophomore in the BFAActing Program at the U of I andis excited to make her KrannertCenter debut. Continuing herstudy of improv comedy, shemost recently trained at ImprovOlympic in Chicago followingyears of training with theSecond City in Chicago. Other stage credits includeHair (Crissy) with Stage Door Fine Arts in 2011, andshe was a writer, actor, and director at Sketchfestin 2010-2011. Maeve has also placed in many vocalcompetitions in the Chicagoland area with Stacey De& Co. Last year, she participated in Impulse 24/7 andother shows at the Armory Free Theatre and joinedthe campus improv team, The Titanic Players.Mark E. Fox (Drinkwater) is asophomore in the BFA ActingProgram at the University ofIllinois. Recent credits includeLegally Blonde (ProfessorCallahan) with the ChampaignUrbana Theatre Company andThe Diary of Anne Frank (Mr.Kraler) with Summer StudioTheatre at Krannert Center. Last year, he performedin An Evening of American Musical Theatre with theSchool of Music, as well as Armory Free Theatreproductions of Stop Kiss (Peter), Reefer Madness!(Chorus/Ensemble), and Impulse 24/7, and theStudent Playwrights Outreach Theatre (SPOT). Also,while serving overseas, he had the good fortune tojoin productions of Guys and Dolls (Nathan Detroit)with the Beijing Playhouse and Beauty and the Beast(Beast) as well as I Love You, You’re Perfect, NowChange (Man #2) with the Pacific Okinawa Players.10 11

Ellen Fred (Mina Westerman) isa sophomore BFA acting majorat the University of Illinois. Shepreviously attended MillikinUniversity and Parkland Collegeas a theatre student. Her pastperformances include PennyPingleton in Hairspray with theCelebration Company at theStation Theatre, Jean in Dead Man’s Cell Phone,and Pinkalicious Pinkerton in Pinkalicious at ParklandCollege. The role of Mina in Dracula will be her firstperformance at the U of I.Stephanie Galvin (FlorrieHathersage) first performed atthe University of Illinois at theArmory Free Theatre, where sheplayed AP in columbinus. Shehas appeared at Krannert Centeras a chorus member in Iphigeniaand Other Daughters, as SecondGirl in Battle of Angels, and mostrecently as Mother Teresa/Soldier 2 in The Last Daysof Judas Iscariot. She started acting when she wasnine at the Lanny Sauris Theatre in her neighborhoodand continued to pursue acting in high school underthe direction of Robin Bennett. She is continuing hertraining with the U of I Department of Theatre, whereshe is studying for her BFA in acting.Sally appeared in Impulse 24/7 at the Armory FreeTheatre and played the role of Mary Silver in For TheRecord, an original web series filmed in Champaign-Urbana. Sally is thrilled to be working on thisproduction of Dracula with such a talented cast andproduction team.Ryan Jenkins (Nurse Grice)is a junior in the BFA ActingProgram at the University ofIllinois. She is a Chicago nativeand graduated from WhitneyM. Young Magnet High School,where she pursued interestsin theatre, guitar, MandarinChinese, and Japanese languageand culture. Recent U of I credits include Siennain ACE IT, an actor and a model in a web seriesadvertising campaign for University Student FinancialServices and Cashier Operations, and Koken in LadyMacbeth: A Kabuki Play. She was also seen in ForColored Girls Who Have Considered Suicide Whenthe Rainbow is Enuf (Lady in Brown), Hoodoo Love(Ensemble), Impulse 24/7 (Tiana), It Gets Better(Ensemble), Hominid (Scientist), and the StudentPlaywrights Outreach Theatre (Ensemble).David Kaplinsky (Dr. ArthurSeward) is a senior in the BFAActing Program at the U of I.His past Department of Theatrecredits include Our Town (JoeStoddard), The Last Days ofJudas Iscariot (Bailiff), Battleof Angels (David Anderson), AMidsummer Night’s Dream—It’s a Bacchanal! (Philostrate), as well as Macbeth(Siward). While previously attending the University ofMichigan, he was also featured in productions of OurTown and Macbeth. David spent this past summerstudying acting at Shakespeare’s Globe Theatre inLondon.Margaret Kellas (VampireBride 1) is a sophomore actingmajor at the University ofIllinois. This is her first show withKrannert Center. Past creditsinclude Pippin (Catherine),Rumors (Cassie Cooper), andThe Odd Couple: The FemaleVersion (Vera). Margaret alsowas involved in a student-written production lastsemester at the Armory Free Theatre. She hasworked with the Second City, Chicago, and the OldTown School of Folk Music.Menagerie (Laura Wingfield) in Shanghai and InnerMongolia as part of a touring group of Departmentof Theatre members.Neal Moeller (Van Helsing) isa new MFA acting student andis excited to be performing inhis first production at KrannertCenter. After graduatingfrom the University at Buffaloeleven years ago, he movedto Los Angeles to work intelevision and film. He hasspent the past seven years in New York City, wherehe recently played Prospero in The Tempest andAlexander Trocchi in the US premiere of JokumRohde’s Pinocchio’s Ashes. Other notable rolesinclude Macheath in Threepenny Opera, Brick in Caton a Hot Tin Roof, Bertram in All’s Well That EndsWell, Cheviot Hill in Engaged, and Algernon in TheImportance of Being Earnest (in Los Angeles andNew York). He is also a proud member of PerchanceTo Dream Theatre company in New York City.J.W. Morrissette (Dracula) isthe head of the Theatre StudiesProgram at the University ofMartasia Jones (Nurse Nisbett)Illinois. He recently portrayedis a sophomore in the BFAProfessor Willard in Our TownActing Program at the U of I.at Krannert Center and directedShe recently finished workingNaomi Mark (Vampire Bride 2)Pinkalicious: The Musical atSally Hamer (Lucy Westerman)on an independent film entitledwas most recently seen in TheParkland College. Other U of Iis a sophomore pursuing a BFAOne Dream Away. OtherDiary of Anne Frank (Margot)acting credits include Georgettein acting at the University oftheatre credits include Into thefor Summer Studio Theatre in The School for Wives, Rutherford Selig in JoeIllinois. She made her KrannertWoods (Witch), Meet Me inat Krannert Center. Previous Turner’s Come and Gone, Sidney Carton in A TaleCenter debut last year as DancerSt. Louis (Mrs. Waughop), andcredits include Lady Macbeth: of Two Cities, Major-General Stanley in Pirates ofin the School of Music Opera The Wiz (Addalperle). With several years of theatreA Kabuki Play (Lady in Waiting), Penzance, Charles Condomine in Blithe Spirit, andProgram’s production of The experience under her belt, this is her first productionBattle of Angels (Mrs. Regan), A Mr. Brocklehurst in Jane Eyre. During the past fifteenMagic Flute. In addition, during at Krannert Center. She looks forward to becoming aMidsummer Night’s Dream—It’s summers, J.W. has served as the director of theher freshman year at the U of I, regular on the Krannert Center stage and is exciteda Bachannal! (Peaseblossom), Iphigenia and Other Repertory Theatre Program at the Interlochen Centerto sink her teeth into Dracula.Daughters (Chorus), and columbinus (Rebel). She for the Arts in Michigan.also performed in a bilingual production of The Glass12 13

Akua Sarhene (Dr. Goldman) isa junior at the U of I pursuinga BFA in acting. Most recently,she was Saint Matthew in TheLast Days of Judas Iscariot.Other acting credits includeroles at the Armory Free Theatreincluding the Tightrope Walkerin Cirque du So Lean, Lady inPurple in For Colored Girls Who Have ConsideredSuicide When the Rainbow is Enuf, and Lorna inCigarettes and Chocolate.Brian Zielnicki (Renfield), fromArlington Heights, Illinois, is ajunior in the BFA Acting Programat the U of I. Last year, Brianmade his Krannert Center debutas a Nazi Guard and Patron inCabaret and was cast as a Kokenin Lady Macbeth: A Kabuki Play.He has also performed in twoArmory Free Theatre productions, Hominid and MyNew Cult.authored essays, articles, and presentations onWilliams’ early career and composed performancesintroducing these little-known works. Tom alsodirected two lost plays by the twentieth-centurySpanish playwright Jose Lopez Rubio and thepremiere of James Still’s play Meet Me Incognito.He is a former chair of the Mid-America TheatreConference Directing Symposium and receivedthe 2007 Award of Honor from the Illinois TheatreAssociation. With colleague Burnet Hobgood,Mitchell authored “A Framework for Directing in theTheatre” and has made numerous presentations onthe practice of directing in the contemporary theatre.Tom Mitchell is married to Joi Hoffsommer, anaccomplished actress and the director of the TheatreProgram at Parkland College in Champaign.Andrew Bevacqua (Scenic Design Ensemble), anMFA candidate in the Scenic Technology Program,is happy to be a part of this production of Dracula.Andrew earned his BFA at the University ofWisconsin at Stevens Point. His next production isFlorencia en el Amazonas.the Contemporary Music Center, a one-semesterintensive for music production, recording, andperformance. Although his background is primarily inmusic, Garrison has enjoyed exploring applications ofsound in other areas of media and performance art.Most recently, Garrison served as the sound designerfor Paradises Lost as well as Summer Studio Theatreat Krannert Center.Justice Janowski (Scenic Design Ensemble) is asenior in the BFA Theatre Studies Program at theUniversity of Illinois. She recently finished workingas the scenic charge artist and ensemble memberfor the Illini Union Board’s production of Chicago.She has also served as the scenic charge artist andscenic designer for IUB’s productions of SeussicalThe Musical and The 25th Annual Putnam CountySpelling Bee. Currently, she is working with IlliniStudent Musicals as the scenic designer and sceniccharge artist of The Drowsy Chaperone. Along withher design background, Justice was awarded theSenior Champion Award for vocal performanceduring the 2010 IAAF Illinois State TalentCompetition.Cigarettes and Chocolate at the Armory FreeTheatre. Other recent credits include scenic designfor Broskie at the Armory Free Theatre and assistantdirector for Battle of Angels at Krannert Center. In2011, she directed for SPOT (Student PlaywrightOutreach Theatre) and was the assistant director forMacbeth at Krannert Center. In 2010, she was theassistant director and assistant stage manager forSee What I Wanna See at the Armory Free Theatre.Kevin Pelz (Lighting Designer) is an undergraduateBFA student in lighting design and recently designedlighting for Studiodance I at Krannert Center.Originally from Carol Stream, Illinois, Kevin hasworked on many shows at Krannert Center, from TheMagic Flute to A Midsummer Night’s Dream—It’s aBachannal!Christina Rainwater (Scenic Charge Artist) hasbeen a professional scenic artist for twelve years.She received a BFA in theatre from Missouri StateUniversity and an MFA in scenic art from theUniversity of North Carolina School of the Arts,where she developed the workshop, “A DistressingSubject,” on distressing techniques for scenery,properties, and costumes. She was the scenic chargeartist at the Flat Rock Playhouse in North Carolina fortwo years. She has an ongoing working relationshipat Goodspeed Musicals, where recently she’s hadthe pleasure of working on the musicals Happy Days,Camelot, Carnival, and Carousel. She also worked forFeld Entertainment in Palmetto, Florida, includingDisney Princesses on Ice and the Disney PlayhouseTour II.Rachel Bennett (Dramaturg) is a PhD studentTom Mitchell (Director) isin theatre history and criticism at the U of I. HerAustin Lin (Stage Manager) is a senior pursuingthe associate head of themaster’s degree is from New York University indegrees in stage management (BFA) and computerDepartment of Theatre at theperformance studies and her bachelor’s degree isscience (BS). Austin’s previous Krannert CenterUniversity of Illinois. Mitchell hasfrom Butler University in theatre and German. Incredits include assistant stage manager forchaired the Summer Theatreaddition to her university and production work,Macbeth, The African Company Presents RichardProgram at Interlochen CenterRachel has presented papers at graduate, regional,III, Studiodance I, La Calisto, Cabaret, and Thefor the Arts, where he directedand international academic conferences. RachelLast Days of Judas Iscariot, as well as a co-stageShakespeare and musicalhas also worked as a dramaturgy intern at Indianamanager for Studiodance II 2012. Other creditstheatre productions. He servedRepertory Theatre in 2008, where she contributedinclude assistant stage manager for The Illusionas a member of the National Selection Team of theto multiple productions. She is currently the residentat the Athenaeum Theatre in Chicago and stageKennedy Center American College Theatre Festivalstage manager at the Parkland Theatre at Parklandmanager for columbinus at the Armory Free Theatre. Robert Ramirez (Voice and Dialect Coach) hasand travelled the nation to review 56 productionsCollege.Austin is honored to be working on Dracula with such performed with the New York, Utah, Illinois,by schools from Maine to Hawaii. He has directeda talented cast and production team.Alabama, Baltimore, and Wisconsin Shakespearefive of Tennessee Williams’ earliest full-length plays Garrison Frick (Sound Designer) is beginning hisFestivals as well as numerous theatres in the Newincluding the twenty-first-century premieres of third year at the U of I, pursuing an MFA in soundArielle Ness-Cohn (Scenic Design Ensemble) York City area. He has been an award-winningCandles to the Sun and Stairs to the Roof. He has design and technology. After receiving a BA ingraduated in May from the BFA Theatre Studies voice artist and narrator of audio books for the pastpercussion from Truman State University, he attendedProgram at the U of I. She recently directedseventeen years and is a longtime member of the14 15

Recorded Books Repertory Company. He has alsoserved as a voice and text coach for the IllinoisShakespeare Festival and American Players Theatrein Spring Green, Wisconsin. Robert received his MFAfrom the Professional Theater Training Program atthe University of Delaware and was on the voice andspeech faculties at Marymount Manhattan Collegeand the American Musical and Dramatic Academy inNew York City before joining the faculty at the U ofI. He specializes in speech, text, and dialect work, aswell as vocal production and development.Kevin Tianyu Qiu (Scenic Design Ensemble) is asenior in the BFA Scenic Design Program at the Uof I. Kevin transferred from the U of I School of Artand Design. Dracula is his first design project atKrannert Center. His previous design work was withthe Illini Union Board’s musical Chicago at AssemblyHall. He has also been an assistant designer forBattle of Angels, Barber of Seville, and will be anassistant scenic charge for this season’s Florencia enel Amazonas at Krannert Center.Liz Rowe (Costume Designer) is a third-year MFAcandidate from Canada. She received her BFA fromNova Scotia College of Art and Design and hascompleted an eight-month mastery makeup diplomaprogram at Complections International Academyof Make-up Artists. Having IATSE Permittee statusin the Make-up, SPFX Make-up, and Wardrobecategories, she has worked on a variety of filmsand television productions including the featureResident Evil 4: Afterlife in Paul Jones’ SPFX Studio.Prior to coming back to the U of I this year, shespent her summer styling an array of commercialsfor companies such as Toshiba, Scotia Bank, andESPN. Since the onset of her program in 2010, shehas worked as an assistant costume designer on AMidsummer Night’s Dream—It’s a Bacchanal! andCabaret. Liz also designed makeup for Cabaretand was the costume designer for Our Town. In thespring, she is looking forward to being a costumedesigner for No Child . . . .Julie Rundell (Properties Master) has been theassistant properties director at Krannert Centersince 1990. Before coming to Urbana, she worked attheatres in North Carolina, Michigan, Massachusetts,and Wisconsin, and, occasionally, her work can beseen in Chicago. She has a BFA from the NorthCarolina School of the Arts.Michael J. Susong (Technical Director) is a thirdyearscenic technology MFA student at the U of I.He has previously studied at Boston University andWestern Illinois University. His most recent worksinclude touring as technical director for a new playtitled diventare, including performances at NewWorld Stages in New York City and the KennedyCenter for the Performing Arts in Washington, DC;technical director for Summer Studio Theatre 2011at Krannert Center; technical director for HoodooLove (Department of Theatre); and technical directorfor Rossini’s Barber of Seville (U of I School of MusicOpera Program). This has been a new and excitingapproach to the design process, and he is excited topresent his work and collaboration on Liz Lochhead’sDracula.Assistant Stage ManagerAssistant Technical DirectorStage CarpenterAssistant Costume DesignerAssistant Lighting DesignerAssistant Sound DesignerAssistant to the DirectorAssistant to the Voice and Dialect CoachProduction AssistantMaster ElectricianCostume TechnicianHair/Makeup ArtistHair/Makeup Graduate Asst.Scenic Change EnsembleProduction Running CrewAutomations OperatorProduction StaffJamie FullerKatie MoshierBrian MorganJason HuertaAmy Chmielewskiheather McLaughlinMia LeeSlick Jorgenseneric BisgyerChristopher WilliamsonNaomi MarkShanna ZieglerBeanz RamirezKelly NeulsLisa LilligNatalie LovelandOlivia BaganMadeline CampbellSara Costelloedgar Nevarez FloresMariano NavaChloe WardShanna ZieglerTricia Wrinkle (Scenic Design Ensemble) is a seniorProperties Running CrewJade Hebererin the BFA Scenic Design program. Her work atAlon Stotterthe university has ranged from paints to props forseveral different shows including Rigoletto, Battle ofCostume Running Crew HeadAmy ChmielewskiAngels, and The Last Days of Judas Iscariot. For theCostume Running CrewClaire Floriano2012-2013 season at Krannert Center, she is workingRacquel Rizzoin an ensemble to design Dracula for the fall and willKevin Silversteinbe the assistant designer and scenic charge artist forMakeup Running CrewCody ChongThe Normal Heart in the spring. She has also helpedAmanda Miesnerdesign for shows at Champaign’s Central HighLauren NittoSchool and has helped paint a show at the StationTheatre in Urbana.Lighting Running Crewelaine SenftAudio Running CrewMaria Nikolova16 17