Filming of Lonely Planet
Set Design: Tomas Salas and Joe Kelley
Lighting Design: Rachel Atkinson
photo credit: Jamie Rogers
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Letter from the Director of Lonely Planet
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Fear. The unbearable weight of grief. Denial. Distortion. Alienation. The unknown.
Multiple themes come to mind all at once in Lonely Planet told through the deep friendship of Jody and Carl as they navigate and attempt to confront the toll and devastation that the AIDS pandemic has taken on them and their community. Jody’s response is to hide in the map store and not deal with the new world around him, but rather find comfort and false security in the various maps that adorn the walls. Carl, through the use of multiple chairs belonging to those who have died, constantly tries to bring the outside into Jody’s reclusive world so they can confront and tackle the new world together and deal with fear, loss, and grief.
Jody talks about the “Greenland Problem” on p.21
“I like this map. I sell this map. I don’t warn people when they buy it that, like any good newspaper, it contains a few lies… Maybe it’s comforting to us because we, too, have our blind spots. We, too, have things on the periphery of our lives that we distort – in order to best focus on the things in front of us. In order to best navigate through our days. Sometimes, though, these things on the periphery, these things that we do not understand, these far away things grow to massive proportions – threatening to dwarf our tiny, ordered, known world. And when they get big enough, we are forced to see them for what they are. People I know are dying.”
What happens when something so terrible distorts our view of life and the world? What we thought was known is no longer true? What events/relationships do we distort in our lives out of fear/manageability so that we can better cope? So that we are protected from reality and grief? I believe that Dietz wants us to lean hard into each other and our friendships to help us confront and bring those distortions into focus. To see something for what it truly is.
The world is slowly recovering from a world pandemic. We have all had this shared experience and along with that a "collective grief." Who among us have not felt the world shift or appear distorted in a way unfamiliar? Some have experienced loss and grief. Some have increased anxiety of what happens tomorrow, next week, next month because nothing feels sure anymore. What is our new world outside our walls that we must confront now? What have we decided not to deal with? And what things have been brought into focus? We cannot avoid life but must find a way to face the unknown together.
Jamie Rogers
Director
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The Austin Community College Drama Department is happy to announce that our production of Lonely Planet by Steven Dietz will be available to stream through Broadway on Demand from October 14th-October 24th.
For tickets: Ticket price is $8.00. There is an additional $2.95 BOD processing fee.
All ticket sales purchased for Lonely Planet will go directly to fund Austin Community College Drama Scholarships. Tickets can be purchased at the link below (or you can type Lonely Planet in the search engine once on the BOD site)
An account with Broadway on Demand will be needed to purchase tickets. You will first need to sign up for a free Broadway on Demand account and then you will be able to select a performance date & purchase an on-demand ticket to view Lonely Planet. You will receive a confirmation email with your access code plus instructions for viewing. You can cancel your free BOD subscription at any time.
On demand means that you will have a 24-hour window to watch your purchase from the comfort of your own home OR from anywhere and as many times as you want during that 24-hour window. On your computer or mobile device, BOD recommends Google Chrome as your web browser for optimal streaming. Alternatively, you can also download the free BOD app on your tablet or smartphone from the Apple Store or Google Play (Android). You can also find the BOD app on your Roku or AppleTV.
If you have trouble with the stream, you must contact Broadway on Demand directly for assistance by emailing info@broadwayondemand.com or calling 1-(332) 255-4180 Monday- Friday.
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Lonely Planet by Steven Dietz
Directed by Jamie Rogers
Set Design: Tomas Salas and Joe Kelley
Props Design: Joe Kelley
Lighting Design: Rachel Atkinson
Costume Design: Desiree Humphries
Make-up Design: Christyna Reeves
photo credit: Stella McGriffy
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STAFF SPOTLIGHT:
CHRISTINA MONTGOMERY
Interview by Jamie Rogers
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Where are you from? What schools have you attended?
Born in Kansas and raised on a farm in the Flint Hills. At 14, my family and I went abroad to the Netherlands, where I attended High School. After High School, I returned to Kansas to attend the University of Kansas, where I got my degree in Technical Theatre, Theatres Design, and Technology. My family continues to work abroad, which has given me the chance to travel the world. Hong Kong is where I visit family these days, and I'm grateful for the privilege to travel and the experiences that have shaped who I am. Yet, I am still a farm girl at heart.
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How did you get interested in Theatre Design? What are your main areas of focus?
It started at a young age. I wanted to know how to sew, and my mother taught me on the treadle machine we had. Over the years, I developed an interest in fashion and costumes that stuck with me. I started college with an undecided major. That year the university costume shop was looking for stitchers, and I applied. Once I was in the doors, I was captivated by the craft of theatre. I immediately took an intro to theatre design course, and I knew I wanted to be part of theatre design and production. I studied scenic, costume, and lighting design. Costume design and production took my focus. I loved it, and 20 years later, I feel the same way to this day.
What are the various theatres you have previously worked and what did you take away from them?
After University, I moved to Kanas City and picked up touring gigs as a dresser at the Music Hall downtown. I learned how to streamline the production process efficiently. Loading in, setting up and ready for and an audience in no time. I took notes of this process and used what I learned while working in the theatre every day.
I spent some time working for the Kanas City Ballet and Opera. I developed an understanding of the needs of a performer's body how the movement and agility of textiles need to have free form and enhance the performance experience.
In 2013 I moved to Austin to work at Zach Theatre. I took on a management role and was involved with budgets, schedules, crews, and working relationships with designers and directors. This experience gave me a strong understanding of the foundation and structure it takes to produce theatre. I would also do costume design for them and still do this day.
Can you tell us a bit about your design process?
A little direction, my imagination, a deadline, and a pinch of stress is where my design process thrives. I start with research; I love doing it and spend a lot of time in this stage. One thing leads to another, and you never know where it will take you to find inspiration. I like to dream big; no limits, no restrictions. This place is where my design takes form. When the reality of the budget, time, and resources come into play, I can wrangle it in from there. This is where creative thinking is my number one resource. My design is realized by thinking out of the box to find alternative materials and solutions to problems and accidents that become better than your original idea. Then I start looking for what materials I will need. You can't ever do too much sourcing. The more you do, the better the finds. While executing the designs is where I feel I get to be the director. It's my call how it comes together and where the pieces fit. When I'm going through my design process, it's consuming, and all I can think about is until the process is complete.
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A Year with Frog and Toad at Zach Theatre
photo credit: Kirk Tuck
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Winnie the Pooh at Zach Theatre
photo credit: Kirk Tuck
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How long have you held a Staff position in the ACC Drama Department, and Why did you apply?
Not long. I was hired to manage the costume shop and makeup at the beginning of August. During Covid, like most people in the theatre industry, we had a long break from theater to think about our careers and other options. I spent some time looking, and education came up on my shortlist. I had worked with people new to the Theater industry, and I enjoyed teaching them what I knew and had the patience for it. I couldn't think of anything I'd rather do than a theater, and I enjoyed teaching, so ACC was a perfect fit. So far, I like working with the students even more than I thought I would. I'm excited to be part of their education and see what they can teach me.
Tell us about your responsibilities/job duties at ACC?
Teaching students to go out into the theater field prepared for what they will encounter. I share everything I know to help develop the skills they will need to know in professional theatre. We work with the rest of the Theatre department to produce and execute a professional theatre experience that the students can be part of. I try to share the joy that theatre gives me to experience how fun it can be working in this industry.
What advice would you give a current ACC student who wants to start a design or technical theatre career?
Learn as much as you can about every side of the theater. To be a good designer, you need to know about scenic, lighting, costume, makeup, acting, and sound. All departments need to interact, and the more you understand each of them, the better you'll be.
Start working on your portfolio now. Take lots of photos of your work and progress shots. It's easy to get caught up in the project and forget to do it. Make it a habit to take photos.
Get as much experience as you can and work on as many shows as possible. Experience counts for a lot when applying for jobs.
Being adaptive will help you stay employed when you're first starting. There is a lot of cross-over in some theatres. Being able to work in the shop, do backstage crew, hang lights, etc. This will help to keep you working and give you more opportunities to get your foot in the door.
Do what you love and follow your heart, and you will get to be one of those people who wake up every morning looking forward to going in to work. Theatre has a funny way of can do that.
Are you currently working on other projects?
Yes, I have some children's shows for the Theatre for Family series at Zach Theatre. I will be joining them again in 2022 to do Somebody Loves You, Mr. Hatch, and coordinate Cat in the Hat. I love children's theatre; the outlet for creativity is vast. I am part of the first theater experiences and I want everyone to leave the theater with their creativity sparked and excited to be part of the performing Arts.
When Covid kept me away from the theatre, I started working with a furniture restoration shop in South Austin. I love furniture restoration, upholstery, and weaving. It's a craft that I am working on learning. Working with my hands and getting dirty to bring furniture back to life is satisfying for me. Who knows? I may find myself working with props or furniture at some point.
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Elephant and Piggie at Zach Theatre
photo credit: Kirk Tuck
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STUDENT SPOTLIGHT:
CRISTYNA REEVES
Interview by Jamie Rogers
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Where are you from?
I was born in Japan on a military base and moved around a lot as a child. Eventually my family retired here in Texas and I’ve been here ever since
Were you involved in theatre in when you were in high school? Any past theatre experience on stage or behind the scenes?
I started doing theatre production my freshman year of high school and fell in love with everything.
Why did you decide to pursue a career in Makeup Design?? What designs do you most like to work on?
I decided to take the path of makeup design because I have always enjoyed playing with effects and practicing when I was a child. Over the years I developed a passion for doing special effects and continue to strive as a makeup artist. My favorite designs to work with are horror/gore effects. I love messing people’s faces up ;)
You were the Makeup Designer for our upcoming production of Lonely Planet? What was that process like for you?
The process for Lonely Planet and designing the makeup was not only a learning experience but a rewarding experience. I got the chance to work with an amazing cast and crew that made me excited to design for the show. I feel like the process went smooth because of the communication the cast and crew had with me. I was able to envision what was needed for each character and build off that because I felt comfortable talking with everyone and listening to what the director saw in his interpretation of the production.
What were the reasons you decided to enroll in the AAS Degree program at Austin Community College?
I enrolled in the AAS degree because at the time ACC was the only school that had exactly what I was looking for in terms of learning makeup
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Jody, played by Scot Friedman, and Carl, played by Sean Ryan Moran, in makeup
photo credit: Stella McGriffy
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Any favorite classes in the Drama Department and why? Important things you have learned so far?
I have loved every class I’ve taken so far, even the more challenging ones because I know I’ll be better off learning and persevere past those challenges. But if I had to choose my favorite classes I’d have to say both of the makeup classes and wig construction.
Do you attend school and have outside employment? If so, how do you find a balance between work and drama department involvement?
I currently have 3 jobs while going to school. It is quite the challenge to balance everything at times but I manage to pull it off. I usually plan time to put to the side for any homework that I need to work on. Luckily all my jobs are relatively flexible and understanding of my schooling.
How has the transition been for online/hybrid learning during COVID-19?
Brutal! But it helped me realize that I’m am stronger than I thought and that I desire to continue on and not give up.
Any overall advice to give to current Drama Majors on ways to get them involved in the Department?
Be patient with yourself. Forgive yourself and others. Always ask the dumb questions because usually you’re not the only one thinking it.
What does the future hold?
I hope my future holds greatness and strength!
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Other Make-up Designs by Christyna Reeves |
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The Drama and Sustainability Departments are collaborating on a new Green Theater Initiative this season that puts sustainable practices at the heart and focus of our upcoming production season in the Drama Department.
For Lonely Planet, below is how each area practiced and utilized the Green Theater Initiative!
SCENIC/PROPS: A very significant portion of the scenic and prop elements were either constructed from reused scrap material, including wood palettes left behind by construction crews still working on our new campus additions, sourced from our own departments, or acquired second hand. Several of the chairs were saved from garbage collection and a large chunk were donated from the Senior Citizens Thrift in Dripping Springs. They will find a new life with ACC in future productions and class projects. We were able to build our beautiful set for less than $300.
Many of the props came from ACC’s current stock, and the large bulk of the props that needed to be purchased came from Austin Creative Reuse. As the name implies ACR specializes in reuse for creative purposes, think of it like a donation based version of a major craft store. Not only did this help us stay under budget, but we were able to grow our prop stock using materials that otherwise may have been thrown away.
- Tomas Salas and Joe Kelley
COSTUMES: All costumes except for Carl's were borrowed from UT or from ACC's own stock. No dyes or treatments were done to the costumes. We worked with what was already available to us and fit into this world before making the decisions to purchase, dye or distress.
- Desiree Humphries
LIGHTING: For this production of Lonely Planet we were able to significantly reduce our power consumption by utilizing 75 lower power LED lighting instruments and no conventional lighting units. The only incandescent light onstage is the practical desk lamp located on the map table, which was upcycled from an old fluorescent office desk lamp that was adopted by ACC’s drama department when another department was getting new lamps. It was dismantled, then wired using an upcycled broken Christmas light strand.
- Rachel Atkinson and Channing Schreyer
STAGE MGMT. TEAM: During the rehearsal process our main emphasis was reducing the amount of paper waste we created. Forms and paperwork were shared online for all of our production team to view. Additionally, we had iPads available for our backstage crew to use so they could see our set-change ground plans, prop lists, and other pertinent information.
- Adam Sornat
PROMOTION: No physical marketing material were made. We relied solely on digital marketing. No posters or programs were printed at all.
- Jamie Rogers
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DR. HEATHER BARFIELD performed, composed music and sound design, and offered movement in a devised multimedia dance performance entitled Seule(s) en Scènewith international artists Sandie Donzica (France) and Mary Katakura (Japan). Seule(s) en Scène explored the theme of isolation of the body during these days of separation with contemporary dance, electronic music, intimate text and projection. Performances were held at First Street Studio in September. Directed by French choreographer Sandie Donzica, based in Austin, Texas, the work focused on the female body in isolation. How is isolation realized, translated in our body, and what is its psychological impact? Also how does isolation differ from body to body, country to country, culture to culture. Offering three unique solos on stage with original music, three women from different cultures and countries respond while remaining connected in their respective experience.
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CALLING ALL ACC DRAMA ALUMNI!
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Be sure to join the ACC Alumni Network!
The ACC Alumni Network is open to all former students who have earned an associate degree or certificate, or completed at least 20 credit hours at ACC. Our mission is to promote and support our alumni and students in their educational, social and professional endeavors, and to foster a spirit of loyalty and lifelong connections to Austin Community College.
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