Cast of
Much Ado About Nothing
photo credit: Jamie Rogers
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Letter from the Director of
Much Ado About Nothing
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Welcome to the Austin Community College fall production: William Shakespeare's beloved comedy
Much Ado About Nothing!
It would be easy to assume that Shakespeare's comedies -- because they are funny and dirty and end in marriage -- share none of the darkness and seriousness of purpose that suffuse his tragedies. Indeed, we find
Much Ado About Nothing
's madcap revelry--captured in Beatrice and Benedick's witty "will they/won't they" banter--celebrated in the mid 20th century screwball comedy, the 90's high school dramedy, and no doubt in your favorite augmented reality sitcom of 2029. And yet,
Much Ado About Nothing
is also a play about betrayal, false accusations and "fake news," and the vicious consequences of honor culture.
In a social world where the word 'virtue' refers not to character, but to a fetishized virginity, can a young woman's testimony even be heard over the din of male resentment, greed, pride, and jealousy? Finding ourselves in the grip of themes both charmingly timeless and distressingly timely, we have set our production in a rigidly hierarchical Neo-Elizabethan future. Our hope is that, as you enjoy this show, you will consider that what we carry forward from our past is up to us.
Our thanks to ACC's Drama Department, to Austin Playhouse, and, above all, to you, dear audience. Thank you for supporting live theatre in Austin!
Katie VanWinkle
Director
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STUDENT SPOTLIGHT:
MAISIE MELTON
Interview by Jamie Rogers
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Where are you from?
I am from Austin, TX.
Were you involved in theatre in when you were in high school? Any past theatre experience on stage or behind the scenes?
For a long time I acted in musicals at KidsActing and plays in the theater program at Westlake High School. My last semester at ACC I got my first taste of being behind the scenes as the sound board operator for
Well
. Shout out to Jamie for assigning me to it as part of my theater workshop class!
What were the reasons you decided to enroll at Austin Community College?
I enrolled at ACC after a few years of not being in shows and not doing what I loved most. I’m thankful to now be a part of an amazing drama program and getting training in what I want to do for the rest of my life.
Any favorite classes in the Drama Department and why? Important things you have learned so far?
I think my favorite class so far is Acting 1 with Perry Crafton. I’ve been learning to analyze my objectives and tactics to help me better understand motivation for my actions as a character.
You have been cast and are currently in rehearsals for our fall 2019 production of
Much Ado About Nothing
. Can you tell us a bit about what character you are playing? And what has the rehearsal process been like?
In
Much Ado About Nothing
I play Beatrice, a quick witted and passionate young lady who is Hero’s cousin. The rehearsal process has been a lot of fun. I have never done Shakespeare before so I was nervous about it but working with Katie and my fellow actors has made me stronger and helped me realize that Shakespeare was really on to something back then that continues today!
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Maisie Melton in rehearsals as Beatrice in
Much Ado About Nothing
photo credit: Jamie Rogers
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Any favorite ACC Drama Production?
Playhouse Creatures
!!
Do you attend school and have outside employment? If so, how do you find a balance between work and drama department involvement?
I am unemployed though I was a stagehand for
Playhouse Creatures
and juggling their rehearsals and shows with
Much Ado Rehearsals
proved to be a challenge. Communication with both directors was key to help come up with a schedule so I could participate in both.
Any overall advice to give to current Drama Majors on ways to get them involved in the Department?
Audition audition audition!!!
What does the future hold?
I’m not sure but it’s looking bright. I’m excited to see the new Drama department’s new space in the fall of 2020!
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FIGHT CHOREOGRAPHER SPOTLIGHT:
TOBY MINOR
Interview by Carrie Kaplan
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Any seasoned Shakespeare fan (or Introduction to Theatre teacher) will tell you that Shakespeare on the page and Shakespeare on the stage are entirely different things. Shakespeare wrote for performance, not for publication. Specifically, he wrote for the space of the open-air Globe Theater with its natural lighting and simple sets, where groundlings stood pressed up to the very lip of the stage, and actors and audience members were fully aware of one another’s presence and energy at all times.
Physicality in Shakespeare is a language all to itself, to help illustrate some of the double entendre and puns Shakespeare used to slip his dirtier jokes past the Elizabethan censors, or to help bring the beautiful, albeit often foreign feeling language to life for a modern audience. Whether it’s a heated duel or a butt joke, Shakespeare is a highly physical medium. Fortunately for our production, Fight Choreographer Toby Minor was on hand to help the actors safely, convincingly and humorously navigate these more physical aspects of the play’s production. In the following interview, Toby shares some background and advice from the world of fight choreography and physical comedy.
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Fight choreographer Toby Minor rehearses a combat sequence with Taylor Flanagan (Benedick)
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How would you describe the role of a fight choreographer?
A fight choreographer is in charge of building violence for the stage or screen that is safe and repeatable for the actors. Violence is just another tool for the director and actors to bring the story to life. The choreographer must understand the story that the fights fit into and how those fights will assist in continuing that story. Physical violence happens when words fail, so the choreographer needs to know how to get the most out of each moment leading into every move, as well as the moves themselves.
How did you become interested in fight choreography? What kind of skill set/training is needed to become a fight choreographer?
I got started in fight choreo when I was an undergrad at New Mexico State University. I have always been a movement-based actor and this fit right in with what I wanted to be able to do on stage. I took classes at school and became hooked. I then began training with the Society of American Fight Directors (SAFD) and have been training, choreographing and teaching for the last 22 years. I am now an Advanced Actor Combatant with SAFD. Under their guidelines, you must train with a SAFD certified instructor for 30 hours per weapon style you want to certify in. Once that is completed, you perform a fight scene for one of the Fight Masters of the society and they adjudicate your abilities. Training with SAFD allows you to be safe, but also to train in actual martial arts, gymnastics, strength training, clown and mime, and any other physical skill necessary to be a proficient Actor Combatant. Or just an actor, in my opinion.
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Butt first so you don't get hurt." Toby shows Colten Webb (Don Pedro/2nd Watch) how to fall on your a**
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What tips can you offer to maintain safety both in the rehearsal room (in terms of actor’s comfort) and on stage in terms of actor’s physical safety?
The most important thing for actors doing fight choreo, in my opinion, is to start SLOW! Do everything very slowly and allow your body the time to learn the moves. Not just the action, but WHY you are doing them; every move has a reason for being there. Take it slow, check in with your partner making sure they are comfortable with what you are doing, getting consent, and have fun exploring this way of telling the story. The speed will come later on its own.
Watching you work, I observed that you have a killer sense of humor and comedic timing. What are some of your comedic influences, whether in terms of physical comedy or in general?
My comedy influences, physical and otherwise, are Tim Conway, Robin Williams, Lucile Ball, Carol Burnett, Mel Brooks and The Loony Toons. Nobody does physical comedy better than Bugs and Daffy.
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Austin Community College Drama Department is implementing a new degree award that will give our students an exclusive educational opportunity to receive hands-on training with up-to-date theatre technology and practices, while at the same time, continuously supplying the local artistic community with highly competent, professional technicians and designers!
The Associate of Applied Science (AAS) in Theatre Technology
will train enrolled students with professional entry level technical skills across two specializations in technical production which include
Scenery & Lighting
and
Costumes & Makeup
.
This program will offer a unique alternative for interested students to not only participate in specialized training curriculum addressing multiple arenas of technical theater, but also allow students the opportunity to apprentice with local theatre companies, thereby creating an avenue for future employment upon degree completion.
The program will begin its official launch in Fall 2020, with select classes being offered in a pre-launch this Spring.
For more information about the degree program or if you are interested in enrolling, please contact Jamie Rogers at
jamie.rogers@austincc.edu
.
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SPRING 2020 REGISTRATION
is OPEN now!
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KRISTEN ROGERS
is currently directing a new one-man show,
Blood and Holly, written by and starring Jaston Williams (of
Greater Tuna fame). The show will premiere at The Grand 1894 Opera House in Galveston on November 23-24, with performances to follow at Lubbock Community Theatre in Lubbock, Texas, and at Stateside by the Paramount here in Austin. For more information, please visit:
https://www.jastonwilliams.com/events.
GREG ROMERO
's 10-minute play,
The Elephant and the Light in Claire's Suitcase
, will be presented this fall at a number of places: Seattle Repertory Theatre (Seattle, WA) in October; University of Idaho (Moscow, ID) in November; Hyde Park Theatre (Austin, TX) in November; and Point Park University (Pittsburgh, PA) in December. The play will also be published by Northwest Playwrights Alliance, based in Seattle, WA.
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ACC Drama Department 2019-2020 Season
Playhouse Creatures
by April De Angelis
September 26-October 6 in the HLC Acting Studio
General Seating is $8.00
Much Ado About Nothing
by William Shakespeare
October 24-27 & November 7-10 in the Austin Playhouse Theatre
General Seating is $8.00
Harry and the Thief
by Sigrid Gilmer
February 27-March 8 in the Austin Playhouse Theatre
General Seating is $8.00
Twelve Angry Jurors
by Reginald Rose
adapted by Sherman L. Sergel
April 16-26 in the HLC Acting Studio
General Seating is $8.00
Performance times are at 7:30pm for Thursday, Friday and Saturday evenings,
and at 2:00pm for Sunday matinees.
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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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You can always keep
up-to date with the
ACC Drama Department
by visiting our website
or following us on Facebook and Instagram!
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