Regent's Production of The Elephant Man

Regent Theatre opened its production of Bernard Pomerance's The Elephant Man this past weekend to enthusiastic audience response. The production is especially thought-provoking, using elements from Brechtian theatre to tell the story. Keep reading for thoughts from director Michael Hill-Kirkland.

'I was first introduced to Joseph Merrick, the Elephant Man, in a 1980 production of Pomerance’s play at South Coast Repertory Theatre in Costa Mesa, CA. I was enthralled. Even as a young director, I recognized the fingerprints of Bertolt Brecht on Pomerance’s play. Brecht sought to deemphasize the audience’s tendency to identify with the feelings of a character. He sought to make the audience think rather than feel. Eventually, he came to believe that both thinking and feeling were not only complimentary but necessary. The question for Brecht became, “To what degree?” As I watched the play, I was struck by the fact that despite its episodic structure and use of dialogue voiced in past tense, devices Brecht utilized to achieve the verfremsdung (or alienation) effect, the play still landed with tremendous emotional gravitas; certainly affording as much emotional impact as social criticism. Like the characters in the play, we whisper to ourselves, “He is like me.” This irony only deepens when we realize that in seeing ourselves in Merrick we, in fact, normalize him; an act that robs him of his individuality. Pomerance is clearly commenting on society’s tendency to force square pegs into round holes. His depiction of Victorian society is one in which deformity is epidemic. You simply have to look a little harder to see it. And so it is with us. The moment sin entered the world we became “deformed,” and as Merrick states, it is only in heaven where the “crooked will be made straight.”

I went on to direct The Elephant Man in 1983. It was a very satisfying experience. However, I have no desire to repeat myself. Like Pomerance, I have taken my cue from Frederick Treves’ memoires, but with a twist. I approach the play not only as memory, but as dream. Like Merrick, Treves now seeks to lie down and, “sleep like other people.” His conscience has opened his eyes to his own deformities. Wealthy, respected, surgeon to the Prince of Wales—he cannot sleep. Morally adrift, he is in search of standards that will afford him peace. The poem Merrick often used to end his letters has taken root in the recesses of his mind and, just like Merrick was beaten in the Leicester workhouse, Treves’ own conscience now beats him like a drum, “boom, boom, boom, boom, boom, boom”,

‘Tis true my form is something odd,
But blaming me is blaming God.
Could I create myself anew,
I would not fail in pleasing you.
If I could reach from pole to pole,
Or grasp the ocean with a span,
I would be measured by the soul,
The mind’s the standard of the man.

Here then is the personal purgatory of Frederick Treves, where he seeks to reconcile his inner man with the outer man; where he is haunted by the childlike profundity of Merrick’s words,

“Sometimes I think my head is so big because it is so full of dreams.”

Michael Hill-Kirkland, Ph.D.'

The Elephant Man runs through January 31st. Call the box office at 757.352.4245 for tickets or visit www.regent.edu/theatre.

Recent Grad Encourages with L.A. Experience!

2009 MFA Acting graduate Christina Browder has been living and working in Los Angeles since graduating and has had a lot of success! In fact, she was just featured in a national Match.com commercial (click the link at the end of the post to see her!). Read on to see how she describes her experience thus far and what God has taught her during her time there.

‘I've heard people refer to Los Angeles as many things, one being "the city of dreams." I guess this statement is accurate (and enticing), as people everyday from around the world pack up their lives and move here to pursue...well...their dreams. From the time I was a little girl, I've had a dream to be a storyteller. Unfortunately, I have given up on that dream many times in my life (out of fear, lack of confidence, etc.) but God never gave up on me. So, on September 18, 2009, I found myself being one of those people...trekking across the country to the unknown. And I must say, it has been quite the adventure.

I remember one time, driving on the 101 Freeway through bumper to bumper, downtown, rush hour traffic and being completely overjoyed because... I was here. Or the time I was working background on Desperate Housewives, and in the middle of the scene, began to cry because... I was here. Or the first time I was able to pray for someone on a set, and being moved to...tears (you guessed it), because... I was here. I guess the overwhelming consensus is...I AM HERE!

And that statement has gotten me through some of the terribly challenging times, of not knowing exactly where I would live, or encountering obvious signs of darkness, or trying to start a career while paying back student loans, saving for new headshots, running around the city of L.A. to three auditions the same day...you know, the usual life of an actor.

I believe that God has me in L.A. for a bigger reason than I even realize. Yes, He has enabled me to be an actress and bring awesome stories to life, but He's also enabled me to see His love and grace in a way that I've never experienced before. And I truly believe He wants me to share that love, that life, and that grace with the inhabitants of this city. I am constantly humbled when an acting opportunity seemingly falls from the sky in my lap, yet encouraged when I remember that my life is in His hands. And although the opportunity manifested overnight, being prepared for that opportunity did not. So I am repeatedly inspired to study the craft when I'm not working, to pray when I don't feel like it, and to rejoice in ALL aspects of life when my mind wants to only be focused on "my career".

A couple things I've learned since being here:
1) God LOVES this city and He LOVES these people. I've encountered some of the most beautiful, intelligent, warm, and endearing people since being here. And that doesn't mean they are all Christians—some are searching, some are broken-hearted, some are running, some are hiding—but ALL are loved by God. And I try not to focus on the incredible darkness that is here, but on the incredible LIGHT! I think about the influence this city has and it makes sense why it is such a target of the enemy. It also makes sense why it has such a special place in God's heart.

2) It's sooooo much bigger than the career. I find that when I stop focusing constantly on the future and just enjoy where I am, things seem to happen. I'm too busy enjoying what God has done to complain about what He hasn't done. I must say this IS one of the bigger challenges in my life, yet so rewarding when I am able to rest in Him and trust that His timing is perfect!

3.) Everybody's path is different. This statement is especially apparent in the entertainment industry, as there is no "ONE" way. I try to focus on the unique path God has for me instead of comparing someone else's to mine. Comparing is exhausting and fruitless (I know, I speak from experience). It's better to just do what you can, incorporate YOUR strengths and celebrate YOUR successes.

As I type this, it's the new year, and I really do feel like a new person. I guess beginning a career in a new city makes you (hopefully) wiser and more appreciative of life. This year, I have an aim to enjoy God WHEREVER He is and celebrate each thing that happens in my life. By the way, I just got a manager and I thank God for her...we'll see what happens! : ) Thanks to everybody who took the time to read my first ever blog post!!

Muchas Bendiciones,

Christina Browder, MFA Acting, 2009.'

To watch Christina’s recent Match.com commercial, click here. We’re very proud of our graduates!

Upcoming Auditions for Regent’s MFA Program

The spring semester is underway and very soon our professors will be on the road, auditioning actors from all over the country for our next MFA Acting class. This year, auditions will be held at 5 locations:

Jan 22-23, 2010 – Texas Ed. Theatre Assoc., Hyatt Regency, Dallas, TX
Jan 31-Feb 1 – Midwest Auditions, Palmer House Hilton, Chicago, IL
Feb 27, 2010 –Vanguard University, Los Angeles, CA
March 5-6, 2010 – SETC Spring Convention, Lexington, KY
March 12, 2010 –Preview Weekend, Regent Univ., Virginia Beach, VA

To schedule an audition at any of these sites, contact Jennifer Martin at 757-352-4228 or email auditions@regent.edu. Click here for audition requirements.

What’s it like to audition for Regent’s MFA Acting program? We like to think we have an edge up on other auditions. When asking some current students to describe what their audition experience for Regent was like, we got an overwhelming response! Read on!

“I had never heard of Regent before, but when I was in Chicago for the URTAs and noticed Regent was auditioning in the same hotel, I was immediately impressed by Eric's friendliness and warmth. He was very attentive as well as professional. I soon realized that not only was this a high quality program committed to an excellent MFA education, but also that if the rest of the people at this university were anything like Eric, they were real and down-to-earth, and truly cared about you and your future.” -Katie Cheely, 3rd year MFA student

“My audition for Regent was like a breath of fresh air. URTAs had been expensive and stressful. Mark came in to my audition in California, treated me like a human, not a number, and we talked like human beings. I felt like I was doing my audition for someone who already believed in me and what I could do.” -Jeff Fazakerley, 1st year MFA student

“My audition for Eric Harrell in Chicago was the only grad school audition where I walked in and felt completely comfortable. Upon walking through the door, I immediately knew that Regent was a school where the professors both cared about their students and wanted them to excel. The rest of that audition and my three years at Regent have proved that theory to be true.” -Rob Arbaugh, 3rd year MFA student

“When I came to the Spring Preview Weekend at Regent to audition for the MFA program, I was incredibly nervous! I had little reason to worry though, as the professors were extremely welcoming and friendly. They didn’t just shuffle people through the stereotypical cattle call; they actually took the time to see how I responded to direction, even going so far as to provide me with the opportunity to experiment with stretching my range on one of my selected pieces. They even listened to my story about how God had led me to Regent. I don’t know if I’ve ever had a better experience during an audition!” -Zachary L. Bortot, 1st year MFA student

“What I loved about my audition was that the door opened right before I knocked because Eric was expecting me! It was probably one of the most comfortable audition experiences because I didn't feel like I was being put under a microscope; instead it was one person genuinely getting to know me through my creative talents.” -Anna Koehler, 3rd year MFA student

“I auditioned for Regent in Chicago last year, and what was scheduled to have been a twenty-minute appointment morphed into an hour-and-fifteen-minutes, as Eric graciously talked with me through his own scheduled lunch hour. My first surprise came when he actually took time to work my audition piece, not once but two or three times, to document not only my current capabilities but my ability to take direction. Our conversation remained customized to my personal goals and ambitions as an older, non-traditional student, and Eric answered my many questions and concerns with care, understanding, and an obviously thorough regard for what Regent would and would not offer me personally.” -Mike Salsbury, 1st year MFA student

“I can tell you that the reason I chose Regent was in large part because of my audition experience. I auditioned for a number of MFA programs, but in the Regent audition I met someone unique: a faculty member who took an honest interest in me and my ambitions. It was that genuine kindness and connection that got me thinking about Regent, and its that same spirit that has made my years here extraordinary.” –Ryan Clemens, 3rd year MFA student

“Right from the start I knew that auditioning for Regent University was different than any other institution. The process was comfortable, I felt like they truly cared about my audition, and Prof. Harrell seemed so incredibly passionate about Regent's unique mission that it instantly made me want to be a part of it. Once I was accepted I have never looked back. Regent University's MFA program is incredibly well-rounded and challenges you to live up to your highest potential as a theatre artist. The professors here truly care about each individual from the moment they audition to far beyond graduation.” –Britain Willcock, 1st year MFA student

Current Student Performing at Little Theatre of Norfolk

Join us in congratulating Senior BA: Theatre Arts student Courtney Coffey on her role of Libby in Neil Simon’s I Ought to Be in Pictures at the Little Theatre of Norfolk. The show opened January 8th and runs through the 24th. Already Courtney has recieved great reviews! Click here to read what one reviewer says about her performance. Then Click here for more information or to buy tickets. Break a leg, Courtney!

Some Alumni News!

MFA Acting alum Michael Woods has been working as an actor in Chicago since he graduated in 2008, and we've featured his recent accomplishments in our blog before. Click here to read the Daily Herald article about Ray Cooney's Out of Order, the production he is in currently, and see a picture of Michael in rehearsals. Out of Order opens this Thursday, Jan. 14 at the Metropolis Performing Arts Centre in Arlington Heights.

Reflections from the Cast of "As You Like It"

Read below for some insight into a few of the actor's experiences performing in Regent's recent production of As You Like It!

“As You Like It was just that for me—as I liked it! The play takes place in the magical forest of Arden, a land of fun for actors and audience alike. I thoroughly enjoyed every minute of my thesis process. As an actor, any time you get a chance to work on Shakespeare, it is an honor and a challenge. You have to be true to the language, all the while telling the story to an audience that is not used to the heightened language. The world that Scott Hayes, our director, created proved to be a great vehicle to deliver this classic play to our audience. The set was a theatrical playground that we all could explore and create. Text messaging, ipods, and live camera work served as tools to tell the story. Being in As You Like it, being blest with the chance to speak this amazing language night in and night out, has been the highlight of my three years at Regent. To use the skills that I have acquired in my tenure here and to be able work with such a great cast has been an amazing experience.” –Rob Arbaugh, Orlando (3rd year MFA, thesis role)

“It was fun to be a part of such a technologically innovative production. For me, the process proved educational in regard to activating the potentially archaic text of Shakespeare, as well as exploring humor through action. Scott helped me explore positive choices for a character who could have potentially been frustrated throughout most of the show. The end result helped me actively pursue my scene objectives, and also, I think, proved more interesting to watch.” –Hannah Hughes, Celia (2nd year MFA student)

“My role as the fool, Touchstone, was a gift. Not only did I get crazy pants and the rich Shakespearian language to play with, but I also was allowed to discover the character's voice and physicality in a broad and zany style. In fact, thinking of how big, broad, and silly I got, I must say that my Touchstone went far further than I'd ever imagined he might when I first began researching the script and studying other performances. Yet, I feel that I found success - and a lot of joy, too - working in the boisterous freedom and expansive expression that Shakespeare affords.” -Ryan Clemens, Touchstone (3rd year MFA student)

“There are so many things that I was excited and initially nervous to approach once I found out that I was playing Rosalind. The first was the language- how to make it my own, honor it without being intimidated by it, and to see it as a gateway, not a stumbling block. Also, the physical and emotional exploration of Ganymede- Rosalind disguised as a boy- while still maintaining the awareness of Rosalind, was another aspect of the show that I started early on, walking around everywhere dressed and moving with that physicality, so that once I walked on stage I could, as Rosalind, believe it, and make Orlando believe it too. It was such a wonderful experience to be a part of, from concept to conclusion, and for my first Shakespeare show- it definitely allowed me to see that God does perform miracles in each of us- as well as hungering to perform more of the Bard of England!” -Stephanie Chandler, Rosalind (3rd year MFA student, thesis role)

Technology Meets Shakespeare in As You Like It

By Sarah H. Dolan
November 19, 2009

The oft-quoted phrase, "all the world's a stage," takes on new meaning in the Regent University Theatre Department production of Shakespeare's As You Like It, an interactive production experience through the use of 21st-century technology.

"The play is about transformation," explained Director Scott Hayes, professor in the School of Communication & the Arts. "Characters are forced to change their environments, put on false identities, and their ideas are transformed into noble actions. I hope our 'transforming' of the play into a contemporary setting makes clear the timeless nature of our message."

Helping carry the message are singers who interact with musical interludes from Guitar Hero and Windows Media Player (WMP) soundtracks. Blackberry messages are projected on the big screen for the audience to see. Actors are outfitted in modern-day apparel, such as camouflage, worldwide wrestling uniforms and looks that emulate i-Pod character icons. And most importantly, about 90 text messages are sent throughout each performance to audience members' (silent) cell phones.

Hayes was inspired to add these and other modern, interactive elements to Regent's production when listening to a radio station describing a church that text-messaged the congregation during the sermon. The texts were released at specified times, citing verse references, web-links and other related content.

"I saw the worth of this approach, particularly when producing a play that uses advanced vocabulary or that takes place in an unfamiliar time or location," Hayes said.

As You Like It sticks to Shakespeare's original dialogue to tell the story of court exiles and forest natives searching for love and meaning in the forest of Arden. And Regent's audience set-up is designed for members to receive a mixed message, Elizabethan-style. This means that the audience is split into two classes: "wired" (informed), members who receive text messages in the balcony, and "unwired"(uninformed), members who sit in the orchestra seating. The wired section receives text messages that act as footnotes to the script, including biblical, Greek and Roman references. The texts also identify allusions to celebrity and nobility as well as disguised insults and humor.

As a result, at times laughter can be heard throughout one section, while the other just doesn't quite get it, which is meant to work toward adding depth to the comedy. Other modern-day elements include a comprehensive use of technology, such as projected live video and Twitter.

In the end, the elaborate use of visuals and technology add to the humor of the well-loved comedy, which is punctuated by what Hayes describes as some of Shakespeare's "wittiest characters" of all time. Two MFA in Acting students perform their thesis roles in the production, Stephanie Chandler (Rosalind) and Robert Arbaugh (Orlando).

Regent's production of As You Like It has caught the attention of the Southeastern Theatre Conference, the largest and most active regional theatre organization in the country, which plans to follow up with Hayes on the results of the show later this spring.

For more information, visit www.regent.edu/theatre.

PR/NEWS CONTACT: Judy Baker, Public Relations 757.352.4307, judibak@regent.edu

Facebook Fan page and Tweets for As You Like It!

Become a fan of Regent Theatre on facebook! Search pages for ‘Regent University Theatre.’

The theatre twitter feed (https://owa.regent.edu/owa/redir.aspx?C=85243e66dbbb41daa1e78d0896dac0f5&URL=http%3a%2f%2ftwitter.com%2fregent_theatre) is being copied to the fan page, so you can access the As You Like It tweets from there as well!

Tickets are going fast! Make sure you don't miss this production of Shakespeare's popular romantic comedy!

Shakespeare's As You Like It gets a technological makeover!

As you may have already heard, Regent Theatre is taking our upcoming production of Shakespeare's As You Like It into today's technology-saturated world. In fact, in our production, the audience members can follow along on their cell phone or laptop computer to get extra insight into what is happening during this popular Shakespearian romantic comedy. Check out these sites for more info or to follow along!
http://ayliregent.ning.com/ http://twitter.com/ayliregent

Here are Director Scott Hayes' Notes on the concept of the production and where it came from--Enjoy, and see you at the theatre!

"I love almost all things Shakespeare. I’ve been blessed to have been intimately attached to the productions of 25 of the 37 plays attributed to the Bard. I never tire of the immediate and vibrant effect Shakespeare’s words have on our contemporary audience when the words seem newly-coined by actors who embrace the process.

At the same time, I’m not particularly pleased when directors create “concept” productions with little regard to the playwright’s original intent. To thwart such work, we teach directing students the importance of analysis. From a director’s point of view, practical analysis is basically the process through which the director will uncover the meaning of the play while keeping in mind the original facts behind the creation of the play. Only after a director analyzes a play should he or she decide whether interpretation is necessary – and only if the audience watching the contemporary production is in some way fundamentally different from the original.

Our audience has much in common with the Elizabethans , yet in the last three decades we have moved farther apart than in the previous 350 years. New media have opened up massive avenues for information, allowing unfiltered access to the best and the worst of culture and scholarship. Our access devices continue to proliferate and each of us are in some way tied – perhaps kicking and screaming - to the infrastructure of the virtual world. Truth be told, our mature audience has more in common with the Elizabethans than our student population. Today’s undergraduate student doesn’t know a world without the personal computer, and the high school student has always known the Internet and cell phone. “Information access” has become the most influential paradigm of our culture. I believe the ready and unrestrained access to information fundamentally separates us from our sixteenth century ancestors.

I accepted the responsibility of directing As You Like It just before last Easter. A day or so later, I was listening to a radio station describing a large church that had decided to change cell phone policies. Instead of silencing the phones, the church incorporated the use of text messaging during the message. The church would send messages regarding verse references, web links, and related content at specified times. I immediately thought of the effect of this approach for the theatre – particularly when producing a play that may use an advanced vocabulary, be of an unusual genre, or may take place in an unfamiliar time or location. A theatre production, using text messages, could send “footnotes” directly to the viewer in real time. We saw the appeal for our younger audience, but were concerned for the audience who might not want or need the text message “footnote” – wouldn’t they be bothered by the intrusion?

A student director and I came up with the idea of separating our audience into the “wired” section – the balcony – and the “unwired” section – the orchestra - and that’s when the “interpretation” of As You Like It came to me. In essence, we would be recreating the world of the Elizabethan audience that was split into two classes. The “informed” Elizabethan audience for As You Like It would sit in the galleys (balconies) and understand all of the Biblical, Greek, and Roman references, identify the allusions to celebrities and nobility, laugh at the disguised insults meant for the French – yet the “uninformed” audience standing in the “pit” (the orchestra) could enjoy the story of the play without any of this information. We decided to take the concept of wired/unwired/informed/uniformed into the production design, borrowing concepts from the Elizabethan theatre and incorporating contemporary elements. Like the Globe, Swan, or Rose theatres, we use a two-level stage with few scenic elements delineating changes of location, and we set the play in the contemporary world, as Shakespeare did. We haven’t changed Elizabethan verse, language, or structure, but we incorporate today’s music, video, Twitter, and other 21st century communication tools. All plot elements remain unchanged, yet fit perfectly in our contemporary setting – commercial wrestling, political regimes being overthrown, etc. In addition, there are a series of hidden comments within the production design that may be lost to anyone over the age of 25. It is exciting to think a seasoned theatre-goer may have to ask a younger audience member to help explain these elements – for example, the melody’s significance when Amiens serenades Jacques!

Our interpretation and use of technology has been embraced by both the academic and professional theatre community. Our production concept has been selected for presentation at Southeastern Theatre Conference (SETC), the largest academic theatre gathering in the United States. Two months ago, well into our production implementation, I was interested to hear of similar elements being incorporated at Virginia Stage Company’s production of Romeo and Juliet. For the record – neither production knew of the plans of the other, and the use of technology is quite different. Romeo and Juliet used more 21st century storytelling elements (webcams, Facebook updates, etc.) and we use our 21st century elements primarily to interact with our audience, and I hope some members of our audience were able to see both productions.

My prayer with this production is no different from any other director. I pray our interpretation allows you to experience Shakespeare as if for the first time, enhancing without distracting from your experience. For some of our audience, this may in fact be the first time you’ve attended a play by William Shakespeare – and it is a deep honor and privilege to share what I love with you. May this be the beginning of a life-long relationship!"

Reflections from the Cast of "Dancing at Lughnasa"

“Brian Friel’s work is so captivating in that it has multiple themes going on—religion vs. paganism, memory and identity, use of language, etc—and not exactly any clear-cut answers. This role was a challenging one for me, and I learned so much about my technique by playing a character with so much more life experience than I have. With Marianne’s awesome, freedom-giving guidance, by the end of the process, I had found such deep, personal connection with aspects of Kate that it was both extremely fun and extremely difficult to go onstage every night opening myself up to the emotional rollercoaster it would end up being and letting things hit those raw nerves. One night before the show, I remember the thought kept popping into my brain: ‘I get to help tell this story. I get to help tell this story.” It wasn’t about me, it wasn’t about my performance, my work, technique, etc. etc. It was about the story. This work is admittedly Friel’s most autobiographical, and I felt honored to portray one of ‘those five brave Glenties women’ who were Friel’s aunts and pay tribute to their lives.” –Katie Fridsma, 3rd year MFA student (Kate Mundy, thesis role).

“It was an honor to be involved in such a fantastic show and I feel so blessed to have started my work here at Regent with this show. I had worked with Marianne previously during my undergrad at Vanguard University and it was so wonderful to get a chance to work with her again. She really stretched my understanding of the role beyond just playing the part of narrator. Michael was just as much a character in this show, being changed and molded throughout, as any of the others. Exploring Michael's emotions during the show really only whetted my appetite as I feel I could have gone so much further it had the run had been longer. I'm so glad I got to see every second of this show over and over again. I learned so much watching the four thesis actors and I can't wait to do a role where I get to talk face to face with someone!” –Jeff Fazakerley, 1st year MFA student (Michael)

“There are fun moments in theatre, some great moments, as well as some inspiring ones. Lughnasa for me, was a fiery exaltation of everything that I have ever hoped to be as an actor; sharing moments of pain and joy onstage. Every night, exhausted beyond reason, I thanked God for His connection between my talents as an actor to offer up Maggie's story to the Regent community at large. I couldn't ask for anything more than playing Maggie Mundy. I will truly miss her and my Mundy sisters. ‘Yeawww!’” –Anna Koehler, 3rd year MFA student (Maggie, thesis role).

“From the moment I auditioned, I fell in love with both Jack’s initial vulnerability and his tenacious grace. Indeed, Marianne Savell, our director, encouraged me immensely when she suddenly exclaimed during our initial one-on-one meeting, ‘I mean, you really are Father Jack!' My reflection would be incomplete without a comment on the privilege it was to play opposite the rest of a very talented cast. Having worked professionally for many years prior to coming here, I am pleased to proclaim that my fellow MFA castmates are all ready to compete at the professional level, regardless of where they are in the program. I am especially excited to watch the 'thesis role' girls take the plunge upon graduation this summer and know that God has good in store for each of them. To all who danced along with us… words are no longer necessary.” –Mike Salsbury, 1st year MFA student (Father Jack)

“Being my first show at Regent, Lughnasa was a challenge as well as a rewarding experience. One of the ways it was challenging was having to speak in a British dialect when all the other characters spoke with an Irish dialect. It was incredibly hard to speak in an accent different from all the other cast members. I listened to people speaking the dialect nonstop, watched Mary Poppins with my children and An Ideal Husband and The Importance of Being Earnest with my wife. Finally, even though my girls (Mia and Bella, twins age 3) looked at me funny, I spoke in the dialect almost all the time at home. One of the ways Lughnasa was a rewarding experience was that I had the privilege to play opposite Katie Cheely, who played Chrissie—Gerry's love interest. Katie was spontaneous, flexible, and downright fun onstage. Through being onstage with Katie, I learned by her example how to truly listen to the other person in the scene and respond accordingly through the text. With its challenges and rewards, I was honored to be a part of the cast of Dancing at Lughnasa and thoroughly enjoyed the direction of Marianne Savell.” –Nathanael Fisher, 1st year MFA student (Gerry Evans)