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R & J & Z

By Contributing Writer on June 14, 2018

Performed: Spring 2018
Written by: Melody Bates
Director: April Sweeney

“I dreamt my lady came and found me dead.” It is not the obsession with the dead and thus (un)dead that Melody Bates asks of us in her comedy R & J& Z, but I find it is the obsession with the dream, the moment of transition between two worlds. This new play before us erupts out of Shakespeare’s tumultuous, violent love story and brings forth a world with the logic and physics of the dream. A dream where the familiar blows into the absurd and the nightmare, for all too understood reasons, is reality. What choices are we bound to make? Are we bound by our choices? What holds us in place? Can we escape our bonds? Are we bound to have them follow and consume our world and one another? Might we prove a path that breaks from form to reveal a light, a great lantern, a shiny place of our own making with harmony and beauty? Using Shakespeare’s Romeo and Juliet as a springboard Bates tackles the high and low, brings our collective drive for shock and feeling much closer for us to see because these days what is on our screens in front of us is all we know.

Directed by April Sweeney; scenic design by Miranda K. Hardy; lighting design by Cha See; sound and video design by Eric Magnus; fights by Dan Renkin; special effects by Stephanie Cox-Williams; stagemanaged by Haoqi Xi; and technical direction by Joel Morain.

RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ
RJZ RJZ

Photos by Mark DiOrio

 


ARCH: A Dance Concert

By Contributing Writer on June 7, 2018

Performed: Spring 2018
Director: Casey Avaunt

ARCH: A Dance Concert showcased original works by contemporary dance students at Colgate. These experimental pieces integrated a variety of styles including hip hop, ballet, and classical Chinese dance. Additionally, the concert featured choreography by Colgate faculty and internationally recognized guest choreographers.

Hyoin Jun premiered his trio, Personal Stories, created by developing gestural movements based on the dancers’ personal stories. Jun is a co-artistic director of Goblin Party, a dance company based in Korea, and winner of the Gold Medal at the Berlin International Dance Competition in Germany (2010).

The final work, Journey Passage, was choreographed by Lai Tsui-shuang, an artist based in Germany and Taiwan. Lai formerly danced with the Wuppertal Tanztheater (Pina Bausch) and now directs her company Lais Creative Dance Theater. In this rigorous new work, Lai considered notions of geographical travel and life transitions.

Arch concert dancer Arch concert dancer
Arch concert dancers Arch concert dancers
Arch concert dancer Arch concert dancer
Arch concert dancers Arch concert dancers
Arch concert dancer Arch concert dancer
Arch concert dancers standing Arch concert dancers standing
Arch concert dancer Arch concert dancer
Arch concert dancers Arch concert dancers
Arch concert dancers in pink light Arch concert dancers in pink light
Arch concert dancers Arch concert dancers
Arch concert dancer in front of white background Arch concert dancer in front of white background

Smokefall

By Contributing Writer on April 14, 2018

Students onstage in red suits

Production: Smokefall (a play by Noah Haidle)

Directed by: Amanda Kummeth (’18) and Nate Parkman (’21).

Photos taken by: Nam Nguyen Vu (‘18)

Magical realism collides with manic vaudeville in a family drama unlike any you’ve ever seen. Whipping from astonishing tenderness to profound humor and back again, Smokefall explores the lives of a family in a lyrical treatise on the fragility of life and the power of love.

Dates: March 29, 30, & 31, 2018


Reflections on Rhinoceros

By Contributing Writer on March 9, 2018

Being a part of the Rhinoceros crew was a very unique experience for me. It definitely taught me a thing or two about patience and diplomacy – some of the most trying experiences of my life have taken place in Brehmer. I can never stop being grateful to Simona (the director) for taking on the challenge of having a complete novice be her stage manager, especially for a difficult play like Rhinoceros.

I can only put it down as serendipity that I happened to get involved in a production that comments on a cause so close to my heart. I very firmly believe in the butterfly effect, and so even if this play has made one or two people think about the growing culture of apathy and ignorance that we have surrounded ourselves with, I consider the two months of hard work justified. Rhinoceros taught me what true passion means, and being a part of this production made me appreciate just how complex and intricately woven the process of creating a theater performance really is. It was only the hard work of the actors and the director that prompted me to give it all I had to offer.

Rhinoceros taught me some invaluable lessons, from learning how to balance being a full-time student and an active member of the Colgate community along with spending a minimum of four hours everyday in rehearsal, to learning how to maneuver out of tense situations. I loved the weeks leading up to the opening night, for although tempers were running high and everything seemed to be falling apart, that was actually the time when everything came together and the cast almost became kin. The feeling of accomplishment we felt when people commended the work is indescribable, I can only say that very few things in life would elicit the passion and love that theater does from people.

-Rupika Chakraverti ’20


Professor DuComb to present at American Theatre and Drama Society event

By Contributing Writer on March 1, 2018

On *Thursday, 22 March, 2018 at 6:00 p.m.,* the American Theatre and Drama Society will be hold their annual celebration of recent publications in the field of American Theatre and Performance at the Drama Bookshop, 250 W 40th St #1, New York, NY 10018

As part of this event, Christian DuComb, assistant professor of theatre at Colgate, will read from and sign copies of his book, Haunted City: Three Centuries of Racial Impersonation in Philadelphia, which was published last year by the University of Michigan Press. For more details, including a list of all the authors reading at the event, please
visit http://www.dramabookshop.com/event/american-theatre-and-drama-society-brilliance-american-theatre.


The 25th Annual Putnam County Spelling Bee

By Contributing Writer on December 14, 2017
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee
Spelling Bee Spelling Bee

The tale of several socially awkward young people finding joy, heartache and a purpose in competing at the regional spelling bee features a score by William Finn and a book by Rachel Sheinkin.

Performed: Fall 2017
Director: Simona Giurgea


Syracuse and Colgate Universities Stage Medieval Christmas Pageant

By Contributing Writer on December 1, 2017

Katherine McGerr – Syracuse Drama Department / 310.443.3180 / kemcgerr@syr.edu

Christian DuComb – Colgate Theater Department / 315.228.7993 / cducomb@colgate.edu

HAMILTON, NY – On Saturday, December 2, students from the Syracuse University Department of Drama will perform the medieval Second Shepherds’ Play in the Hall of Presidents, on the second floor of Colgate’s Student Union.  The play dramatizes the angels’ message to the shepherds on Christmas Eve, but it’s hardly a simple announcement.  The author uses humor to speak to key issues of community — unrest, fragmentation, thievery, charity, and reconciliation — that are as relevant today as they were in the fifteenth century.  With music, puppetry, and a fresh, modern-language translation, this performance will get the whole family into the holiday spirit.

For those with a scholarly bent, the show will be followed by an afternoon symposium with faculty and students from Syracuse, Colgate, Cornell, the University of Rochester, and farther afield to discuss the Second Shepherds’ Play.  According to Lynn Staley, Professor of English at Colgate, “this is a symposium where anyone can offer ideas, where we can talk about the issues raised by the performance.”  The performance and symposium are co-sponsored by the Colgate Arts Council and the Central New York Humanities Corridor, with the goal of engaging scholars and the general public in meaningful dialogue about the arts and humanities.

There will be two additional performance of the Second Shepherds’ Play on Tuesday, December 5, in the Loft Theater at Syracuse Stage.  Katherine McGerr of Syracuse University directs the show, with music direction by Hannah Shaffer and puppet design my Carmen Maria Martinez.  The text is based on an adaptation of the Second Shepherds Play by Lister M. Matheson, William G. Marx, and Robert L. Kinnunen.

 

Fact sheet for The Second Shepherds’ Play

December 2, 10:30 a.m., Hall of Presidents, Colgate University, Hamilton, NY.

Immediately followed by lunch and symposium.

December 5, 7:00 and 9:00 p.m., The Loft Theater, Syracuse Stage, 820 East Genesee Street, Syracuse, NY.

 

CREDITS

Directed by Katherine McGerr

Music Direction by Hannah Shaffer

Puppet Design by Carmen Maria Martinez

Featuring the work of students from the Syracuse University Department of Drama

 

CALENDAR LISTING

Get into the holiday spirit with a performance of the medieval Second Shepherds’ Play, a funny (and surprisingly timely) dramatization of the angels’ message to the shepherds on Christmas Eve.

 

To request photos, interviews, and more information, please contact Katherine McGerr, kemcgerr@syr.edu.


Professor Christian DuComb shines light on history of blackface in Philadelphia

By Jason Kammerdiener on August 14, 2017

Professor Christian DuComb speaks with Philly.com about the long, shameful history of blackface in Philadelphia.


Pig Iron Theater Company, Artists in Residence

By Jackie Old Coyote-Logan on March 10, 2017

The Department of Theater hosted the Pig Iron Theater Company as Artists in Residence at Colgate from February 20-26, 2017. Founded in 1995 and based in Philadelphia, PA, they are dedicated to the creation of new and exuberant works that defy easy categorization. Why? Well, first off, they are masters in “devised performance.” Secondly, they are Masters. If you missed them you must seek them out elsewhere!

Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students. Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students.
Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students. Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students.
Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students. Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students.
Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students. Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students.
Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students. Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students.
Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students. Members of the Pig Iron Theater Company sit on the edge of the stage in Brehmer Theater and address questions from students.

Devised performance has foundations associated with Lecoq pedagogy, and includes channels of explorations in movement, improvisation, and ensemble creations. Devised performance advocates creativity as dialogue rather than monologue; actors and directors work together in an improvisational setting to create characters and plays wholly “owned” by the ensemble.

Following their Saturday afternoon performance they had a round table discussion with those interested. The following is transcribed from their engagement:

Participant: “Given your understanding from your journeys and your discoveries, why is Theater important for a student’s life, whether they are in an audience, engaged in theater, or for their life and professional skills?”

Response by Pig Iron: “One important aspect about Theater is the sense of ensemble it creates and that every person in the room is of great value. A lot of the time spent in both rehearsing the show every night along with singing together or stretching together or running around the room together and visualizing the room as a group of people serving something bigger than us rather than a bunch of individuals each playing their part.

“To further that statement, I think something that is important for young people that can be difficult, and is maybe something that I may have noticed in our audience members, is a guardedness and unwillingness to be vulnerable and I think that in an ensemble and especially Theater, it is important to be vulnerable. There is a fair amount of failure but there is also an equal amount of lifting back up again which is such an important aspect of Theater to reveal yourself to all of the beauty that comes with that opening.”

Professor Adrian Giurgea: “Theater is really a group exercise and that it’s about a complex identity and Theater selects people who cannot be alone.”

Response by Pig Iron: “I think the thing that has been really exciting for me has been to add the craft of performance, to the process of writing and process of making things. I wanted to be a writer when I was in my young twenties, I thought I was going to write, you know, stories and novels, and I was terrible at it. And it was for this reason that I hated the solitary practice of sitting down but I really loved playing with words and I love crafting things and just being alone and not being with people giving me, you know, information and things to play with. So, I would say the process of figuring out how to write and then trying to decide what is important to say and what is relevant has been the great ongoing question every time you go to make a piece. Every time Pig Iron makes a piece they ask big questions and the piece comes out of those questions, the DNA of the piece rests in like: “Well for this, we have to do this, we have to, you know, have this kind of style, this kind of vocabulary” and so the piece grows from these really hard questions. If you’re making a piece on things you know about or you feel certainty about, then it may not be a good piece. We always start with questions to which we don’t know the answers yet. We are actively working out answers to our own issues and problems through performance and experimentation.

“Through the arts, in a way I feel like we have the possibility to stage an alternative reality and to create work that offers an alternative vision of what things can look and feel like. The look like you can find in film or television, but the feel like is something that I think Theater offers that no other art can. This is because we invite people into a room and we alter the energetic space and that’s something that cannot be translated through those other mediums.”

Professor Adrian Giurgea: “We are resisting the formality that takes over us when we perform.”

Response by Pig Iron: “There are things going on in the world recently and the value of showing up is so clear to me at this moment. You know, I mean, two years ago, a year ago, eight months ago a lot of people with lot of opinions shared in their own houses. Now those people are showing up and being together and making a social agreement to be in a space and time and to do a something is the difference between war and not war, the difference between this President and this President.”

Pig Iron Theater Company 2017 Artists in Residence

  • Melissa Krodman
  • Leonard Luvera
  • Dan Rothenber
  • Matteo Scammell
  • Scott Sheppard
  • Joshua Totora
  • Andalyn Young

Colgate University thanks you for your contributions!

The Pig Iron Theater Company engagement is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Additional support is also provided by the Christian A. Johnson Foundation. Colgate University’s Arts Council, Department of History, Department of Art and Art History, and the Department of Theater also provided generous support.


Rhinoceros

By Contributing Writer on March 5, 2017
Rhinoceros Rhinoceros
Rhinoceros Rhinoceros
Rhinoceros Rhinoceros
Rhinoceros Rhinoceros
Rhinoceros Rhinoceros
Rhinoceros Rhinoceros
Rhinoceros Rhinoceros
Rhinoceros Rhinoceros

Performed: Spring 2017
Written by: Eugene Ionesco
Directed by: Simona Giurgea

Somewhere, not far away, there is a town where regular churchgoers are happy and commerce is fruitful; a place where buildings are white, friends meet on Sundays at outdoor cafés, and ladies might take along their cats when shopping for groceries. Skilled in small talk, the inhabitants weave their lives together in a precise melodic rhythm. They cherish appearance, punctuality, exactitude, good manners and strive to align their communal life with logical thought.

All is well until a rhinoceros, or maybe two, appear in their midst. Regular citizens seduced by the power of brute force, pressured by the energy of the crowds and swept away by the frenzy of mindlessness gradually give in to Rhinoceritis, the strange epidemic that turns man into beast. Only one of them is eventually left to uphold the values of humanity.