The Nineteen Nineties
1991-92
Cabaret began the season, directed by guest Larry Whiteley with choreography by Zoe Sealy. It featured Kaia Monroe as Sally and Michael Matthys as the Emcee. Steve Rohde designed the production as part of his MFA degree. A drama charged with the tension of racial prejudice, Wedding Band directed by guest artist Lou Bellamy played at the same time in the Thrust. Goldoni’s The Fan opened the Experimental workshop season. Kathleen Egan joined the faculty as costume designer for four years; Christine 
Vesper was the Costume Shop Manager for the year.
Guest director Wendy Knox introduced us to the works of Caryl Churchill with a provocative production of Cloud 9 in the Arena. A wonderfully lyrical production of The Cherry Orchard completed the MFA acting rep in the Thrust and Wedekind’s Lulu Plays ran in the Experimental.
Spring began with URepCo, with costumes by Mary Hansmeyer and lighting by Todd Ritter. This year’s concert included “What’s Next”-premiere (Marge Maddux), “Miracle Lanes” (Byron Richard and Erin Thompson who also danced the piece), “Talkin’ is Good for What’s Gotcha (Billy Siegenfeld), “Two Bit Dance” (Maria Cheng), “Hot Dish”-premiere (Marcus Schulkind), and “Marble Halls” (Mark Morris). An ultra-realistic version of When You Comin’ Back, Red Ryder in the Arena, complete with actually cooking breakfast, sent tech staff and audiences to Perkins post 
performance. It featured Dan Illian as Teddy. The Madwoman of Chaillot performed in the Thrust with Suzanne Warmanen as the Countess, directed by Jane Christenson and designed by Sue Brockman (MFAs all). Gülgün Kayim brought The Frida Kahlo Retrospective to the Experimental Theatre on the spring workshop season. This experimental production began rehearsals in winter quarter and evolved a script which PhD student Anne Basting then collated for production. And the Original One-Act Play Festival continued with Andrea Beck’s Self Seers, Miriam Monasch’s Night Shift, and Carl Isaacson’s Rebel Yell.
Angel Street was followed by The Mystery of Irma Vep on the Showboat. Irma Vep was a typical Charles Ludlam script with a gimmick: Drew Kahl and David Cabot played all the roles while the rest of the Street cast assisted as dressers backstage. The Showboat began a series of repairs in 1992 and a fund-raising began to help defray the costs, aptly named S.O.S. (Save Our Showboat). Code officials stepped in and closed the balcony to audiences.
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