The Nineteen Nineties
1993-94
The Crucible directed by Lee Adey opened the season in the Proscenium, followed by a Dario Fo political face entitled We Won’t Pay! We Won’t Pay! Mary Cummins did a lovely job with the fall workshop On the Verge in the Arena.
Winter opened with And a Nightingale Sang directed by the Guthrie’s Sari Ketter, followed by Stephen Kanee’s production of The Two Gentlemen of Verona in the Arena. The Dreams of Clytemnestra was the winter workshop directed by Miriam Monasch in the Experimental.
URepCo began a very active spring quarter. The performance included “A Means of Support: Seven Journal Entries” (Sara Pearson), “Triple Motion”-premiere (Zoe Sealy with Drew Gordon’s music), “Johnny Angel” (Peter Sparling), “Bonds” (Maria Cheng), “An Excerpt from San Andreas” (Donna Uchizono), “Berserks” (Joe Chvala in collaboration with Savage Aural Hotbed). The latter work was chosen to represent the Great Lakes region at NACDF in the Kennedy Center in Washington, DC, as the finale to the gala concert. Faculty member Nels Hennum then directed Loot in the Thrust. The marvelous, eclectic New York director Ping Chong created and directed a work called Persuasion which occupied a great deal of the Proscenium stage with a very large red angled wall. The spring workshop was Hedda Gabler with Raga Skuladottir as Hedda, David Ivers as Tessman, Courtney Peterson as Thea, Lou Markert as Judge Brack, and John Bentley as Eilert Lovborg.
The Showboat moved into the Experimental for the summer, playing Charley’s Aunt in air-conditioned comfort on the “ExperiBoat” while we continued fund-raising for the renovation. Stephen Kanee directed the production and dedicated it “to the memory of an extraordinarily gifted gentleman, teacher, and artist, Professor Robert Moulton…. From 1948 to 1992 he taught virtually every actor who graduated from our program.”
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