Brad Dell: Region 5 Regional Chair and KCACTF Enthusiast.
Dustin Bittel

The Kennedy Center American College Theatre Festival (KCACTF) has begun, but according to Brad Dell, Regional Chair for Region 5, the planning for it began four years ago.
“There’s just no question that it is an avalanche of tasks and responsibilities and I get bored with saying that I’m busy,” Dell said. “I don’t want that to be a reason to not do good work. The struggle is, I wanna have an impact. That is doing really good work and balancing that desire to be a visionary and thinking big picture in having to deal with the small tasks that are required to make something function.”
            Every three years, people are nominated to serve as one of the three chairs, Regional Chair, Design and Technology Chair and National Playwrighting Program Chair. Dell was selected to be the Regional Chair in 2015 after serving as the Regional Vice-Chair.
Outside of being the regional chair, Dell is an associate professor of theatre at Iowa State University, where he teaches three courses a semester and directs one show a semester, usually their big musicals. On top of that, he is also the artistic director of Repertory Theatre Iowa, a semiprofessional company in Des Moines.
As the regional chair, Dell has a lot of responsibilities from working with the executive committee to plan the festival, being the liaison between special guests and the community, and representing Region V at the national festival. 
Since the festival is in Des Moines this year, Dell is also the festival host where he is the primary communicator with all hotels, and performance and production venues. He is also in charge of the festival volunteers and is thrilled about having the conference here.
 “I think Des Moines is going to be a really fantastic place to have a festival,” Dell said. “The city is being incredibly supportive. It’s going to be a walkable festival so there will be no shuttling and I think the venues are going to be really exciting.”
Dell says schools should participate in KCACTF because of the endless opportunities it can present to students and faculty.
“I think that the opportunity that students have to work with one another and network and to learn from professionals is such a phenomenally unique opportunity,” Dell said. “I also think that it’s a tremendous way that we can celebrate theatre community and I think that community and being together and working together and celebrating compassion and sympathy are some of the most important things that theatre can be about.”
KCACTF is a wonderful petri dish of fabulous things, according to Dell.
“The greatest joy of it is, over the last twelve years of my involvement with KCACTF Region V, I have made friendships that last a lifetime,” Dell said. “It’s not only a phenomenal community for the students to get creative but truly most of my best friends in the world I have met and fostered through KCACTF. It’s a wonderful group of artistic collaboration and friendship and that is really a gift to me and I think many others.”

Lost Boys Lost in Translation
By Breana Burggraff
           
            The theater is described as a place for storytelling. With each play comes a plotline brought onstage to be showcased, emphasized, and analyzed. Despite this, some stories are perhaps too challenging to display in theatrical form. North Hennepin Community College Theatre’s Exit 27 seemed to be one of those stories better fitted for the page than the stage.
            The storyline behind Exit 27 is gripping. Set in a deserted area off Exit 27, a group of boys denounced by the Fundamentalist Church of Latter Day Saints fight for survival and a chance to reclaim salvation. Inspired by true events, and peppered with moments of frustration, sickness, and hopelessness, this play had the potential to break my heart.
But it didn’t.
There are many elements within this production that had potential, but they ultimately missed the mark. The set design, created by Soren Olsen, was visually appealing and embodied the harsh reality the characters were to face. The barbed wire, splintered wood, crooked picture frame, and all around decrepit look had the feeling of abandonment. Yet, its practicality proved problematic.
Sightlines for the structure did not seem plausible in a three-quarter audience seating arrangement. The sides were often a disadvantage, considering the actors were either facing the downstage side or were speaking to each other in profile. Many areas were also not well lit and although the paneling of the house-like structure provided an interesting shadowed effect, it often shaded the actors faces, making them difficult to see.
With a script full of words rather than actions (despite the first and last ten minutes), there needed to be more variation and build to make the breaking points seem authentic. Although the actors embodied a great deal of emotionality, speaking was often confined to yelling or normal volume talking. With the constant switch between the two, delivery became monotonous.
Ryker (Brandon Hawfitch) was the character who had the most versatility in delivery. The deliriousness caused by his hand injury and the soft, clearly articulated final monologue provided some contrast to the otherwise repetitive speaking patterns.
While some scenes needed an increase in interest, others needed to be stripped down to gain impact. Some of the play’s most pivotal moments that were not strewn with violence involved recollections of the past. Not only were these monologues important for exposition, but they also gave key insight into the characters’ lives. Shyler’s (Jacob Bencker) story about slaughtering the dogs for a blood sacrifice is horrifically gruesome and largely foreshadowing. It is an important connector between acts one and two, and it is the most powerful defining moment of character for Shyler. Unfortunately, unclear diction and overpowering music did not allow this moment to reach its full effect, rendering the speech and the character meaningless.
Out of all these issues with the production, the one aspect that stands above all was the audience’s inability to empathize with these characters. It is difficult to portray characters that are so far removed from the culture with which the audience accepts as normal. Considering that the people in the seats came to the theater in the first place, it is likely that most, if not all of them, have not been familiarized with the stories of the Lost Boys. Therefore, it is important to call to stage this section of people.
However, the boys’ (aside from Brodie) insistence on their faith, which is the main aspect of the play, was not convincing. Other than in the climax, which was by far the strongest aspect of the performance, there was no conviction. The actors were saying the words, but they were not embodying them.
 Lines that involved their ignorance would not come off as devastating but as humorous, creating a rupture in the play’s overall effect. For example, Ryker’s line about wanting the outsider (Mathilda Elrod) to name their baby because he believed he had impregnated her is a ridiculous statement in a certain context. But when it is given by someone who has been ingrained into a way of thinking that is so disconnected from the way the world actually works, it is meant to be eye-opening. It is meant to stop the heart.
These stories are to be excruciatingly painful to hear, and although the characters claimed to be believers, they were not believable. There is much to discover about these people, much to learn.  But the performance was lackluster. Next time, I may just read the program.
 
 
Written by: Aleks Merilo
 
Directed by: Mike Ricci
 
Cast: Brandon Hawfitch, Nathan Watschke, Jacob Bencker, Caid Goodwin, and Mathilda Elrod
 
Designers/Production Crew:
Set Design, Lighting Design, and Technical Director: Soren Olsen
Costume Design: Laurie Olson Williams
Sound Design: Mike Ricci
Violence Design: Michael Anderson
Stage Manager: Shahd Elkhier

Iago: The Story of Othello
By Dustin Bittel
            Sin. The root of all villainy and no villain in the world of literature is quite as cunning, manipulative and infamous as Iago.  Iago is the primary antagonist in William Shakespeare’s “Othello” and oddly enough he appears to be the central character in the adaptation of the play performed by Iowa Western Community College.
            The play was adapted and directed by Shea Saladee and was an artistic approach to the classic tragedy.
            The set, designed by Brent Froning, was rather bland. It consisted of seven boxes of varying size on top of several platforms to elevate them off the floor. The entire set was painted white and offered little for the audience to look at, leaving much of the work to the actors to keep the audiences attention. The set gave no context of the setting of the play and separated the actors by making it seem like each of the actors where standing on their own pedestals for display. This restricted the actors from interacting with each other and from moving from their spot. This was mostly likely an artistic choice since a set of this caliber leaves nothing to desire for or for the imagination.
            The lighting, designed by both Saladee and Rick Goble, consisted mostly of spots on each of the pedestals to illuminate each actor as they spoke.
Saladee also designed the sound for the show which seemed to be the same music on a loop lightly underscoring the entire play.
            Costumes, designed by Lora Kaup with the help of Kendra Newby, seemed modern and the result of an artistic choice. The four men each wore a black military uniform with a colored handkerchief in their right breast pocket. This would be fine but there were some parts were missing from the uniform. The left sleeve of each of the uniforms was nowhere to be seen but the worst part was the missing chunk of the right-side belly area. It highlighted an area of the body that most people aren’t comfortable with showing, their stomach. The women were more covered then the men which begs the questions. Are the men “exposed” to show they are warriors or are they to designed to jar the audience?
            Before the play begins, the actors came on to stage one-by-one in intervals, took their place on their pedestal and began to strike poses. The movement of the poses and position of the characters are clearly supposed to represent some action or perhaps the “sin” the character is supposed to represent but it was very puzzling and hard to interpret.
            Once the play does begin, the actors recite a chant Greek chorus style, to set up the theme of sin and how each of the seven characters represent one of the Seven Deadly Sins and ask for forgiveness. The chant is once again cited at the end of the play and the Greek chorus elements can be seen throughout the performance as the characters, not engaged in the scene, repeat key words.    
            Iago, portrayed by Jackson Newman, then proceeds to monologue like the villain he is and sets up the performance. It is with this first monologue, and his many others, that make Iago the central character of the story. He has as a clear motivation, goal and obstacle to overcome. This also causes Iago to fulfill the role of villain again by setting the play in motion. A good story does not happen without conflict and what better way to start conflict then by having a villain pursue some envy filled quest to ruin the honorable and brave Othello. His story and performance stood out the most while the rest left much to be sought for.
            The performance largely consisted of the actors addressing the audience as they delivered their lines without directly interacting with each other. This is clearly another artistic choice but it distracted from the story since the audiences had to look from one actor to the next and resulted in what some people might just call “line-readings” because the actors can only rely on what they hear from the other actors to base how they will reply next instead of getting the full emotion of acting with someone. If the characters had the chance to interact and react off of each other, the performance would have a much more dramatic tone to it that would have improved the entire performance.
            The separation did allow for some cool moments and tricks. One moment is when Desdemona, portrayed by Mati Phelps, is having to change for bed so she removes her petticoat herself while Emelia, portrayed by Kendra Newby, mimes undoing it. There is also a scene where Iago snatches a handkerchief from Emelia but in order to do so he must pull his out of his front pocket, quickly and discreetly as Emelia tosses hers. The fluid motion of these moments made up for the lack of interaction.
            Every production is different depending on the viewer and IWCC’s adaptation of “Othello” is one of those productions that relies on the viewer to decide if the adaptation works for them or not.

Iago: The Story of Othello
By Dustin Bittel
            Sin. The root of all villainy and no villain in the world of literature is quite as cunning, manipulative and infamous as Iago.  Iago is the primary antagonist in William Shakespeare’s “Othello” and oddly enough he appears to be the central character in the adaptation of the play performed by Iowa Western Community College.
            The play was adapted and directed by Shea Saladee and was an artistic approach to the classic tragedy.
            The set, designed by Brent Froning, was rather bland. It consisted of seven boxes of varying size on top of several platforms to elevate them off the floor. The entire set was painted white and offered little for the audience to look at, leaving much of the work to the actors to keep the audiences attention. The set gave no context of the setting of the play and separated the actors by making it seem like each of the actors where standing on their own pedestals for display. This restricted the actors from interacting with each other and from moving from their spot. This was mostly likely an artistic choice since a set of this caliber leaves nothing to desire for or for the imagination.
            The lighting, designed by both Saladee and Rick Goble, consisted mostly of spots on each of the pedestals to illuminate each actor as they spoke.
Saladee also designed the sound for the show which seemed to be the same music on a loop lightly underscoring the entire play.
            Costumes, designed by Lora Kaup with the help of Kendra Newby, seemed modern and the result of an artistic choice. The four men each wore a black military uniform with a colored handkerchief in their right breast pocket. This would be fine but there were some parts were missing from the uniform. The left sleeve of each of the uniforms was nowhere to be seen but the worst part was the missing chunk of the right-side belly area. It highlighted an area of the body that most people aren’t comfortable with showing, their stomach. The women were more covered then the men which begs the questions. Are the men “exposed” to show they are warriors or are they to designed to jar the audience?
            Before the play begins, the actors came on to stage one-by-one in intervals, took their place on their pedestal and began to strike poses. The movement of the poses and position of the characters are clearly supposed to represent some action or perhaps the “sin” the character is supposed to represent but it was very puzzling and hard to interpret.
            Once the play does begin, the actors recite a chant Greek chorus style, to set up the theme of sin and how each of the seven characters represent one of the Seven Deadly Sins and ask for forgiveness. The chant is once again cited at the end of the play and the Greek chorus elements can be seen throughout the performance as the characters, not engaged in the scene, repeat key words.    
            Iago, portrayed by Jackson Newman, then proceeds to monologue like the villain he is and sets up the performance. It is with this first monologue, and his many others, that make Iago the central character of the story. He has as a clear motivation, goal and obstacle to overcome. This also causes Iago to fulfill the role of villain again by setting the play in motion. A good story does not happen without conflict and what better way to start conflict then by having a villain pursue some envy filled quest to ruin the honorable and brave Othello. His story and performance stood out the most while the rest left much to be sought for.
            The performance largely consisted of the actors addressing the audience as they delivered their lines without directly interacting with each other. This is clearly another artistic choice but it distracted from the story since the audiences had to look from one actor to the next and resulted in what some people might just call “line-readings” because the actors can only rely on what they hear from the other actors to base how they will reply next instead of getting the full emotion of acting with someone. If the characters had the chance to interact and react off of each other, the performance would have a much more dramatic tone to it that would have improved the entire performance.
            The separation did allow for some cool moments and tricks. One moment is when Desdemona, portrayed by Mati Phelps, is having to change for bed so she removes her petticoat herself while Emelia, portrayed by Kendra Newby, mimes undoing it. There is also a scene where Iago snatches a handkerchief from Emelia but in order to do so he must pull his out of his front pocket, quickly and discreetly as Emelia tosses hers. The fluid motion of these moments made up for the lack of interaction.
            Every production is different depending on the viewer and IWCC’s adaptation of “Othello” is one of those productions that relies on the viewer to decide if the adaptation works for them or not.

Believe It Or Not: A Review of “Exit 27”
By Allie Kantack
 
Moral standards are like fingerprints; we each have our own set that differ from everyone else’s. Unfortunately, we sometimes let our differences keep us from understanding one another. In their production of “Exit 27,” North Hennepin Community College invites us to step into someone else’s shoes and experience an ethically new point of view.

Although based on true events, “Exit 27” was more than just a retelling. After four boys are banished from a Mormon fundamentalist group, they each rediscover their faith and how far they’ll go to defend it. In turn, the level of realism invited the audience to question their own judgments on what it means to be a good person.

The cast’s performance proved both technically and emotionally effective. Not only did actors exhibit outstanding delivery and movement, but they also developed deep, authentic characters. Actors also demonstrated a seamless execution of stage combat, as violence was accompanied by believable reactions and painful cries. Reaching this level of realism not only empowered the play but also generated an emotional response. 

Even more impressive was the spectacle–particularly its attention to detail. Designer Soren Olsen produced a convincing and ominous set: a rugged shack with crumbling walls and a barbed wire fence. Adding to the realism, the scenery immediately caught the audience’s attention and maintained it.

However, the thrust stage did not serve this design well. Slated pallets obstructed the view for anyone on house left, and a door for some on house right. While the actors played the thrust stage well, the scenery did not. On the other hand, actors made up for poor sightlines with crisp diction and proper volume.

 “Exit 27” illuminated a world that needed light. It humanized a belief that many do not understand and respectfully reminded us that what seems wrong to one person may feel right for another. Ultimately this play challenges us to discern the difference between what we believe and what we’ve been taught to believe.
 
Playwright: Aleks Merilo
Director: Mike Ricci
Cast: Brandon Hawfitch, Nathan Watschke, Jacob Bencker, Caid Goodwin, and Mathilda Elrod.
Design Team: Soren Olsen, Laurie Olson Williams, Mike Ricci, and Michael Anderson.

“Othello” Goes Back to Basics
by Asher Alt
 
DES MOINES, Iowa – Producing a Shakespeare play, and making it appear fresh and subversive, is no easy feat. With “Othello,” Iowa Western Community College overcomes this daunting challenge.
 
The play, adapted by director Shea Saladee, revolves around a devious plan created by Iago, a soldier serving under Othello in the Venetian army. Iago, resentful of Othello’s power and driven by his jealousy of Cassio’s promotion, convinces Othello that his wife, Desdemona, has been unfaithful. As with most of Shakespeare’s tragedies, the characters’ vices lead to several of their deaths.
 
Saladee and set designer Brent Froning, in collaboration with the rest of the artistic team, presented a minimalistic set upon which the story could be told. Actors stood on white boxes at varying heights, and were dressed in edgy, modern black clothes with a few pops of color. Men sported colorful handkerchiefs in their breast pocket, and the women’s dresses were accented with blue, purple and pink. White lights illuminated each actor from above, creating dark shadows around the actors’ facial features. This added to the air of secrecy and darkness that is so central to the play.
 
The movement was heavily stylized throughout the production. As the audience filed into the theater before the play began, the actors came on stage in intervals to pose in different, powerful ways. These poses continue throughout the play when characters are not speaking. When they are, they face the audience, rarely looking at the other actors. This artistic choice puts a heavy emphasis on Shakespeare’s words, which, while appropriate for a production at a theater festival, would probably not be very accessible to just any theatergoer.
 
The actors are like a Greek chorus, saying lines in unison, and moving in sync with one another. Othello reaches his hand out in the air, and Desdemona caresses her face as if her husband’s hand was actually there. They repeat words in the script that relate to the seven deadly sins: lust, jealousy, devil. These words are echoed from Saladee’s added prologue, which warns against sin and asks the audience members to ponder the sins they have committed.
 
As the actors face the audience for the entirety of the play, there is no physical connection and little visual connection shared between characters, and this proves to be the cause of a larger problem.
 
Due to the lack of connection, some of the supporting actors seemed to have trouble reacting off of one another. At times, their portrayals of characters and their acting choices seemed forced, or not truthful. Other times, it sounded as if they were just reciting Shakespeare’s words, rather than owning and understanding them. This would make it hard for an audience member to follow the plot if he was not familiar with the play.
 
However, one performance truly stood out as believable, truthful and engaging. Jackson Newman, who played Iago, had a masterful command of the Bard’s language. He made it easy for the audience to understand and clearly communicated his character’s goals and villainous intentions. The other two leads, Qhayisa Mafilika (Othello) and Mati Phelps (Desdemona), also gave commendable performances. It was unfortunate that the performances of the rest of the cast seemed to overshadow the leads’ brightness.
 
Iowa Western’s production of “Othello” took an innovative yet minimalistic approach to one of Shakespeare’s most famous tragedies, allowing for an emphasis on the playwright’s words rather than on flashy design elements. Yet, the play was brought to life through the actors’ heightened movements and synchronicity. While perhaps not a show for everyone, it would be a spectacle worth seeing for those who appreciate Shakespeare’s legacy.
 
###
 
Cast
Othello: Qhayisa Mafilika; Iago: Jackson Newman; Cassio: Dylan Scott Warrick; Roderigo: Franciso Franco; Desdemona: Mati Phelps; Emelia: Kendra Newby; Bianca: Jamie Herzberg
 
Artistic Staff
Director: Shae Saladee; Assistant Director: Shanlie Phillips; Technical Director: Alex Throop; Producer: Lora Kaup; Lighting Designer: Shae Saladee, Rick Goble; Set Designer: Brent Froning; Sound Designer: Shae Saladee; Production Manager: Jackson Zimmerman; Costume Designer: Lora Kaup; Assistant Costume Designer: Kendra Newby; Master Electrician: Alex Throop; Light Board Operator: Courtney Sidzyik; Sound Board Operator: Alex Throop
 
 
 
 
 

The Lost Boys Found—Hennepin Community College’s Production of  ‘Exit 27’
By Rachel Bland

Audiences everywhere have been taught, “a Mormon just believes.”  But what happens when everything you have been taught to believe turns against you?

Since the year 2000, fourteen hundred boys have been abandoned at exit number 27 along the Arizona-Utah border by the Fundamentalist Church of Jesus Christ of Latter Day Saints.  This polygamist sect believes in the banishment of their male youth for committing minor sins such as kissing a girl or watching television.

Simply known as “the lost boys,” these young men are left to survive in a desert with no one to look after them and no real education to speak of the help them survive.  Angry, confused and questioning a lifetime of teachings, most do not live to tell their own stories.

Aleks Merilo bases his play “Exit 27” on these true life events, focusing on the story of four teenage boys as they strive to become “good again” in the eyes of the church and fight to survive in their new, harsh environment.

In a 2013 interview with Broadway World, Merilo spoke about the reaction that the story triggered.  “Every time I told someone what I’d learned about the FLDS or the Lost Boys, the response would be “That can’t be true,” Merilo said.  “Everything seemed so fascinatingly surreal.”

Having worked with Merilo before, director Mike Ricci knew that “Exit 27” was a piece he eventually wanted to direct.  Through email, Ricci said that it wasn’t until his students at North Hennepin Community College showed him “That many of the troubles in our world stem from differences of religious beliefs and the extremist views of fundamentalists,” that he knew the time was right to direct the play.

Producing a play with the themes presented in “Exit 27” certainly comes with a set of challenges.  Ricci said that it was difficult at times for him and his actors to comprehend “why people are attracted to this lifestyle and belief system.” 

Ricci said that “beyond that was the discovery of the insidious nature of brainwashing and intense indoctrination that goes on in these cult-like religions.”

Actor Brandon Hawfitch, who plays Ryker in the play, stated, “retaining humanity while still remaining intense was a very strange shift that at times felt foreign.” 

But when it comes down to it Ricci admitted, “belief is a powerful motivator moving people to act in ways they might not ordinarily.”

“Ultimately,” Ricci said that “it’s the story of these lost boys who have no home anymore and all they want to do is to go home again.  There is the idea of salvation and redemption—how does one go about achieving that in the face of insurmountable odds and what, ultimately, is the right thing to do when everything you’ve been taught is wrong, but that is all you know.”

“It’s important for people to know about this issue,” said Hawfitch. “As well as the fact that it is a present and real problem right here in America.”

Although many of their stories have died in the desert, Merilo has become their voice for the lost boys of Utah in “Exit 27.”  They will be heard.

Performances
Wednesday January 25th at 3 p.m. and Thursday, January 26 at 10 a.m., 2 p.m. and 5 p.m. at the Civic Center Stoner Theatre.  This is a free-ticketed event for registered festival attendees only.  Tickets can be acquired at the festival eventbrite page.

Starkly Unconventional: IWCC’s “Othello”
By Abigail J. Stoscher
 
            Harsh light struck seven white blocks of differing heights, cutting dark shadows into the white stage floor. An actor in black stood on each white block, frozen in a dynamic pose. Iowa Western’s unconventional production of Shakespeare’s “Othello” was a stark, presentational depiction of the devastation wreaked by jealousy and lies.
            With a technique reminiscent of Michael Chekov’s psychological gestures, the actors’ opening tableaus immediately set up not only the conventions of the show, but also the seven characters’ personalities, clearly portraying each as devious, furious, sensual, or helpless.
            Director Shea Saladee’s adaptation of Shakespeare’s haunting script carves the story down to a single plotline. Iago (Jackson Newman), bitter that his general Othello (Qhayisa Mafilika) has promoted Cassio (Dylan Warrick) instead of him, exacts revenge on his general by corrupting what Othello holds most dear: his loving relationship with his wife Desdemona (Mati Phelps). Through a series of lies, Iago manipulates Othello into suspecting an affair between Cassio and Desdemona, which eventually leads the jealous Othello to strangle his wife.
            Saladee’s adaptation also contained an added prologue made up of lines and phrases from the play that connected each character to one of the Seven Deadly Sins of the Christian Catholic Church, beginning and ending with the phrase, “Forgive us our sins.”
            “Shakespeare gives us a piece of work that is thematically timeless,” Saladee wrote in her director’s note. “I decided to look back to the start of western theatre and explore practices that those before us gave.”
            Although the actors were in stylized modern dress, the production relied upon an eclectic and presentation style that pre-dated Shakespeare by centuries. The most noticeable such element was that the actors fulfilled the role of the Greek chorus by remaining onstage (in tableau) even when not directly acting in the scene.
            The actors often broke out of these tableaus to echo dialogue lines directly to the audience before snapping back into position. For instance, when Iago tried to convince Othello that he was spreading these rumors about Desdemona out of “honest kindness,” the chorus turned to the audience and said, “Honest!” Though slightly overused, this convention had a chilling effect and added to the story’s urgency.
            Each actor remained on their white block the entire show. When characters needed to interact physically with each other, they did so only in off-stage focus; Othello reached his hands towards the audience to choke his wife, and Desdemona, also staring out at the audience, put her hands around her own neck as if trying to pull him away. Far from weakening the intense physical tension in the scene, however, this outward focus deepened it; the audience could simultaneously witness the determined fury on Othello’s face and Desdemona’s helplessness, while almost feeling as if they themselves were being strangled.  
            The most fascinating aspect of this convention was the way it translated to the use of the sole prop: a handkerchief. There was only one handkerchief in the story, but each actor had their own handkerchief that matched the color of their costume. With sleight of hand, the actors, while both facing the audience, looked as if they were snatching the handkerchief from one-another.
            Every so often, however, the characters would switch to onstage focus for a few lines. Although this convention created several beautifully intimate moments, the fact that the audience never knew when to expect these flashes of onstage focus often made the transitions jarring.
            Another aspect that further emphasized Saladee’s concept of timelessness and helped to focus attention on the action of the story was the simplicity of the design elements.
            The starkness of Brent Froning’s set design, for instance, evoked ancient playing spaces and cut the story down to its essentials by creating a space in which the actor was prevalent. Besides the intriguing aesthetic that the different levels of blocks provided, the levels also fulfilled the practical task of making it possible for each actor to be completely seen—a crucial element in such a movement-based show.
            Lora Kaup’s costumes were simple and modern: the men dressed in cut-up uniforms, and the women in dance-like clothing. The half-bare bellies of the three men distracted audience members more than the designer could have wanted, but the crisp, uneven lines of the cut uniforms in contrast with the women’s fluid skirts certainly fit within the harsh and complex world of the play.
            Each of the black outfits were helpfully decorated with a touch of color unique to that character. Iago, for instance, a man tormented by envy, wore a costume tinged with green, and Othello, passionate and wrathful, one with red.
            The makeup design was subtle, yet intriguing. Othello’s eyes were lined with pale color on either side, setting him apart and made his eyes stand out from his dark face, giving him an honest, noble look. Iago’s green eyeshadow again reflected his deceitful, envious personality.
            Since the set was white, Saladee’s and Rick Goble’s lighting design also avoided color, relying instead on the use of varying intensities. Between scenes, the usual sharp white light softened to reflect the actors’ movement as they slid from one pose into another. The lighting also helped to isolate the characters engaged in the scene from the posing chorus members.
            Like all the other design elements, sound was minimal. A foreboding music underscored the play: melancholy strings with a pulsing drumbeat that increased the ever-mounting tension. The music certainly fit the tone of the show, but at times seemed to overpower the action.
            Simplifying these design elements forced the audience to focus on the acting; however, the rather listless portrayal of some of the minor characters caused the energy of the piece to drop. Still, the ensemble as a whole was strong. Their timing with the asides to the audience was impeccable, and each actor’s tableaus were active and intriguing.
            Jackson Newman stole the show as Iago. Even though this adaptation practically skipped his motivation for wanting revenge on Othello, Newman still played the role dynamically and deviously. His cleverness in making Othello drag the lies out of him enlisted the audience’s admiration, despite his horrifying aim. His desperation at the end when his wife Emelia (Kendra Newby) is about to reveal his whole plot was sickeningly pitiful. Newman also seemed the most comfortable with the Shakespearean verse.
            Qhayisa Mafilika as Othello also entreated the audience’s empathy by his simple, honest love for Desdemona, and his initial horror at the thought that she might be cheating on him. Even after he had committed his heinous crime, the audience could not help but hurt with him as he wept over his wife’s cold body.
            Mati Phelps’ Desdemona was certainly, as Emelia describes her, “heavenly true.” Phelps’ depiction of Desdemona’s pain and confusion when Othello accused her of being a whore instantly drew the audience to her side. Her helpless cry to Othello, “What sin have I committed?” encapsulated Desdemona’s heartbroken character.
            Iowa Western’s adaptation of “Othello” was portrayed clearly and honestly, with a stark physicality that augmented the story’s intensity and a nakedness of design that stripped it down to its raw truth: a warning that jealousy and lies can only bring destruction.


“O, beware, my lord, of jealousy”
 by Derek R. Munson
 
Des Moines, IA—Adapting Shakespeare is tricky business. In the wrong hands, adapting Shakespeare’s “Othello” is even trickier. In a new adaptation by director Shea Saladee, the tragedy of the Moor of Venice and his doomed bride, Desdemona, are reimagined with varying degrees of success. This is a high concept “Othello” that strives to bring the green-eyed monster, Iago, front and center—literally. He stands on a box, center stage, for most of the play. Running at a merciful 75 minutes with a cast of seven young actors, this production ultimately collapses under the weight of its own concept and archaic dramaturgy.
 
Shakespeare’s problematic play is an exploration of greed, jealousy, and envy. It is a familiar game of cat and mouse with no clear winners. Ignoring most of the exposition of the original text and cutting all but the main characters, Saladee instead focuses on Iago and his abhorrent treatment of women.  In Othello’s world, a wife is a thing, a strumpet to be used and then eaten.
 
Through fragmentary dialogue and stilted movement, the director weaves together a tapestry of the devil incarnate. Iago will destroy Othello at any costs, with the women paying the highest price. Iago’s wife Emilia kills herself, and Desdemona is murdered in a fit of violent rage, all because of a man’s greed and envy. Iago orchestrates the entire thing for sport.
 
The play begins with the actors standing in tableau on large white boxes of varying sizes. They speak and breath in unison, staring forward, never looking at each other. The tableaus frequently change, suggesting frozen moments in time. This is a highly-stylized pantomime, sustained throughout the play. The impression is like watching 7 life-size music boxes, each with a bizarre looking marionet on top, moving and contorting without ever truly coming to life. At first, the effect is haunting. Later in the play it becomes a trap, a monotonous devise that sinks the production without ever being fully explored.
 
The deconstructed costumes are designed by Lara Kaup and suggest a world of dark science fiction. A strong lighting design by Saladee and Rick Goble add a sense of foreboding to the already heightened abstraction. Ominous music underscores the action, humming and droning with almost no variation in pitch and tempo. All this sameness is, at times, fascinating but ultimately creates the effect of listening to one long sustained musical note.
 
Saladee assimilates into the dialogue the 7 deadly sins: gluttony, sloth, greed, lust, pride, envy, and wrath.  These sins are a touch stone for the characters throughout the play, but because the characters never look at each other or connect emotionally, the text falls flat. To the actors’ credit, all are earnest in their line delivery and do their best to sustain energy and focus throughout the play. Their dedication to the material is unwavering and their commitment to the concept is admirable. 
 
Intentional or not, Saladee’s adaptation is a beacon of caution to women. From Iago stating that his wife is “a good witch” to Othello questioning Desdemona’s unwavering chastity and repeatedly calling her a “whore,” Shakespeare makes it clear that women are nothing more than property.
 
At what point does dramatic literature like “Othello” cease to be part of the canon of great works? When will misogyny as entertainment and the “evil that men do” finally get tossed aside in favor of greater works that heal wounds, rather than re-open them? Perhaps it is time to revisit Shakespeare’s canon with an eye toward critical relevance and social responsibility.
 
“Othello” by William Shakespeare is presented by Iowa Western Community College for the KCACTF Region V competition and plays at the Kum & Go Theatre, 22 SW 9th Street, Des Moines, IA. on January 25th at 10:00 AM, 4:00 PM and 8:00 PM. Tickets may be reserved through Eventbrite on KCACTF.org. Kum & Go Theatre: 515-265-2535.
 
Directed by Shea Saladee; Assistant Director Shanlie Phillips; Technical Director, Alex Throop, Producer, Lara Kaup; Lighting Designer, Shea Saladee/Rick Gable; Set Designer, Brent Froning; Sound Designer, Shea Saladee; Production Manager, Jackson Ximmerman; Costume Designer, Lara Kaup; Assistant Costume Designer, Kendra Newby; Master Electrician, Alex Thorop; Light Board Operator, Courtney Sidzyik; Sound Board Operator, Alex Throop.
 
Cast: Othello, Qhayisa Mafilika; Iago, Jackson Newman; Cassio, Daylan Scott Warrick; Roderigo, Francisco Franco; Desdemona, Mati Phelps; Emelia, Kendra Newby; Bianca, Jamie Herzberg.

“One River” Makes a Splash at Festival 49
By Breana Burggraff
 
Between the borders of Minnesota and Wisconsin, when the air is just warm enough to keep it from freezing, a river courses along a steady path. It trickles throughout the region, passing by the people who give it meaning, swallowing up their stories. This is the St. Louis River, the source of inspiration for the University of Minnesota Duluth’s original production of “One River.”

Adapted from the One River, Many Stories journalism project, “One River” spotlights the relationship between a community and its water source. From the viewpoints of many, including the Ojibwe elder, the blogger, the environmentalist, the bird watcher, and various others, “One River” exudes the idea that personal stories can take public resonance.

After being introduced to the One River, Many Stories initiative in November 2015, playwright and director Tom Isbell hoped to include its dramatization in the university's 2016-2017 main stage season. “I have a long history of creating/acting in documentary theatre, and when I heard about this project - and how it had the potential to involve this entire community - I realized theatre had to be a part of it,” Isbell wrote in a recent email interview.

With the help of personal interviews, website articles, songs, presentations, community events, and blog posts, Isbell references a world drowning in information to resurface the parts of society that are often overlooked or taken for granted. He wrote, “I wanted the play to cover everything from the geology of the St. Louis River to how a poet perceives rivers. I wanted history, I wanted current controversial topics.”
This varied request list is transposed into a work that is as diverse in its content as it is in its form. The innovation of the production crew and cast enables a composite of choreographed movement, monologues, and even a rap number, to be creatively executed within the course of ninety minutes.

These are the stories taken from someone’s backyard. Each ensemble member is internalizing a person in a community with whom they share a common place. There are elements that are richly personalized, but the mere humanity and emotional investments of this community can be relative to a varied audience. “One River” presents not only a river; it presents life.

Isbell said that “One River” is only “a fraction of a fraction of the stories that could be/should be told.” There are tales yet to be discovered, but to find them, there must first be a place to look. “One River” provides a beginning, and all are invited to dip their toes into the experience.
 
Performances: January 26 at 3:00 PM and 8:00 PM and January 27 at 10:00 AM and 2:00 PM at the Kum & Go Theater.
Director/Playwright: Tom Isbell
Cast: Wes Anderson, Alyson Enderle, Ryan Haff, Luke Harger, Phil Hoelscher, Lauren Hugh, Rebekah Meyer, Kayla Peters, Ryan Richardson, Kyliah Thompson, and Erica VonBank
Design Team and Crew:
Scenic Designer: Kia Lor
Costume Designer: Brandin Stagg
Lighting Designer: Mark Harvey
Sound Designer: Ben Harvey
Choreographer: Andy Frye
Music: Andy Kust
 
Stage Manager: Cole Mercier, Q’ori Goerdt
Dramaturg: Jenna Soleo-Shanks
 

Des Moines Arts Critic Guest Mentors ITJA
By Asher Alt
 
DES MOINES, Iowa – Michael Morain, a long-time arts critic for The Des Moines Register, will be the guest mentor at the Institute for Theatre Journalism and Advocacy at the Kennedy Center American College Theatre Festival Region V during the week of January 22.
 
Morain said he is excited for his role at KCACTF and hopes to offer encouragement to the students with whom he works.
 
“If I see promise, I hope I can give [the students] some encouragement to keep exploring their craft,” said Morain.
 
Morain remembers how he first got into arts criticism. After graduating from Graceland University with degrees in international studies and French, Morain went to Minnesota to teach French, while also working as a Domino’s Pizza delivery driver. While out for deliveries, he often took the longest route possible to listen to stories on National Public Radio, which meant he often delivered cold pizzas.
 
“I was the worst delivery driver ever,” he said with a laugh.
 
He was so inspired by the NPR stories that he decided to get a Master’s degree in journalism from Northwestern University. While working in Chicago, he covered everything the Windy City had to offer, including its many theatres, museums and music halls, and found he really loved covering the arts.
 
Morain began his job as Arts Reporter at The Des Moines Register in 2005 and worked there until April 2016, when he left the newspaper to work as the Communications Manager at the Iowa Department of Cultural Affairs, or Iowa Culture. At the Register, he covered events at museums, theaters, concerts and other arts venues. Morain said that this allowed him to get to know people all over the state, which also helps him with his job at Iowa Culture.
 
He also learned a lot about multimedia reporting at the Register. He shot videos on his iPhone, took pictures and wrote blog posts as more of his stories appeared online. This let him reach his readers more effectively; he could actually show what an art exhibit looked like, or what a singer sounded like, instead of simply describing it.
 
According to Morain, there were good things and bad things about being an arts critic. Some of the worst parts about being a critic were writing negative critiques and writing critiques for “B-plus” shows. Morain said it’s much easier to write about shows one loves or hates.
 
“You’ll shrug your shoulders and want to go get a slice of pie, but you have to write about it and think about how you’ll stretch it to five hundred words,” he said.
 
Some of the good things about arts criticism were being able to see a variety of interesting things and meeting a lot of interesting people. Morain even kept a notebook in which he kept all of his ticket stubs – he has hundreds.
 
While Morain loved his job as an arts reporter, he said that his transition from the Register to Iowa Culture was an “easy switch.”
 
“I wouldn’t have left journalism for many things, but what I do now is similar to what I did.”
 
Morain currently manages a four-person communications team at Iowa Culture. The team covers marketing and communication for three divisions: the State Historical Society of Iowa, Iowa Arts Council and Produce Iowa. Morain and his co-workers write press releases, manage social media accounts and design museum exhibits. Morain said that the goal ultimately is to show Iowans what their state has to offer.
 
But now, Morain is taking a quick break from his job so he can participate in KCACTF. As guest mentor for ITJA, he already has some advice for the Institute’s participants.
 
“Be curious. Push beyond your comfort and your understanding zone and ask questions,” said Morain. “It’s very clear, very early that there is always more to learn. There’s another layer, somebody else who knows more than you do, and I think that’s great.”
 
Participants in ITJA will attend all of the productions invited to the festival and write critiques, blog posts, interviews and other pieces. They will also discuss their work and interact with industry professionals in hopes of learning more about arts criticism.
 
For more information about the Institute for Theatre Journalism and Advocacy, please visit kcactf.org.
 
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Editor's note: Each particiant in ITJA was instructed to write a brief bio, a preview of a festival production, a profile of a festival guest or VIP and two performance reviews.  SAU senior Nick Pearce was assigned to write a profile of his mentor Cory Johnson, recipient of the 2017 KCACTF Golden Medallion.

Getting the Gold: Dr. Cory Johnson
Nick Pearce


This year, Dr. Cory Johnson of St. Ambrose University has earned the highest honor theatre educators can receive at the Kennedy Center American College Theatre Festival. During the Festival, a region honors one of their own, an educator who not only proves their excellence in working with the Kennedy Center Festival, but who also rises above the rest in the challenging field of theatre education, with a gold medallion
Like any path to an achievement of this magnitude, it has myriad twists and turns. Also like any path, it holds a journey. Johnson’s career and life has spanned the nation, with work and study across Region V and beyond.

Johnson first began her journey at college in Minnesota. After graduating with a BA from St Catherine’s College in the Twin Cities, her talent led her to complete a professional internship at Minneapolis’ Children’s Theatre Company. Going back to academics, Johnson earned a Master’s Degree from the University of Minnesota, one of the choices that would take her from a life of professional acting to teaching.
Encouraged by this success, she soon found work as an actor at Minnesota’s Paul Bunyan Playhouse, and then an array of playhouses and touring companies based out of Texas, Minnesota, and Iowa.

It’s then that we arrive at the first fork in the road. Johnson was presented with a choice, she could continue a rising career as a touring actor, or could take a sabbatical replacement job at Luther College in Decorah, Iowa.

Johnson, taking a turn in her journey, chose teaching. The friends made and experiences enjoyed had a life-changing effect on her, and after a stint with Second City’s Touring Company, she decided to again to go back to school.

Johnson enrolled in the doctorate program at the University of Oregon. “I had been working as a comedy-improv actor at the Dudley Riggs' theatre in Minneapolis just prior to starting my Ph.D.” Johnson said. With that in mind, she completed a thesis about the importance of improv work in acting training, noting the irony of doing a heavily researched and prepared doctoral thesis over improv work.

In 1989, the newly minted Dr. Johnson fully turned onto the path of academia, by immediately accepting a position as a professor at St. Ambrose University. The Davenport, Iowa institution would remain her post to this day, albeit with the addition of a 13 year tenure as the head of the department. In addition to her teaching schedule, she also helps assign Ambrose’s prestigious Kennedy Scholarship.

Never one to simply work on a single project, Johnson frequently supports the theatrical culture of the Quad Cities’ area. In addition to sitting on the board of the Quad Cities Theatre Workshop, she is the new Associate Artistic Director for the professional summer stock theatre company Mississippi Bend Players.

She currently maintains her professional chops by directing and acting at the local Dinner Playhouse, Circa ’21 Theatre, and the Curtainbox theatre. She also acts and directs professionally in the summer.  Despite all of this, she still remains an educator. When asked about her achievements, she says “My proudest moments are watching my students excel in theatre, and at life!”

This year at KCACTF, Dr. Johnson is running the Society of Directors and Choreographers (SDC) scene competition, and had her fall directing work, “The Tempest”, receive three separate technical Letters of Merit.

The gold medal was presented to Johnson on Wednesday night, January 25th, at 8:30 in the Hoyt Sherman Place. She will be cheered on by students who are glad that their mentor has the recognition that she deserves, on a journey that still isn’t over.

A Story that Moves: A Preview of “Othello”
By Allie Kantack
 
Although he lived more than 400 years ago, playwright William Shakespeare continues to inspire and entertain the audiences of today. Even in their classical language, Shakespeare’s plays exhibit thematically timeless portrayals of humanity. Specifically in “Othello,” seven characters confront everything from love and jealousy to sin and repentance. In their hunt for revenge, they discover their true human nature and the agony of guilt.

From Iowa Western Community College, director Shea Saladee adds a unique twist to her version of “Othello.” With an emphasis on movement, she creates lively images that match the intensity of Shakespeare’s heightened language.
“I am teaching the students the power of their body to speak,” says Saladee. “Even when their voice is silent.”

The idea of elevating movement comes from theatre philosopher Tadashi Suzuki, who has written that “movement is a ‘common grammar,’ which transcends and/or incorporates cultural and linguistic differences.”

In order to emphasize movement, Iowa Western’s production presents a simple, yet stunning spectacle of elevated platforms, striking costumes, and a single property. Yet even with a minimalistic design, the actors fill the stage by engaging their bodies for the entire performance. For cast member Jackson Newman, this was a challenge.
“‘Othello’ forced me to work outside my comfort zone and do well what I couldn’t before,” says Newman. “It became a very transformative experience.”

As the stylized movement accompanies the classical language, Iowa Western Community College presents an intensified version of Shakespeare’s “Othello.” Not only will audience members witness a fresh renewal of a classic, but they will also encounter a truly moving experience.
 

Performances: January 25th at 10am, 1pm, 4pm, and 8pm in the Kum & Go Theater
Director: Shea Saladee
Cast: Qhayisa Mafilika, Jackson Newman, Francisco Franco, Dylan Warrick, Mati Phelps, Kendra Newby, and Jamie Herzberg
Design Team: Alex Throop, Lora Kaup, Shea Saladee, Rick Goble, Brent Froning, and Kendra Newby

Amahl and The Night Visitors: A Lesson for ‘Em All
Nick Pearce
 
Most of us know at least part of the Christmas Story. Mary had a baby, who is visited by three wise men, and the baby in the manger becomes a prophet. But Creighton University’s operatic production of “Amahl and the Night Visitors”, performed Wednesday at the Hoyt Sherman Place, showed a different side of the story.

Amahl is a shepherd boy, who walks with a crutch and will soon be out on the street to beg with his mother, a widow. One night, after Amahl sees a beautiful star in the sky, the three wise men stop by his home. After inviting them in and receiving them, Amahl and his mother learn that miracles do come true. After his faith and kindness are rewarded, Amahl sets out with the wise men to Bethlehem, to meet the baby being born in a manger.

But the lessons taught by this hour long opera aren’t just about Christmas stories and Christianity. Rather, they are about the enduring values of kindness, of charity, of family love, and most importantly, a belief in miracles. The spirit and love shown by titular character Amahl (Played incredibly sweetly by junior Natalie Hanson) for his mother is heart-warming, as well as the community spirit set forth in the folksy number “Dance of the Shepherds”.

The costumes were another bright point in the show. The costumes for most of the ensemble were basic for farmers of the time, but the elaborate garb of the kings was truly great costuming. Creighton’s Lindsay Pape should be complimented on making believable kings that lit up the scene. The character of King Kaspar (played expressively by Nik Whitcomb) was particularly resplendent.

The orchestra, 30 strong and playing behind a transparent screen with the guiding star shining on it, was in peak form. An opera requires consistent and accomplished accompaniment, which conductor Stephen Sheftz provided in spades. The flute and piccolo (Paige Carlow) were particularly strong, opening and closing the show on beautiful notes. The audience walked outside of the theatre afterwards to a blanket of new fallen snow, a perfect finish to a Christmas show.

All in all, the show reminds the viewer of a Christmas Eve pageant, albeit one with superb music and vocals. The story might be different than the one seen at the time of the holidays, but the lessons of love, charity, and miracles are one and the same.
 
 
Performance: Wednesday, January 25th, 2017, at the Hoyt Sherman Place
Director: M. Michele Phillips
Cast: Natalie Hanson, Rachel Schmidt, Nik Whitcomb, Sam McKinney, Danny Carraher, Andreas Guevara, Ensemble
Design Team: Set design by Bill Van Deest, Technical Direction by Mark Krejci, Costume design by Lindsay Pape, Lighting design by Hunter Froelich and Clara Johnson

A Timeless Opera: Creighton University’s “Amahl and the Night Visitors”
By Abigail J. Stoscher
 
It was 1951, and Italian-American composer Gian Carlo Menotti had been commissioned by NBC to write a new opera to be broadcast live on Christmas Day. It was on a dreary afternoon in November, while Menotti was still desperately searching for ideas, that he stumbled upon Hieronymus Bosch’s painting “Adoration of the Kings,” and Menotti’s classic opera “Amahl and the Night Visitors”—the first opera to be composed specifically for American television—sprang into being.

A crippled boy, a determined mother, three kind kings, and a new-born baby under a bright star intertwine to form this timeless story that has captivated audiences for many a Christmas. Pivoting on the themes of family, generosity, and miracles, “Amahl and the Night Visitors” has become one of the most popular American operas, beginning with its annual live broadcast from 1951 to 1962, followed by its filmed version that aired from 1963 to 1965, a myriad of performances through the decades, and finally, this year, to Creighton University’s production.

With a cast of six leads, 25 chorus members, and over 30 orchestra members, director M. Michele Phillips’ version of “Amahl and the Night Visitors” will be a show to remember.

Junior Musical Theatre major Natalie Hanson, who plays the title role (despite Menotti’s original desire that Amahl be played exclusively by a boy), expresses her enthusiasm for this show. “It is exciting to see Creighton try something so different than what we typically perform,” Hanson wrote in a note on the company’s website. “And it has been an incredible learning experience for me and everyone involved.”

The other cast members seem equally excited to have had the opportunity to perform in this play. One of the three kings, Sam McKinney, discovered the timelessness of this one-act opera in a new way when he realized that his father, too, had played the same role as a university student. “It has been another thing that my Dad and I have been able to bond over. I am beyond blessed to be a part of this show!” McKinney wrote.

Menotti’s touching yet fun-filled creation that has delighted its viewers for generations is preparing to once again warm its audience’s hearts and urge them to aspire to honesty, generosity, and love.
 
Performances: Wednesday, January 25th, 2017, at the Hoyt Sherman Place
Director: M. Michele Phillips
Cast: Natalie Hanson, Rachel Schmidt, Nik Whitcomb, Sam McKinney, Danny Carraher, Andreas Guevara, Ensemble
Design Team: Set design by Bill Van Deest, Technical Direction by Mark Krejci, Costume design by Lindsay Pape, Lighting design by Hunter Froelich and Clara Johnson

Piecing Together a Puzzle: A Review of “Good Kids”
By Allie Kantack
 
Sometimes the hardest things to talk about are the things we need to hear. And theatre provides an avenue for these things to be heard. A stunning performance by the University of Missouri triggered a difficult, but necessary conversation. Their production of “Good Kids” prompted the audience to answer the questions that the characters could not. Experiencing this play was not easy, yet piecing together its meaning proved even harder.

Loosely based on the Steubenville rape case, “Good Kids” depicts a group of high school friends torn apart by a sexual assault. While the characters argue about what actually happened, the play ultimately asserts that the incident was, in fact, a rape. The performance left the audience wondering who is to blame and what happens next.

Structurally, “Good Kids” follows the template of a memory play as it alternates between flashbacks and narration. The narrator controlled the scenes by pausing and rewinding the actors, which made the memories chronologically confusing. These fragmented scenes forced the audience to constantly focus in endeavor to comprehend the story. 

Characters were also difficult to understand. In the end, each high schooler became both a victim and a culprit of the play’s inciting incident. Actors demonstrated urgency, but lacked sincerity in their characters’ situations; for example, the three boys who committed the rape did not appear to feel the true weight of the consequences of their actions. For a play that aims to represent humanity, this performance needed more believable and more relatable portrayals of character. 

The spectacle furthered the overarching theme of connecting pieces together. Separated walls functioned as both projection and shadow screens, which also served the play’s theme of cyberspace. Individual images, such as intertwined wires or dandelion seeds, appeared sporadically throughout the performance and later assembled into a final montage. Projections also appeared broken between the gaps in the walls, which further visualized the theme of pieces.

Director Carrie Winship wrote that “this play does not propose solutions” even though audience wanted it to. Instead, it sought to reflect our society and its ever-present sexual violence by leaving the audience with unanswered questions and a sense of guilt. Piecing together this puzzle took time and effort, and its final image exposes a harsh truth about humankind.
 
Playwright: Naomi Iizuka
Director: Carrie Winship
Cast: Bridget Grojean, Asher Alt, Shelby Kay Gronhoff, Serena Stoddard, Sara Nolan, Phajja Redwood, Cassandra Ferrick, Sierra Ashton, Matthew McCombs, Andre Steward, Cody Grasher, and Charlie Durham.
Design Team and Crew: Chris Oliver, David Schneider, Cat Gleason, Melissa Jackson Burns, Rachel Jognson, Xiomara Cornejo, Loren Howard, Kate Busselle, Alison Kertz, Brad M. Carlson, Rebecca Holley, Loren Howard, Amy Taylor, Emanuel Llorente, and Barbara Randazzo.

“Good Kids” Makes a Difference
 
Derek R. Munson
 
Des Moines, IA—Sexual violence is a public health crisis that affects everyone, regardless of age, ethnicity, or gender identity. The Centers for Disease Control and Prevention reports that sexual violence perpetrated by an intimate partner impacts over 35% of women in the United States. The trauma of intimate partner violence is catastrophic to survivors, and many women suffer lifelong mental and physical illnesses in addition to unwanted pregnancies. Sexual violence destroys lives and families, and yet it is often seen as someone else’s problem.
 
In Naomi Iizuka’s “Good Kids,” sexual violence is everyone’s problem.
 
Iizuka is one of the most prolific playwrights working today in America. She is the recipient of a Rockefeller Foundation grant and was recently commissioned by the John F. Kennedy Center to write a new play. She teaches at the University of California, Santa Barbara.
 
“Good Kids” is presented by the University of Missouri’s Department of Theatre at the 49th annual Kennedy Center American College Theatre Festival. Inspired by a true story, the play is about a high school girl who blacks out one night at a party and is gang raped by a group of boys. The effects of the violent attack shatter the young woman’s life and tear apart an entire community.
 
The play was commissioned by the Big Ten Theatre Consortium through an initiative designed to foster female playwrights and create more roles for young women on the stage. On January 23, 2017, “Good Kids” made its KCACTF debut at the Kum & Go Theater in Des Moines, IA under the direction of Carrie Winship, a PhD candidate at the University of Missouri.
 
Winship has long appreciated Iizuka’s socially challenging and complex dramaturgy which include the systemic problems of sexual violence and excessive teenage drinking. “Good Kids” gave Winship the opportunity to bridge scholarship and theory with the challenges of a large-scale collaboration. She immersed herself in research, spending months traveling around the country and attending other college productions of the play.
 
Winship’s first challenge was assembling a creative team and deciding how the production should look. The team settled on a technically integrated, multi-media landscape that would not just lay over the top of the production, but function to fully support and engage with the storytelling. Through the concept of memory, designer Xiomara Cornejo projects the character’s thoughts and emotions onto a stark white set that looks like an artist’s blank canvas. Using highly stylized text, graphic imagery, and color she creates vivid life size, live action video murals.
 
The characters in “Good Kids” all have a different story to tell. On the night of the rape, most of the characters are drinking at a party, including the rape victim, Chloe, played by Cassandra Ferrick. Chloe ultimately blacks out and can’t remember anything about the assault. However, the entire event is caught on video and it soon ends up on social media. Almost instantaneously the video goes viral and the entire school knows what happened to Chloe.
 
The play interrogates the disruptions of memory and truth, who should bear responsibility for the assault, and how social media platforms are used to spread information. The polarizing effects of Chloe’s sexual assault becomes an ugly battle ground of he said/she said. Everything that happens the night of the rape is called into question, including attitudes about binge drinking, sexual expression, and an apathetic rape culture in America.
 
Winship states that “Good Kids” is “poetry in motion” and represents the Everyman (or Everywoman) concept for a twenty-first century audience. One of Iizuka’s greatest gifts as a playwright is that “her plays demand to be opened up by the ensemble.” She believes it is important for the actors to leave the work on the stage at the end of the night and step away from the play.
 
The issues of sexual assault and protecting American citizen from harm cannot be underestimated, not only as seen through the lens of the younger generation but for all Americans who care about the trajectory of the country.
 
The President of the United States is on record as bragging about violence toward women through unwanted sexual groping. On Election Day, almost half of America chose to look the other way and to ignore the president’s shameful statements about women. When half of the country chooses to ignore the glorification of sexual violence toward women, the importance of Naomi Iizuka’s “Good Kids” becomes even more relevant.
 
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“Good Kids” plays at the Kum & Go Theatre, 22 SW 9th Street, Des Moines, IA. on January 23rd at 10:00 PM; January 24th at 10:00 AM & at 1:00 & 4:00 PM. Tickets may be reserved through Eventbrite on KCACTF.org. Kum & Go Theatre: 515-265-2535.
 
“Good Kids,” written by Naomi Iizuka, directed by Carrie Winship; Scenic Designer, Chris Oliver; Lighting Designer, David Schneider, Choreographer, Cat Gleason; Dramaturg, Melissa Jackson Burns; Stage Manager, Rachel Johnson; Projection Designer, Xiomara Cornejo; Costume Designer, Loren Howard; Movement Coordinator/Fight Director, Kate Busselle; Sound Design, Carrie Winship and members of the ensemble. Assistant Stage Manager, Alison Kertz; Production Engineer, Brad M. Carlson, Properties Assistant, Osareti Aghedo; Crew: Benjamin Speed, Luke Schrand, Hannah Aufranc, Jacob smith, Chelsey Harrell, Douglas Anderson.
 
Cast: Amber, Bridget Grojean; Daphne, Asher Alt; Madison, Shelby Kay Gronhoff; Brianna, Serena Stoddard; Kylie, Sara Nolan; Skyler, Phajja Redwood; Chloe, Cassandra Ferrick; Deidre, Sierra Ashton; Ty, Matthew McCombs; Landon, Andre Steward; Tanner, Cody Grasher; Connor, Charlie Durham.  

THE 2017 INSTITUTE OF THEATRE JOURNALISM AND ADVOCACY
Meet the bloggers from KCACTF5 for Festival 49.  These are the writers enrolled in this year’s institute whose previews, profiles and reviews will be shared on the Festival blog...

Asher Alt is a junior at the University of Missouri pursuing a dual degree in strategic communication and theatre performance.  Asher grew up in North Carolina and has always loved writing and being a part of the arts scene.  She started acting in high school and has continued this passion into college, working on tech for some performances and acting in others.  She currently plays Daphne in “Good Kids,” which is being presented at KCACTF 5 Festival 49.  Asher enjoys writing about film and theatre.  She is very excited and grateful for the opportunity to participate in the Institute for Theatre Journalism and Advocacy, where she hopes to learn more about arts criticism and grow as an artist and writer. In her free time, Asher can be found watching sappy rom-­coms and re­-reading “Harry Potter.”

Dustin Bittel is a junior theatre major, journalism minor at Emporia State University. This is his first time participating in the Institute for Theatre Journalism and Advocacy and his second year at KCACTF. Along with participating in the ITJA, Dustin was one of the stage managers for Stage Crew Showdown. For his first year, he was a part of the company of the original ESU production “The Treehouse Effect” which was invited to perform at KCACTF 48. At ESU, Dustin has stage-managed two productions, worked on the set construction crew for “South Pacific,” portrayed Silvius in “As You Like It” and Mark Twain in “Big River.” Along with his responsibilities to the ESU Theatre Department, Dustin is the assignment editor for ESU’s student run newspaper The Bulletin. Dustin enjoys reading, playing video games, writing and watching videos created by the entertainment company Rooster Teeth, the minds behind “Red vs. Blue,” the American anime “RWBY” and the Let’s Play gaming channel on YouTube.

Rachel Bland is a graduate assistant at the University of Central Missouri where she is earning her Masters of Arts in Theatre and a graduate certificate in Women, Gender, and Sexuality Studies. She has her BFA degree in theatre performance from Ouachita Baptist University and has taught high school theatre and AP English for the past five years in central and northwest Arkansas. She has worked as an actor, director, and children's theatre teaching artist. Favorite previous roles include Nora (“Nora”), Stella (“A Streetcar Named Desire”), Lizzie (“The Rainmaker”), Catherine (“The Foreigner”), and Abigail (“The Crucible”). Favorite plays directed include “Harvey,” “Little Women,” and “Do Not Go Gentle.” In her free time Rachel enjoys reading, eating tacos, going to the movies, and hanging out with her husband and their cat, Princess Buttercup. Although Rachel has been to KCACTF before, this is her first time to attend region 5. She is looking forward to learning all she can, seeing all she can, and writing all she can!

Breana Burggraff is a junior at the College of Saint Benedict/St. John’s University, and she is currently working on a double major in theatre and communication. She is a member of both her school's and community’s theatre programs, serving as a student during the academic year and a drama instructor for the Great River Educational Arts Theatre (GREAT) company in the summers. Breana can often be found dabbling in activities such as scene painting, production marketing, and acting. Some of her previous roles include Bacchant (“The Bacchae”), Miss Julie (“Miss Julie”), and Dunyasha (“The Cherry Orchard”). She will also be portraying Sara in Diana Son’s “Stop Kiss” later this spring. When she is not working on productions, Breana enjoys watching the Minnesota Twins, eating potatoes, and writing parodies of “Hamilton” songs. This is her second year attending KCACTF and her first year participating in the Institute for Theatre Advocacy and Journalism. She looks forward to reviewing thought-provoking invited productions and absorbing all Festival 49 offers.

Allie Kantack is a junior studying English Writing at South Dakota State University. Minoring in Theatre, she participates in her university’s theatre department. She holds the position of Publicity Head for State University Theatre and assists with marketing and advertising. Recent credits include performing in “A Christmas Carol” and serving as a dramaturg for “Next Fall.” Besides theatre, Allie tutors students at her university’s writing center and currently works for Oakwood, an annual literary magazine. In her free time, she enjoys figure skating, playing the piano, and wearing Crocs. This year will be Allie’s third year at KCACTF and her first year joining in the Institute for Theatre Journalism and Advocacy. She is thrilled to be returning to the festival and to be participating in new events.

Derek R. Munson is a PhD student at the University of Missouri where he teaches Acting for Non-Majors and Stage Make-up. Munson holds an MA in Theatre from Missouri State University and is a long-time member of Actors Equity. Recent conferences include the Graduate Interdisciplinary Forum at Missouri State University and the American Alliance for Theatre and Education. He has worked extensively in New York City and in regional theatres as a teaching artist and actor, an award-winning director and producer, and arts administrator. National touring credits include Ballet Hispanico of New York, The Acting Company, and TheatreWorks USA with stops at the Kennedy Center in Washington DC and theatres throughout the country. International touring includes the Spoletto Festival in Spoletto, Italy and the Festival de Piaz in Antigua, Guatemala. Mr. Munson has facilitated national dance and theatre residency programs, including the New Orleans Public Schools Arts Revitalization project, sponsored by GE, a community-wide outreach program that served thousands of disadvantaged youth most hard hit by Hurricane Katrina.

Nick Pearce is a senior at St. Ambrose University majoring in theatre with minors in communication studies and public relations. This year at St. Ambrose, Nick has worked on Shakespeare’s “The Tempest”, adapting the script, serving as dramaturg, and also playing Antonio. He also played Mr. Lambchop in the children’s show, “The Musical Adventures of Flat Stanley”. In April, Nick will take to the Ambrose stage for the last time, playing Henry, Duke of Richmond, in “Richard III”. He is also a contributor to the Ambrose Theatre Newsletter. In his free time, Nick enjoys listening to music, composing short stories, using semicolons, and watching basketball. He would like you to note that he was a warriors fan before they were good. This is his second year attending ACTF Region 5, as well as his second in the ITJA category. He can’t wait to jump in again!
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Abigail Joyce (AJ) Stoscher is a senior Theatre major at Northwestern College, Iowa, and has always loved words. At Northwestern, AJ has had the opportunity to develop her skills in acting, directing, designing, and most recently, playwriting. She is beyond thrilled that her full-length play “This Bird Also” will be performed on Northwestern’s main stage later this semester! AJ’s other experience includes being a writing tutor for the past three school years, crafting stories and poems which have been published in the college’s literary magazine, and editing Dr. Robert Hubbard’s soon-to-be-published autobiography “Grace Notes.” AJ is excited to take part in the Institute for Theatre Journalism and hopes that it will give her the chance to further improve both her writing and her ability to thoughtfully evaluate theatre.