2
On-Campus Performances:
(6:00 PM Call - time subject to change)
8:00
PM, Friday & Saturday,
November 11 & 12,
Boll Theatre
1
Off-Campus Performance:
(6:00 PM Call - time subject to change)
7:00 PM, Tuesday, November 29, 10 Wilmington Place
CAST Cast
Phone & Email List | Acting Exercise Reflections
Auditions | Performances | Rehearsal
Schedule | Scores |
Syllabus (htm) or Syllabus (pdf) | Back
to Top
| Roles: (click here for scenes and characters) |
| Chris Albanese:
Don Ramiro (CENERENTOLA), Marco (GONDOLIERS), Valletto (POPPEA) |
| Emily Barrows:
Casilda (GONDOLIERS), Fortuna (POPPEA) |
| Mallory Beck: Giulia (GONDOLIERS) |
| Mike Blocksidge:
Eisenstein (FLEDERMAUS), Luiz (GONDOLIERS), Aerial Spirit (INDIAN
QUEEN) |
| Todd Bodey: Alfred
(FLEDERMAUS), Aerial Spirit (INDIAN QUEEN) |
| Abbey Bonasso: Damigella
(POPPEA) |
| Melissa Durst: Tessa (GONDOLIERS) |
| Beth Habegger: Amor (POPPEA) |
| Theresa Janchar: Gianetta
(GONDOLIERS) |
| Pamela Krueger:
Adele (FLEDERMAUS), Virtu (POPPEA) |
| Shannon LaRue: Frasquita
(CARMEN), Clorinda (CENERENTOLA) |
| Anne Lustig: Mercedes (CARMEN) |
| Lainey Prendeville: Carmen
(CARMEN), Cenerentola (CENERENTOLA) |
| Michele Rickert: Vittoria
(GONDOLIERS) |
| Brandon Ring:
Francesco (GONDOLIERS), Soprano Solos + I attempt from love's sickness
(INDIAN QUEEN) |
| Charles Rittenhouse:
Alidoro (CENERENTOLA), Giorgio (GONDOLIERS) |
| Ben Rivet: Antonio (GONDOLIERS) |
| Robert Slangen:
Frank (FLEDERMAUS), Soprano Solos (INDIAN QUEEN) |
| Bree Sprankle:
Rosalinda (FLEDERMAUS), Poppea (POPPEA) |
| Erik Strope: Giuseppe
(GONDOLIERS), Nerone (POPPEA) |
| Kym Tindall: Tisbe
(CENERENTOLA), Fiametta (GONDOLIERS) |
Scenes:
CARMEN
Act III,
No. 20
Frasquita: Shannon LaRue
Mercedes: Anne Lustig
Carmen: Lainey Prendeville
CENERENTOLA
Act I, Introduction
Clorinda: Shannon LaRue
Tisbe: Kym Tindall
Cenerentola: Lainey Prendeville
Alidoro: Charles Rittenhouse
Cavaliero (Male Chorus)
Act II, Scene 1
Don Ramiro: Chris Albanese
FLEDERMAUS
Act I, Introduction
Alfred: Todd Bodey
Adele: Pamela Krueger
Act I, Scene 1a
Rosalinda: Bree Sprankle
Adele: Pamela Krueger
Act I, Scene
4
Rosalinda: Bree Sprankle
Adele: Pamela Krueger
Eisenstein: Mike Blocksidge
Act I, Scene 5 (finale)
Rosalinda: Bree Sprankle
Alfred: Todd Bodey
Frank: Robert Slangen
GONDOLIERS
Act I, No. 1
Contadine (Female Chorus)
SATB Chorus
Fiametta: Kym Tindall
Francesco: Brandon Ring
Antonio: Ben Rivet
Giorgio: Charles Rittenhouse
Vittoria: Michele Rickert
Giulia: Mallory Beck
Marco: Chris Albanese
Giuseppe: Erik Strope
Gianetta: Theresa Janchar
Tessa: Melissa Durst
Act I, No. 5
Casilda: Emily Barrows
Luiz: Mike Blocksidge
Act II, No. 13
Marco: Chris Albanese
INDIAN QUEEN
Act III, No. 25
Aerial Spirit # 1: Todd Bodey
Aerial Spirit #2: Mike Blocksidge
Act III, No. 26
Sop Solo: Robert Slangen
Sop Solo: Brandon Ring
Chorus
Act III, No. 27
Sop Solo: I attempt from love's sickness: Brandon Ring
Act III, No. 26.2
Sop Solo: Robert Slangen
Sop Solo: Brandon Ring
Chorus
POPPEA
Prologue
Fortuna: Emily Barrows
Virtu: Pamela Krueger
Amor: Beth Habegger
Act I, Scene 6
Damigella: Abbey Bonasso
Valetto: Chris Albanese
Act II, Scene 8
Poppea: Bree Sprankle
Nerone: Erik Strope
Back
to Roles | Back
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| Cast
Phone & Email List |
| Name |
Home
Phone |
Cell
Phone |
Email |
| John Benjamin, piano |
937-229-3293 (campus) |
|
John.Benjamin@notes.udayton.edu |
| Lee Hoffman, director |
937-252-6217 |
513-237-4851 |
Lee.Hoffman@notes.udayton.edu |
| John Wright, director |
|
513-317-7070 |
John.Wright@notes.udayton.edu |
| Chris Albanese |
937-627-8220 |
440-376-6375 |
albaneci@notes.udayton.edu |
| Emily Barrows |
937-627-8284 |
336-254-4886 |
barrowee@notes.udayton.edu |
| Mallory Beck |
937-627-1381 |
216-544-6870 |
beckmale@notes.udayton.edu |
| Mike Blocksidge |
|
440-781-7087 |
blocksmh@notes.udayton.edu |
| Todd Bodey |
937-236-8052 |
937-559-4312 |
bodeytok@notes.udayton.edu |
| Abbey Bonasso |
937-627-8689 |
937-477-8076 |
bonassae@notes.udayton.edu |
| Melissa Durst |
937-627-6220 |
419-270-0161 |
durstmec@notes.udayton.edu |
| Beth Habegger |
|
574-596-3299 |
habegger@notes.udayton.edu |
| Theresa Janchar |
937-627-8624 |
330-465-4420 |
janchatj@notes.udayton.edu |
| Pamela Krueger |
937-627-8154 |
630-408-1882 |
kruegepa@notes.udayton.edu |
| Shannon LaRue |
937-854-9690 |
937-830-6295 |
larueshl@notes.udayton.edu |
| Anne Lustig |
|
317-417-4446 |
lustigar@notes.udayton.edu |
| Lainey Prendeville |
|
614-832-3588 |
prendeem@notes.udayton.edu |
| Michele Rickert |
937-625-5477 |
937-677-4834 |
rickerme@notes.udayton.edu |
| Brandon Ring |
937-627-8147 |
419-236-2086 |
ringbrae@notes.udayton.edu |
| Charles Rittenhouse |
|
|
rittenhousecd@notes.udayton.edu |
| Ben Rivet |
|
517-775-9427 |
rivetbej@notes.udayton.edu |
| Robert Slangen |
|
330-730-2356 |
slangerl@notes.udayton.edu |
| Bree Sprankle |
513-228-0891 |
937-361-1603 |
sprankbh@notes.udayton.edu |
| Erik Strope |
937-236-5639 |
937-654-0233 |
ufo5485@aol.com |
| Kym Tindall |
937-627-8897 |
609-954-8349 |
tindalkl@notes.udayton.edu |
Back
to Roles | Back
to Top
| Acting Exercise Reflections |
| I did the "Dump" exercise. I felt like when I started I was very constricted
and had a hard time searching for things that were frustrating me. The
more I found things that angered me, the easier it was to find and express
more. I was discovering dissatisfactions about my relationship with
my significant other, and my feelings of failed expectations in school
were arising that I didn't even really think about before. It was a very
educational experience. |
| I
did a lot of relaxation exercises, mostly the "Chasing the Demon."
It wasn't just something that I did laying down, but driving and even
when I was at work. Focusing on where I am tense really helps me be more
aware of my body and where I am holding tension. It is starting to become
like the "sixth sense" but instead of seeing dead people I am constantly
aware of my surroundings and where my body is feeling the most tension.
I can't turn it off, and in a way I think that it is a good thing, especially
when practicing. In a way it is also a bad thing because now I feel as
if there is always something wrong with me because I am noticing all
of the little things. There have been a few times over the weekend that
I have felt and noticed that I was in complete relaxation. Sometimes
it would be lying on the couch, taking a nap or in the shower, etc.,
and it felt even more relaxing when I realized it and breathed into that
relaxation. |
| I decided to do the "I feel" exercise. When we did this exercise in
class I was surprised by the things that kept flowing out of my mouth.
I wasn't sure if that would happen again on my own, and it almost didn't.
I started out in my room but I felt like because I didn't have an audience
making sure I was doing what I was supposed to be doing, I kept slipping
into thought. So I decided to do it walking around my house. My roommates
have seen me do some weird things, so they weren't too concerned (I filled
them in when I was done). However, when I really let myself go, I again
had that surprise of hearing what I felt. I know I think all of the time;
perhaps I don't let myself feel often enough. Something to think about.... |
| "Gibberish."
I actually do this exercise every once in a while, however it normally
comes out when my character was just killed or ___ [couldn't
read writing]. Doing it purposefully allowed me to realize
my feelings even though
others are clueless. I was surprisingly relaxed after such an outburst
of emotions. |
| When
I did the exercise, "How do I feel," on my own, I found it difficult
to start, but once I started I could go in short spurts. I felt a time
limit I probably should have ignored, but it was difficult when speaking.
I decided to try something different to help me let loose from feeling
constrained. I grabbed a couple of concepts I had spoken, wrote them,
and went from there - writing instead of speaking. I completely lost
myself in words - not feeling limited in any way, especially compared
to before. |
| I
first "Hunted the Demon." I found, however, that after tensing my entire
body, I was unable to fully release the tension from the shoulders
- the initial source of the "demon." So, I vocally described my perceptions
and wonders. By allowing myself to just go with the flow and to become
one with the world around me rather than concentrating on anything
stressful. After doing the perceiving and wondering exercise, I found
that my shoulders had naturally released the tension. |
| After
completing the exercise I felt relaxed by getting things off my chest.
It didn't feel as awkward as I thought it would, and my stream of conscious
was less interrupted by excessive thoughts. I was able to stay clear
and focused on feelings. It opened up a whole other way of communicating
with myself than I've experienced before. Through this exercise I was
able to isolate myself in a state of being where I felt like my true
self, and was able to escape from the worries and inconveniences that
plague me. It was easy to focus on my feelings at a certain moment
in time. |
| "How
do I feel?" I found that when I did this exercise this time, I did
not feel as connected with my self. Because I was not exactly forced
to do it, I found my self avoiding the exercise. I know in the back
on my head what I am feeling and what is going wrong, but if I start
to be audible I stress out about it more. I feel this exercise showed
me that I avoid alot of my problems and also thought about how I take
on other people's problems rather than my own. |
| "Imaginary
monologue." I generally feel that I'm pretty open. But I'm realizing
how many hats that I wear. I know how I want to come across to other
people, but I realize that I'm not always being true to myself. I need
to be more honest with myself - first and foremost. I talk a lot and
I need to pace myself. Numerous thoughts fly through my mind and I'm
proud for the sharing that I do. I'm a passionate person and I love
rediscovering that of myself. |
"What
do I want?" After I did this exercise I felt that I reached a little
deeper than before to feelings I didn't necessarily want to. It was
a hurtful truth that I didn't really want to acknowledge. |
| While
doing the "Observe, wonder, perceive" exercise, I experienced a great
sense of self and connectedness. At first, I had a very difficult time
stating the obvious, because that is not generally accepted in today's
society. Yet, as the exercise continued I began to think more deeply
about certain things. The exercise took me from stating the obvious
to looking at things in a different way. I began to develop an interesting
feeling, not really a feeling of depression but a feeling of calmness
and certainty of self. I began looking at objects in my room then began
to examine me. It was interesting how a simple exercise could turn
from something meaningless to a deeper examination of self. |
| I
did a "Being state" with myself. The first time I did a being state
was during last year's Opera Workshop. The first time, I was very uncomfortable
and frustrated. I was continually told that I was "censoring," even
when I felt I was open and honest. However, the experience opened me
up to exploring new avenues in my acting. Since then, I have done being
states in my own personal time as a means for channeling energy. After
this being state, I felt angry, frustrated, trapped, bound and in need
of a sense of inner peace. I established this through tapping into
myself and vocalizing what has been a part of my life lately. After,
I felt more sense of peace and acceptance of what I have experienced
as far as feelings lately. |
| I
attempted the "How do I feel" exercise again. I felt that the first
time I tried it I felt very uncomfortable with it so I wanted to give
it a second chance. It was easier to slide into the exercise this time
I think because I was alone. Even though I was speaking audibly I was
still able to get farther than I did in class. I think that is because
there were not people watching and there to judge what I said in any
way. I think that is probably something that I need to work on. However,
in my own time and sense I think I might do this activity more because
there were several things that came out of my mouth that caught me
slightly by surprise. |
| I
did the "I think, I want, I feel" exercise. I thought about my past
two years at UD, and my role as a student. I wanted to make something
more of myself and my experience at UD. I felt a nice push of motivation
and inspiration to do well. |
| "How
do I feel?" Doing this exercise helped me be more aware of some of
the unconscious feelings I have. At first I can't think of anything
to say, but the more I do it the more I realize how I feel. It seems
to me that most of the time I am too mellowed out to even realize how
I feel, but with this exercise I am learning to be more self-aware. |
| I
did the "How do I feel" exercise. As I was completing the warm up,
completely relaxed and in complete silence, I began to observe all
of the different sounds around me which was interesting because there
is so much that I do not hear because I am not fully listening. When
I moved into the "how I feel" exercise, I found this time around it
was much easier to open up. It is an interesting feeling when you allow
yourself to go to those places that are so often left closed...it truly
makes you feel real. I was impressed at the ease of my responses as
well as how natural and free my impulses and responses were. I was
very honest with myself and it was amazing. |
| "Deeper
self." I'm afraid that I won't succeed. I like that I have people that
love me. I deserve a chance at anything possible. I care that people
do need help. I don't care that.... I observed that some of the things
weren't physical things. A lot of them had to deal with inner feelings
and outer self-being. |
| "Abandonment
and primitive." It's Sunday at about 3:30 and I had my first acting
exercise experience on my own. It took
place in the front yard of my house. My housemates and one of their fathers
were out on the porch pressuring me to do the "Abandonment and primitive"
exercise while a group of people was walking nearby. After a while of
talking with my friends a group of about eight guys from one direction,
four from another, and two from a third were all walking toward my direction.
My friend's dad kept telling me to do the exercise so I finally just
let it all out and screamed at the top of my lungs and thrashed around
in my yard. After a minute of jumping around and screaming I stopped
and dropped to the ground. I got numerous strange looks and my friends
all laughed hysterically at me. Afterwards I was embarrassed but at the
same time I experienced a weird feeling; I began shaking with nerves
like when I perform a solo for a bunch of people. The shaking continued
for about ten minutes after I did the exercise. It made me feel tense
but I sort of enjoyed it because it made me feel as though I could have
more control over my next solo by getting used to the emotions and physicality
associated with a performance. |
