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September 28, 29, 30
October 1, 2, 5, 6, 7, 8, 9,
12, 13, 14, 15, 16 at 7:30 pm
CSU Theatre presents
A FEW GOOD MEN A Military Courtroom Drama by Aaron Sorkin
Directed by Laura Jones
Assistant Directed by Meghan Connor
Scenic Design by Taylor Webster
Lighting Design by Price Johnston
Costume Design by Sandra Frye
Sound Design by Alex Romberg
Projections Design by Deidre Raph
Properties Design by Annaleigh Timmerman
Production Stage Manager, Kaylen Higgins
Dramaturg and ASM, Bekah Mustain
Military Consultant, Sergeant Major Ret. Brian Olson
THE CAST
(in order of appearance)
Private First Class William T. Santiago........... Tony Vessels
(The Victim)
Lance Corporal Harold Dawson.............. Richard Muller
(The Accused, Santiago’s Delta Squad Leader)
Private First Class Louden Downey........... Parker Stegmaier
(Also Accused for Complicity and Conduct Unbecoming)
Lieutenant Commander Joanne Galloway.......... Jaccie Serbus
(Navy Lawyer, Special Investigator Internal Affairs)
Captain Issac Whitaker................... Andrew Killion
(Navy Lawyer, Appellate Division)
Lieutenant j.g. Sam Weinberg................ Michael Toland
(Navy Lawyer, Kaffee’s Co-Counsel)
Lieutenant j.g. Daniel A. Kaffee............... Kiernan Angley
(Navy Lawyer, Attorney for the Defense)
Colonel Nathan R. Jessep................... Mike Largent
(Marine, Commanding Officer, Guantanamo Bay, Cuba)
PRODuCTION TEAM
Production Manager...................... Jimmie Robinson
Technical Director......................... Cory Seymour
Paint Shop Supervisor...................... Maggie Seymour
Costume Shop Supervisor....................... Sandra Frye
Master Electrician.......................... Deidre Raph
Scene Shop Tech.-Props and Scenic Painting..... Annaleigh Timmerman
Scene Shop Technician-Scenery.................... Seth Walter
Costume Shop Technician...................... Janelle Sutton
Director of Marketing & Publicity................. Jennifer Clary
Events Manager......................... Eileen May Krebs
Assistant Costume Design................... Brittany Lealman
Assistant Lighting Design....................... Tim Garrity
Assistant Sound Design........................ David Culp
Lobby Display........................... Bekah Mustain
Poster Design............................ Nathan Young
TECHNICAl CREWS
Properties Manager................... Annaleigh Timmerman
Light Board Operator...................... Clyde Albanese
Sound Board Operator.................... Andrew McIntyre
Projections Board Operator............... Melanie Augenstein
Prop Crew........................... Megan Derrington
Stage Crew....................... Gus Chavez, Karl Perry
Wardrobe Supervisor........................ Willa Bograd
Wardrobe Crew........................... Clint Pendley
Hair Coordinator........................ Brittany Lealman
Charge Artists........... Maggie Seymour, Annaleigh Timmerman
Carpenters............. Hannah Baldus, Aubrey Beck, Chelsea Case,
Gus Chavez, Brooklyvon Descheny, Kortney Hanson,
Kaylen Higgins, Tucker Lehman, Melissa Michelson, Karl Perry,
Colton Pratt, Aron Villanyi, Paul Vargo, Tim Werth
Electricians......... Clyde Albanese, Melanie Augenstein, David Culp,
Katelynn Drury, Jessie Howard, Bryan Hudson, Andrew Killion,
Andrew McIntyre, MacKenzie Mulligan, Bonnie Prewitt,
Machelle Selken, Jessica Whitehead
Scenic Artists......... .Jessica Alvis, Annie Booth, Megan Derrington,
Noelle Dingman, Rebecca Doyle, Analie Foland, Ashley Longhill,
Bekah Mustain, Alex Pierce, Elizabeth Stewart, Sarah Taylor
Costume Construction............. Ann Bishop, Noelle Dingman,
Robin Dulye, Ally Fletcher, Chantel Flooden, Siohban Gleason,
Katie Kramer, Belle Krause, Meg Loughman, Jacquelyn Wood
CAST BIOS
Reece Albrecht (Corporal Dunn) was last seen in CSU’s spring Opera The Gondeliers. Reece is a double major in Theatre and Business. His other credits in- clude a chorus role in last fall’s popular Zombies from the Beyond and performances in Fort Collins with the Bas Bleu Theatre Company. Reece will be playing The Lamp- lighter and The Switchman in The Little Prince this November.
Kiernan Angley (Lt. Daniel Kaffee) is a Senior-Deluxe Business Major with a side of Theatre and a diet Coke. He’s performed as Paris in Romeo and Juliet, Matt (a.k.a. Pig Pen) in Dog Sees God , and Kiernan Angley in Real Life. He’d like to thank his father, as well as everyone else who has served or is serving in the Armed Forces, for their service and sacrifice.
Kevin Bartz (Commander Stone) is a junior English major at CSU with minors in Spanish and Theatre. He has performed in a handful of other CSU productions including Oh What a Lovely War! and All My Sons on the mainstage and student- directed interpretations of As You Like It, Mr. Marmalade and A Ritual for Returning. Someday he hopes to be a published writer and a scholar of dramatic literature.
Bryan Connolly (Lt. Jack Ross) is a senior theatre major whose performance focus in movement finds him in the dance studio, the rehearsal hall, and on the oc- casional street corner. He has been seen in CSU’s Romeo and Juliet, Oh What a Lovely War!, Nice People Dancing to Good Country Music, and Caucasian Chalk Circle. He also co-founded the CSU Circus Club, and he is a regular performer for Beet Street’s Streetmosphere.
John Erickson (Lt. Colonel Matthew Markinson) is a sophomore theatre major with interests in performance and film—both in front of the camera and behind the scenes. He was last seen as Trotsky in YPO’s All in the Timing. John’s other cred- its include the character Bam in What Where and the production and filming of a documentary entitled “From Page to Stage” on a day in the life of a CSU theatre student last semester.
Andrew Killion (Captain Whitaker) is excited to be a new transfer student in Theatre at CSU. Andrew graduated in May from Laramie County Community College with associate degrees in Music and Theatre. He has worked extensively in Cheyenne as a lighting designer and actor. Favorite roles include CB in Dog Sees God , Sergeant/Menteith in Macbeth , and Willard in Rust to Dust.
Mike Largent (Lt. Colonel Nathan Jessup) grew up in a dinky little mountain town called Bayfield. He graduated cum laude from CSU back in aught nine. He had some great roles (t)here (including leads in Brecht’s Caucasian Chalk Circle and Pinter’s The Birthday Party ), moved to Los Angeles, and had some more great roles. He then moved to Austin where he had a few good roles. Now he’s back as a return- ing CSU alumnus guest actor in A Few Good Men.
Tamac McMillan (Judge Randolph) is a CSU theatre major whose primary fo- cus is scenic design. Tamac has worked behind the scenes on numerous productions at CSU as a carpenter, properties designer, and light board and follow spot operator. He will be an Assistant Scenic Designer under Maggie Seymour for the upcoming Kafka Project. He’s shooting for a Masters in Film Science with a concentration in Directing/Screenwriting.
DIRECTOR’S NOTES
In a 2004 interview playwright Aaron Sorkin was asked a standard biographical ques- tion: What have been the most important influences on you as a playwright and as a television and film writer?
“When I was little, my parents took me to the theatre all the time, and I still go all the time. I love the sound of the dialogue. I went to see plays before I was old enough to understand what they were about, and I just kind of liked these big voices speaking in musical cadences. I loved that and wanted to imitate that sound. “I grew up in Scarsdale, New York in an upper middle-class suburb of New York City with a nationally regarded public school system. Academic excellence was stressed. About a quarter of my high school graduating class went to Ivy League schools. My friends that I grew up with, whom I liked a lot, were all smarter than I was, as is the rest of my family. My interest was always drama. I was doing things with the drama club and community theater, going to the city and taking classes. And for some reason, the conversations that I heard—whether it was around the dinner table, around a poker table, at a friend’s house or while watching a football game—were always dynamic. There was always someone who would say, “But look at it this way.” And I just loved the sound of a really smart argument. “Again, coupling that with my like of dialogue, this was the life I grew up in.”
Sorkin was also asked: How does the medium shape your writing? Is your approach to writing a screenplay different from that of a stage play?
“It’s not that different… Well, it’s no different, and it’s entirely different in that you kind of want to use the strength of the medium that you’re in. Anything that I write is going to be on the talky side. Basically, we’re talking about people in rooms—talking. “Going back and forth between the two, I always find the one that I’m about to do harder. I’m finishing a screenplay right now, but then I’m about to write a new play that is going to premiere at the Abbey Theater in Dublin. There is a story I want to tell, but for the life of me, I can’t figure out how to tell it without a camera pushing in on an object or having lots of sets. So I have to remember how to do that again. In each case, what I’m looking for is an intention and an obstacle.”
The interviewer then commented: “George Orwell once wrote that great art needs to engage with the political. Your work is clearly invested in politics (whether it’s the poli- tics of the White House, a courtroom, an office, or the politics of romance).”
Sorkin responded: “Well, the last thing I would pretend to know is the answer to what great art is, so I’m going to pass on that question. In regards to my writing, I’ve never had anything I’ve wanted to convince you of or tell you or teach you or show you where you’re wrong. I don’t have a political background and I’m not a political sophis- ticate. All of my training has been in theater and plays. But as it turns out, my style is a kind of Romantic idealistic style. I also really enjoy being behind the scenes of places. I like selling you on the reality. I enjoy writing a moment where we, the audience, don’t know what the characters are talking about, but what we come away with is that they sure knew what they were talking about. It lights me up.”
Excerpts taken from Considering Aaron Sorkin: Essays on His Politics, Poetics and Sleight of Hand. Thomas Fahy, ed. McFarland and Company, Inc., Publishers: 2005.
The Kennedy Center American College Theater Festival™ 44, part of the Rubenstein Arts Access Program, is generously funded by David and Alice Rubenstein.
Additional support is provided by the U.S. Department of Education, the Dr. Gerald and Paula McNichols Foundation, The Honorable Stuart Bernstein and Wilma E. Bernstein, and the National Committee for the Performing Arts.
This production is entered in the Kennedy Center American College Theater Festival (KCACTF). The aims of this national theater education program are to identify and promote quality in college- level theater production. To this end, each production entered is eligible for a response by a regional KCACTF representative, and selected students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, dramaturgs, playwrights, designers, stage managers and critics at both the regional and national levels.
Productions entered on the Participating level are eligible for inclusion at the KCACTF regional festival and can also be considered for invitation to the KCACTF national festival at the John F. Ken- nedy Center for the Performing Arts in Washington, DC in the spring of 2012.
Last year more than 1,300 productions were entered in the KCACTF involving more than 200, students nationwide. By entering this production, our theater department is sharing in the KCACTF goals to recognize, reward, and celebrate the exemplary work produced in college and university theaters across the nation.
CSU Theatre is proud to be hosting the Region VII festival in February 2012.
Coming in December to CSU Theatre:
The Kafka Project
by Walt Jones
World premiere by Walt Jones and the cast and creative team
December 1, 2, 3, 4, 8, 9, 10, 7:30 p.m.
Jan. 31, Feb. 1, 2, 3, 4, 5, 7:30 p.m.
University Theatre, UCA
A collectively-created work sampling the bizarre world of Franz Kafka, an insurance salesman from Prague who was arguably one of the most important 20th century writers, but whose works were not published until after his death. The project will feature stagings of six major works, and entries from his diaries and letters. Go to: www.theatre.colostate.edu for more information
