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March 2019 
In This Issue
 
President's Corner                     Our Country's Good
Director & Dramaturg Notes Learning The Trade
Recruiting The Class of 2024 A Shout Out For Mason Cabaret
The Vagina Monologues A Midsummer night's Dream

    PRESIDENT'S CORNER 

          STARS IN OUR MIDST

 
If you are at all connected to the DC area theater scene then you can’t have missed the GMU presence.

Two of our faculty members have been making their mark in a big way. Heather McDonald’s newest play, Masterpieces of the Oral and Intangible Heritage of Humanity had its world premiere at Signature Theater and runs from February 26-April 7. Signature describes it as: Three women—an art restorer, her nurse and their military captor—are trapped in a ravaged museum during a catastrophic hundred years war. Tasked with restoring a damaged Rembrandt painting, the women find common shreds of humanity as they try to save a small symbol of beauty in their broken world…this season’s Heidi Thomas Writers’ Initiative work, a brutal and elegant exploration of the unifying virtue of art and what things are most worth saving when the world is collapsing.

The Washington Post did a  two page spread on it. You still have time to experience this powerful piece of theater.  Don’t miss it. Congratulations, Heather!

And that brings me to another of our shining stars, Professor Sherrice Mojgani, who as Lighting Designer for this same production created the stark, terrifying and surreal mood that this strange world lived in. Sherrice is a master of lighting and is in demand in the DC area, as evidenced by the two other plays she has designed lighting for just this season: The Heiress at Arena Stage and Ain’t Misbehavin’ at Signature. It was exciting for me to see her name in the credits. The three shows were all so different and obviously required such different lighting effects that showed off her skill and talent in her art. 

How very fortunate our Mason theater community - students and Friends alike -  is to have such talented professionals living and working and creating right here in our midst.

 
Paulette Miller, President
Friends of Theater at Mason
                                     


                                               THE SCHOOL OF THEATER 

 
                                                    AND THE MASON PLAYERS                                                                                                                                                                   present
 
 
      OUR COUNTRY'S GOOD

         By Timberlake Wertenbaker

                     Directed by Kristin Johnsen-Neshati and Maderi

 

 

In June 1789 in an Australian penal colony, a marine lieutenant puts on a play to celebrate the king's birthday, using the camp’s English convicts as his cast of characters. Few of them can read, let alone act, and the play is being produced amidst food shortages and barbaric punishments--brilliantly juxtaposed against the civilizing influence of theatrical endeavor.

Contains language that some may find offensive.
 

         
                                                                                                                                                

 

PERFORMANCES

Thursday, March 28, 2019          8:00 PM
Friday, March 29, 2019                8:00 PM
Saturday, March 30, 2019           2:00 PM
Saturday, March 30, 2019           8:00 PM

Thursday, April 4, 2019               8:00 PM
Friday, April 5, 2019                    8:00 PM
Saturday, April 6, 2019               2:00 PM
Saturday, 
April 6, 2019               8:00 PM
Sunday, April 7, 2019                 2:00 PM

 
deLaski Performing Arts Building, A105, 
TheaterSpace
Fairfax Campus

 

TICKETS
$30 adult
                $15 students, staff, seniors and groups


 

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DIRECTORS' NOTE
Kristin Johnsen-Neshati
Maderi
Co-directors

 
 
What went through the minds of the first English convicts—petty thieves, mostly—bound for Australia in 1787? We know their names and charges, but one wonders what they each thought as they looked their last on England. How did they negotiate their survival for over 8 months on a ship whose staff cared nothing for the inmates and were paid by the head? Hungry and diseased, how could anyone survive confinement to 18 square inches? 
 
After their defeat in the American Colonies, England beat out France in a race to claim the region, but they weren’t the first to get there.  At least 50,000 years before Captain James Cook made contact with Australia, the first Indigenous Australians arrived. What did local witnesses in 1788 think of the First Fleet—11 ships in all—appearing in what would be known as Botany Bay? Did this vision of sails spark wonder, or foreboding? What did these onlookers make of public hangings for an audience of prisoners? 
 
Fortunately, written records of such early encounters have been preserved and given new breath in Our Country’s Good.The actual words of an Aboriginal witness appear in this account, along with those of several others from the period. Convict transport gave the Empire a way to dump its “thieving” poor while ensuring free labor to colonize new territories, thereby using the spread and defense of civilization as a pretext for cruelty.  
 
Kristin Johnsen-Neshati is Associate Professor of Theater at George Mason University, where she has taught theater history, dramatic literature, dramaturgy and dramatic criticism since 1993. For 18 years, she also served as Resident Dramaturg/Artistic Associate for Theater of the First Amendment, focusing on new play development and launching a professionally-mentored staged reading program for high school and college playwrights. Kristin has translated four of Chekhov’s plays, which have received several productions. Recent projects include Gogol’s Nose and Other Strange Tales from the City,an original devised piece drawn from The Petersburg Tales,co-conceived for Mason students and co-directed with David Gaines, in collaboration with guest artist Vladimir Shpitalnik. Education: Swarthmore College (BA, Russian and Theater); Yale School of Drama (MFA, DFA, Dramaturgy & Dramatic Criticism). Awards: George Mason’s Fenwick Fellowship, CVPA’s Robert K. Purks Faculty Enrichment Grant, Yale’s Kenneth Tynan Prize for production dramaturgy, Fairfax County’s Strauss Fellowship, the Kennedy Center/ACTF Criticism Fellowship, and a Fulbright Faculty Research Grant.
  



Maderi feels both proud and bittersweet in presenting their last production with the Mason Players. Previously you may have seen Maderi as  Grass in "Good Dogs" (Class Act Players); Tupolski in "The Pillowman"' Assistant Director on "The Night Thoreau Spent in Jail", Judge Thatcher in "Big River" or Assistant Technical Director on "Really, Really"(Mason Players). In their little remaining time, Maderi also proudly teaches with AFYP.


 

NOTE FROM THE DRAMATURG
Alexandra Berrios


Aboriginal v. Indigenous v. Native
The term "aboriginal" refers to a people who have been inhabiting  land from the earliest times possible, before colonists arrived. "Indigenous" describes a people who have occurred naturally in a certain location. "Native" means someone who is born in a specific place, or who is associated with a place due to birth; this term does not, however, take into account whether they actively reside there or not. 

Australian Aboriginal Traditions and Culture 
The Australian Aboriginal people have one of the oldest surviving cultures. They began as hunters living off the land and later began farming. Over time, different clans and tribes emerged, resulting in a number of varying ‘subunits’ of Aborigines. Some include the Torres, Yolngu, Koorie, and Pintupi. Some of the best-known tribes are the Torres or Strait Islanders. 
The Aboriginal people do not have a set religion, but they place high importance on the Dreamtime. This is the Aboriginal understanding of the world, all its stories and collective knowledge. When the Aborigines speak about the Dreamtime, they use song and chants accompanied by the sound of a didgeridoo or clap sticks. The Aboriginal people believe that their ancestors changed the land, created the earth, made humans and animals, and created the earth’s elements before returning to the earth itself. Certain geographical locations are sacred places for them, and may be accessed only by certain men in the tribes. For Aborigines, the land is a gift of significant spiritual value. Land is not meant to be owned, but it owns them. So, as one might imagine, when the English arrived on the coast and threatened their spiritual place, the Aboriginal people felt fear. 
 
Today, Aborigines suffer with poverty, low education, unemployment, violence, and overcrowded homes. Very few of them are integrated technologically, politically, and socially with the rest of European Australia. However, resentment is felt among many Aboriginal Australians as well as European Australians. In 1911, under a law to protect the indigenous population of mixed babies from Aborigines, the Australian government took children from their families and made them go to schools run by the European Australians to train them in European values and help them assimilate into the rest of white Australian society. These Aboriginal children came to be known as the Lost Generation, and between 1911 and 1980, about 100,000 children were placed as orphans in white families. It wasn’t until 2008 that the Australian government apologized for this displacement of Aboriginal people. They recognized that their efforts to ‘protect’ the Aborigines only resulted in increased suffering, separation, and mistreatment. This ‘child removal’ policy was kept secret until a decade ago when a government inquiry exposed it, leading to a mass movement supported by many Australians who demanded that the Australian government offer an apology the Aboriginal people.                                                                                                                         

Alexandra is a sophomore pursuing a BA in Theater with a minor in Korean Studies. This is her debut as a Dramaturg. Past credits include: Elissa in Just Like Us with ODIME and the Mason Players, Playwright of The Inner Critic with the Mason Players, and ensemble member of Once Upon A Log with the Mason Players. She is thankful to the cast and crew for diving into her study guide and constantly being interested and asking questions. 
 
 
 

LEARNING THE "TRADE"
 
 
Many of us on the School of Theater faculty learned the “trade” as company members in regional theater. For example, I began my career at the Missouri Rep, Ed Gero worked with the National Shakespeare Theater, and Mason was the home for the Theater of the First Amendment. With the dissolution of the theater company “system” in this country, providing opportunities in the program to emulate aspects of the company experience for our students is extremely important. 
 
For this reason, much of our season is  directed by our students. This is why our designers work with peers and faculty, alike. Our faculty mentor these experiences, above and beyond our regular teaching load, in an effort to hone the craft and make certain that the lessons are impactful. Our production season represents our working laboratory, and our plays further opportunities for artistic growth and, even, transformation.
 
In addition, the School of Theater values visiting professional artists. We started the Professional Artist Residency in Theater [PART] years ago to allow us to bring talented artists to campus and contribute to the artistic education of our Mason Players. That is ever our primary objective. Simply put: a professional helps students up their game (and builds that network of contacts). One of the benefits of being a company member was always having the opportunity to work with and learn from those seasoned in the craft. Theater is a networking business, so bringing an artist of stature to work as part of a company is a sincere enhancement to professional preparation. 

We thank all those who have supported our growth and these vital aspects of the program. The School of Theater relies on financial gifts to support student scholarship and bring talented professionals to campus.
 
The Mack and Paulette Miller Theater Scholarship Endowment is a wonderful example of the external support that means so much to our students. Mack and Paulette are longtime supporters of theater at George Mason. They first connected with Mason through the Theater of the First Amendment in 1990 and then became involved with the School of Theater and its predecessor the Theater Department. In Mason Theater, they found a community where the faculty and students enthusiastically welcomed and shared their knowledge and love of theater with the audience. Mack and Paulette believe that being part of the Mason Theater community has provided them with a unique opportunity to “peer behind the curtain” and learn about theater from a theater professional’s perspective, and this has greatly enhanced their theater experiences. Mack and Paulette have played a formative role in the development and leadership of the Friends of Theater, a group which funds student scholarship and provides audience support for student performances. Through the Mason Theater community they have developed a deep appreciation of theater as an art form and have established strong connections with other Friends of Theater, faculty, students, and alumni.

Mack and Paulette have tried to experience live theater wherever they lived. It was here at Mason that they found a theater community that inspired them to be more than just faces in the audience and to become active supporters of theater artists, theater educators, and producers. With this particular  gift, they continue giving back to the Mason Theater community that they say has already given them much joy. Most importantly, and they continue helping the next generation of  theater artists   realize their dreams.

See you in the theater. 


Ken Elston
Director, School of Theater
 
 

RECRUITING THE CLASS OF 2024

 
Have you ever wondered where all the talented students in our School of Theater come from? It takes a lot of personal attention and communication between our faculty and student prospects to get the attention of high school juniors and seniors who are looking at their college options.
 
Many high school students are pro-active self-starters – doing their research online, visiting college campuses, and connecting with representatives of programs, but many attend conferences and conventions where they can consider multiple college and university programs and talk to scores of faculty and staff representatives over the course of a few days.

One such opportunity is the Southeastern Theatre Conference (SETC) Convention held annually in various cities. Recently, my colleague Kevin Dunayer and I attended SETC in Knoxville, TN. The location varies each year. Recent conventions I attended were held in Mobile AL, Lexington KY, and Chattanooga TN. I was there in Knoxville to connect with actors, while Kevin D reached out to designers and technicians. After all, it takes a village of many skillsets to produce theater!

On Thursday, February 28, I attended a day-long series of auditions, seeing almost 300 students in increments of 60 seconds each (90 seconds if they also sang for musical theater consideration). Kevin D visited 50 design exhibitions. From these pre-screening sessions, we selected a number of students to visit our exhibition booth for further conversation. By Saturday afternoon, we had made a personal connection with 50 student prospects from Florida, Georgia, Alabama, Kentucky, and, of course, Tennessee (as we were in Knoxville, after all), and other states throughout the region. There were even a few from Virginia and Maryland. For some students, this was their first introduction to Mason.

For those interested, their next step would be to apply to Mason Admissions, then schedule an audition or portfolio review with our panel of theater faculty. In the case of SETC attendees, much of the audition and review process can be done online due to distance. Both Mason Admissions and School of Theater’s vetting processes are highly competitive, which is why you see such strong talent involved in our productions, both onstage and behind the scenes.

Our biggest selling points, other than the stellar theater program we offer, are our proximity to the vibrant DC cultural region, and the fact that all our faculty are working professionals with connections in their chosen fields. For example, Kevin Dunayer works across the US as a Sound Designer, and I act in film and tv projects throughout the Eastern seaboard. We and our colleagues routinely invite our professional contacts to visit Mason for workshops, master classes, guest artist appearances and Q&A’s.

Recognizing that these students will return home from SETC with their heads swimming with all the information they received from every booth they visited, we make sure to follow up with a detailed email in the days that follow, reiterating everything they need to know regarding processes, deadlines, and expectations for becoming a Theater Major at Mason. We hope to see many of these soon-to-graduate high school students at Mason during the upcoming season. 

The vast majority of our students are Virginia residents. For them, there is the Virginia Theatre Association (VTA) Conference, held annually in Norfolk, VA in October. The same opportunities as SETC are offered at VTA to both students and college representatives, with the added bonus of being within driving range of Mason.

We encourage our current students to attend either or both events to look at job fairs, grad school programs, and summer employment. There are also professional workshops offered in every imaginable aspect of our creative industry included in the price of registration.

Most of the students we talk to currently will be in the class of 2024. That means applying to Admissions in the Fall of 2019, and beginning their journey as theater students in the Fall of 2020. Rest assured, we will return to SETC next year in Louisville, and VTA this Fall in Norfolk, to begin conversations with aspiring theater artists for class of 2025!
 


Kevin Murray
Performance Faculty and
Program Manager for the School of Theater
 

A SHOUT OUT FOR MASON CABARET
Angelica Miguel 


 
The Mason Cabaret has always been one of the biggest things I look forward to each year at Mason. These past four years, I have been fortunate enough to participate and perform with this wonderful group of musical artists. Led by James and Erin Gardiner, the group is more than lucky to learn from and be encouraged by two brilliant artists and teachers. In my first year of being a part of the Mason Cabaret, I was certainly intimidated and overwhelmed by the talent in the room. I was surprised to be even considered to be a part of such a gifted group. Soon after, the group was (and is!) as kind as they are talented and I started to feel right at home. As the years went by, I have learned so much about my voice and the American theatre and it has been a joy sharing that with my peers and audiences alike. As a future audience member, I am thrilled to see what the future holds for the Mason Cabaret and their participation in the American theatre. 



Angelica Miguel is a senior BA Theater Major with a concentration in Performance and Directing. She currently works at Signature Theatre as their Casting and Artistic Fellow. Before this, she worked as an Acting Apprentice at the Williamstown Theatre Festival as well as working on Mason Players’ production of Big Riveras the Assistant Director. Moving forward, you can see her as Beth Spencer in Mason Players’ production of Merrily We Roll Along!

 
 


 

STUDENT SUPPORT AND ADVOCACY CENTER
presents

THE VAGINA MONOLOGUES 2019

By EVE ENSLER

Directed by Kayla Schultz


The Student Support and Advocacy Center is committed to providing an empowering environment for all Mason students to seek support services and to explore healthy life choices. We offer educational programming, one-on-one consultations, and resources in the areas of interpersonal violence, personal wellness, and alcohol and drug use. We assist students encountering barriers to personal success.
 

The Vagina Monologues is a series of personal monologues read by a diverse group of women. Each of the monologues deals with an aspect of the feminine experience, touching on matters such as sex, sex work, body image, love, rape, menstruation, female genital mutilation, masturbation, birth, orgasm, the various common names for the vagina or simply as a physical aspect of the body. A recurring theme throughout the piece is the vagina as a tool of female empowerment, and the ultimate embodiment of individuality.

From Wikipedia, the free encyclopedia
 
PERFORMANCES

March 30     6:00 PM
March 31     2:00 PM
April 1         6:00 PM

JC BISTRO
GMU

FROM THE DIRECTOR

 
It is an honor to be a part of the legacy of The Vagina Monologues. This is George Mason's 21st year putting on this transformative piece and it has touched lives ever since Eve Ensler's first performance of the Monologues. As sexual violence becomes an ever growing presence in our daily lives, especially on college campuses, some of the messages within this piece are more relevant than ever. Parallel to the sexual violence conversation, The Vagina Monologues celebrates the power of the vagina, menstruation, and female anatomy, and has the power to uplight our entire surrounding community. 

 


Kayla Schultz is a junior theater major at George Mason University. She most recently directed Machinal with the Mason Players and an original piece she co-created was featured in the Mason Players Originals!. Future projects include dramaturgy for Nextstop Theatre Company's production of Singin' in the Rain, and assistance on Lady M's audience engagement and immersive theater intern with The Welders. 

 

 

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CENTER FOR THE ARTS
 
GREAT PERFORMANCES

Aquila Theatre

presents

 
A MIDSUMMER NIGHT'S DREAM
 
Aquila Theatre returns with a magical and witty production of A Midsummer Night’s Dream. Shakespeare’s timeless tale of love with its many complications never fails to entertain and remind us of his literary genius. “The course of true love never did run smooth” is the prophetic line spoken just as one of The Bard’s most popular comedies begins. On Midsummer Night in the woodland outside Athens, mischief is afoot as the king and queen of Fairyland arrive to attend the wedding of Duke Theseus and Queen Hippolyta. The impish Puck, servant to the Fairy King, is let loose in the forest with a love potion, and naturally, things go uproariously awry. Aquila’s signature physical theatrical style is the perfect complement to Shakespeare’s iconic work. The New York Times applauds this renowned theater company for making “Shakespeare perfectly comprehensible,” and The New Yorker calls their Shakespeare interpretations “beautifully spoken, dramatically revealing and crystalline in effect.”

 

A pre-performance discussion with a member of the company 
begins 45 minutes prior to the performance. 



Sunday, March 31, 2019 at 7 PM 
 

George Mason University's Center for the Arts

4373 Mason Pond Drive, Fairfax, Virginia 22030

 


 

Help the Friends of Theater raise $1,000 on Giving Day!

 
Giving Day is a Mason-wide initiative that raises money for George Mason University on April 4th. This year for Giving Day, the Friends of Theater are challenging 19 Mason Alumni to give to the Friends of Theater. If 19 alumni give, then our generous challenge donors will match those donations with $1,000. A gift of any size helps us get closer to funding a scholarship! Any gift, no matter how small or large, will help us give a talented young theater student a chance to pursue their dream. 

To make your gift early or on the day of, please click here . You can also call 703-993-1593 to make your gift over the phone.

Thank you so much to our generous challenge donors:
Dianne and Gerry Blais
Eileen and Charles Duggan
Kristin Johnsen-Neshati and Amin Neshati
Kevin Murray and Mary Lechter
 
Copyright © 2019 Friends of Theater at Mason, All rights reserved.


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