Dean Mogle holds the white and black swan design sketches for CCM's production of Swan Lake.

From Sketch to Stage: The Making of CCM’s ‘Swan Lake’ Costumes

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There is a shortage of tutu makers in the world, said CCM Professor and Head of the Costume Design and Technology Program Dean Mogle, who faced the daunting task of designing costumes for Tchaikovsky’s Swan Lake ballet.

CCM is working to fix that shortage by training the next generation of costume designers and technicians, whose work will debut on stage in the conservatory’s first ballet production to have costumes designed and built in-house.

A timeless tale of love, magic and mystery, Swan Lake will grace the Corbett Auditorium stage from April 22-24, marking the second time in CCM’s nearly 150-year history that a full-length story ballet has been included in the Mainstage Series.

Costuming for CCM's 'Swan Lake.' Photo by Ryan Strand.

Staff and students within the Costume Design and Technology program have worked on the ‘Swan Lake’ costumes for the past 18 months.

Presented by CCM’s Department of Dance, the ballet uses three different casts and the principal roles are all double cast ­— which is challenging for the costume shop students and staff responsible for ensuring the pieces fit each dancer correctly.

“You have to understand what dancers go through—what they need,” Mogle said. “Balance becomes really important.”

Costume designers and technicians must consider the weight of the fabrics and headpieces so the dancer can retain their natural balance. There is also limited “real estate” on the costume for artistic expression or characterization, Mogle said. If a female dancer needs to be lifted, safety dictates the fabric around her waist can’t be too slick and can’t get caught on anything.

“The ballet world is a totally different beast.”

Costuming for CCM's 'Swan Lake.' Photo by Ryan Strand.

Newly designed costumes for the Hungarian Czardas in Act III of ‘Swan Lake,’ made by costume students and staff. To the far right is Prince Siegfried’s jacket, made by Jessica Barksdale.

Mogle, with a team of students and faculty within the Costume Design and Technology program, has worked on the Swan Lake costumes for the past 18 months. They’ve borrowed and modified some costumes from a previous CCM performance of Brigadoon and the Broadway production of Cyrano, The Musical. Costumes for the principal and specialty roles in the ballet are newly designed and made.

Iconic white tutus, bodices, vibrant dresses and rich fabrics have taken over their workshop. The costumes are designed in the traditional style typically associated with the classic ballet. CCM plans to reuse and rent out some of them after the performance.

Costuming for CCM's 'Swan Lake.' Photo by Ryan Strand.

Jessica Barksdale is building Mogle’s design for Prince Siegfried’s costume, which will be worn in Acts III and IV.

Mogle, who previously designed costumes for the Cincinnati Ballet’s The Nutcracker, watched five or six different productions of Swan Lake to prepare for his costume designs. The pieces are still evolving on a daily basis, he said.

“Since we are making the production to last about 30 or 40 years, we don’t ever want to get too wild and crazy with the concept because it is pretty traditional,” Mogle said. “The things that really change in a traditional ballet like this are going to be the specialty characters.”

Those include the newly designed and made pieces that will be worn at the ball in Act III, where the Queen invites potential wives from Poland, Hungary, Italy, Spain, Naples and Poland to match with her son, Prince Siegfried.

Costuming for CCM's 'Swan Lake.' Photo by Ryan Strand.

A sketch and sleeve of Von Rothbart’s Act III costume, made by Erin Winslow.

At the ball, Prince Siegfried will wear a newly designed black and gold jacket made by Jessica Barksdale, first-year costume technology graduate student. Rothbart, the evil sorcerer who cursed the prince’s love Odette, will wear an intricately detailed costume made by senior costume technology student, Erin Winslow, as part of her capstone project.

Barskdale and Winslow are also making the iconic white and black swan costumes for leading female characters Odette and Odile. Associate Professor of Costume Technology Regina Truhart is managing all costume production for the ballet.

Costuming for CCM's 'Swan Lake.' Photo by Ryan Strand.

The in-progress white and black swan costumes for characters Odette and Odile are being made by Jessica Barksdale and Erin Winslow, respectively.

After 27 years at CCM, Mogle is familiar with the 30,000 costume pieces the conservatory has in stock. Luckily, the costume department was able to pull pieces from past performances of Brigadoon and Cyrano to modify them for courtier and peasant costumes in Swan Lake.

The costume department dyed some of the costumes in bright jewel tones and added details such as sashes, sleeves, aprons and hats. Net petticoats were used to make the costumes lighter and easier to dance in.

Costuming for CCM's 'Swan Lake.' Photo by Ryan Strand.

Costumes from the CCM production of ‘Brigadoon’ are being modified for the female peasants in Act I of ‘Swan Lake.’

“Every time we do [Swan Lake], we’ll add more to it and rely less on our costume stock,” Mogle said, adding that when the ballet is performed again in 6 years they will likely build new peasant costumes.

“That’s how some companies do it anyway. They’ll use tutus from many kinds of shows. Pulling together a show like this from all of these different places is a great exercise.”

Acquiring materials is one hurdle but then, of course, the costumes must actually fit.

It helps that musical theatre bodies and dancer bodies are similar in stature, Mogle said. It would cost around $5,000 to reproduce one of the Cyrano costumes today.

Costuming for CCM's 'Swan Lake.' Photo by Ryan Strand.

Costume technicians included three clasp sizes on the ‘Swan Lake’ bodices so they can be adjusted for different dancers.

With three different casts, and double-cast principals, it was important to make the costumes interchangeable for different dancers. The technicians included three clasp sizes for the bodices to make them more adjustable and, in some cases, built extra costumes.

The process and pieces are evolving daily, with more adjustments expected after fittings and the dress rehearsals. A beautiful design can look perfect on a mannequin but flawed when put on a body that needs to breathe, dance and kick. That is why it’s important for the costuming students to learn each step in the creative process, said Mogle.

 “The whole focus of our program is teaching design and technology so designers know how to make stuff and makers know how to design stuff. So they all have the same sensibility as to how things should look and how they should be handled. If the knowledge base in those two roles isn’t strong then things fall apart.”

After the designs are sketched, the appropriate fabrics need to be found, Mogle said of the costuming process. Then there’s making the patterns and cutting them out of the cloth and stitching them together. There’s also fabric painting and dying and mask and jewelry making.

“Each one of those is a profession in itself,” Mogle said. “The more skills you have as a technician and the more kinds of plays and operas and ballets that you can design as a designer, your job market opens up. It’s a good part of training and real life experience.”

Co-directed by Dance Department Chair Jiang Qi and Associate Professor of Dance Deirdre Carberry, the Mainstage Series production features students from CCM’s BFA Ballet program. The lavishly staged spectacle features accompaniment by CCM’s lauded Concert Orchestra under the direction of Assistant Professor of Music Aik Khai Pung.

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Tchaikovsky’s Swan Lake runs April. 22 – 24 in Corbett Auditorium. Tickets are $27-31 for adults, $17-20 for non-UC students and $15-18 UC students with a valid ID.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online at ccm.uc.edu/boxoffice/mainstage/swan-lake.

____

CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Mainstage Season Production Sponsor: Macy’s

Community Partner: ArtsWave

Production Sponsors: Rosemary & Mark Schlachter, Teri Jory & Seth Geiger and Graeter’s
____________________

Story by Rebecca Butts

CCM News CCM Slideshows Faculty Fanfare Student Salutes
Very Dumb Kids

CCM Presents Free Workshop Production of Gracie Gardner’s ‘Very Dumb Kids’

Gracie Gardner

New York playwright Gracie Gardner, commissioned to write ‘Very Dumb Kids.’

CCM’s Studio Series comes to a dramatic conclusion with a workshop production of Very Dumb Kids (formerly titled The Great Majority) by rising New York playwright Gracie Gardner. We invite you to join us Thursday, April 21 – Saturday, April 23 in the Cohen Family Studio Theater for a sneak-peek at this developing drama, which is part of CCM’s new play commissioning initiative. Assistant Professor of Drama Brant Russell directs.

One of the perks of producing a work-in-progress play is observing it evolve over time. Since its genesis, the title of this play has changed from The Great Majority to Very Dumb Kids. According to Gardner, she referred to the production as “the play about the very dumb kids” for quite some time, so this title change was a natural result of the creative process.

This action-packed drama tells the tale of an adventurous woman named Sarah who is tragically murdered while working as a correspondent in New Delhi. While Sarah was busy confronting the world, her college friends sat calmly at home in the U.S., streaming TV shows on the internet and peddling their esoteric skill sets. One year after her funeral, Sarah’s friends meet for their annual Fourth of July reunion.

The play explores entitlement and its effects are on the disenfranchised as well as the privileged in the millennial era. How can we live responsibly in an irresponsible universe?

Very Dumb Kids is the inaugural production of CCM Drama’s new play-commissioning initiative, which focuses on plays that speak to the unique experience of being young in America. The plays, written for and about our students, will enrapture a new generation of artists and audiences. They will go on to be produced by educational institutions and professional theatre companies all over the country to expand CCM’s reach and reputation as a preeminent institution for the performing arts. And you will be able to say you were there when it all started!

We invite you to join us April 21-23 for the workshop production of Very Dumb Kids and ask you to return next year for the full production!

Performance Times

  • 8 p.m. Thursday, April 21
  • 8 p.m. Friday, April 22
  • 2 and 8 p.m. Saturday, April 23

Location
Cohen Family Studio Theater, CCM Village
University of Cincinnati

Reserving Tickets
Admission to Very Dumb Kids is free but reservations are required.

Tickets become available at noon on Monday, April 18. Visit the CCM Box Office or call 513-556-4183 to reserve. Limit two tickets per order.

Parking and Directions

Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/park for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.
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 CCM Season Presenting Sponsor & Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Community Partner: ArtsWave

Drama Studio Series Sponsor: Neil Artman and Margaret Straub

____________________

Story by CCM graduate student Charlotte Kies

CCM News

CCM Slideshows: Leoš Janáček’s ‘The Cunning Little Vixen’

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Come see Leoš Janáček’s fantastical opera The Cunning Little Vixen, which opens tonight (Friday) at 8 p.m. and runs through Sunday as part of this year’s Mainstage Series.

Directed by Vince DeGeorge, this anthropomorphic opera explores the intimate relationship between man and nature. This production will be conducted by Mark Gibson and sung in English, with a new translation by CCM Professor Emeritus David Adams.

Learn more about the performance or view the cast list.

Leoš Janácek’s
THE CUNNING LITTLE VIXEN
An Opera in Three Acts
Critical revised version by Jiri Zahrádka
Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

Performance Times

  • 8 p.m. Friday, April 8
  • 8 p.m. Saturday, April 9
  • 2 p.m. Sunday, April 10

Location
Corbett Auditorium, CCM Village
University of Cincinnati

Purchasing Tickets
Tickets to The Cunning Little Vixen are $31-35 for adults, $20-24 for non-UC students and $18-22 for UC students with a valid ID.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online at ccm.uc.edu/boxoffice/mainstage/cunning-little-vixen.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

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CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Mainstage Season Production Sponsor: Macy’s

Community Partner: ArtsWave

Opera Department Sponsor: Mr. & Mrs. Edward S. Rosenthal

Opera Production Sponsor: Genevieve Smith

CCM News CCM Slideshows
One of the design inspirations for CCM's new production of THE CUNNING LITTLE VIXEN.

Discussing the Cycles of Life Presented in CCM’s ‘The Cunning Little Vixen’ with Director Vince DeGeorge

Leoš Janáček’s fantastical opera The Cunning Little Vixen comes to the CCM stage April 8 – 10 as part of this year’s Mainstage Series. To share what inspired his vision for the anthropomorphic production, Stage Director and Choreographer Vince DeGeorge reflected on the relationship between humans and nature with CCM Public Information Graduate Assistant Charlotte Kies.

A mask from CCM's 2016 production of THE CUNNING LITTLE VIXEN. Photography by Mark Lyons.

A mask from CCM’s 2016 production of THE CUNNING LITTLE VIXEN. Photography by Mark Lyons.

Could you tell me about your inspiration for the design of the masks in this production?

I’ve had this little vixen figurine for about 10 years. It was a gift from my wife, and it has become a touchstone for this project. You’ll see the geometric nature of the fox sculpture reflected in the masks by third-year graduate student and Costume Designer Oran Wongpandid. They’re very cool looking. There’s a sort of formalism about this little creature that I love, but there’s also a playfulness that embodies the spirit of this production.

CCM’s production of Leoš Janáček’s 'The Cunning Little Vixen.’ Photo by Mark Lyons.

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

How do they use these masks?

They carry the masks and sometimes wear them. They don’t sing with the masks on. One of the things that is most prevalent in this opera is the relationship between humans and animals. The actors come on stage as humans and they transform into animals in front of the audience. It’s a simple transformation through movement and mask work.

Is this something traditionally done, or is this a new idea of your own?

That’s something that I bring to it. Mark Halpin, the designer of the set, and I have never done a show together but we’ve worked a lot together. He sort of understands my aesthetic and he brought his own point of view to it as well. He has come up with this design that I think really embodies this very human aspect of this story. We become animals to tell a very human story.

'The Cunning Little Vixen'

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

What is that human story?

I think the human story is that every day, life is happening all around us. Often times we are too distracted, or aggressive, or controlling to notice. If you actually take the time to be aware, you will experience everything that’s going on around you. You may not experience all of it, but you will be more receptive to experiences. That’s the journey of the Forester, from very aggressive and controlling, to very open and receptive.

CCM’s production of Leoš Janáček’s 'The Cunning Little Vixen.’ Photo by Mark Lyons.

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

The Vixen has a different journey. She starts very innocent, open and receptive. Then events occur that change her to become more aggressive and more controlling. She eventually finds her way back into a much more open and receptive place with her love, the Fox.

What’s so beautiful about this opera is that it runs in cycles, in circles. Someone starts a scene and ends up in almost the same place, but something has changed within them. There is a giant cycle that’s going on within the entire opera and the Vixen has a cycle that’s running through her and the Forester. We don’t see the top of the Forester’s cycle but we see him changing back to this more open and receptive person. The music just cycles and cycles in a wonderful repetition and revision that Janáček is an expert at creating.

That sort of fits in with what I’ve read.

The opera is full of life cycles! But within them are tiny little journeys that are going on within ALL of the characters.

That is one aspect that makes this opera so amazing, and another reason why Mark and I decided to set it in a more distilled, abstract way, as opposed to setting it in the 1920s or in Czechoslovakia. To nail it down to a certain time period could diminish the universality of the performance. It doesn’t have a time period, but I think the story in itself is timeless. I’m not saying this is the way to approach this opera, this is the way we approached it.

'The Cunning Little Vixen'

CCM’s production of Leoš Janáček’s ‘The Cunning Little Vixen.’ Photo by Mark Lyons.

Is this opera often translated into English?

Well, I’m not an expert at that. What I can say is that when I was an undergrad here, David Adams was my voice teacher. Then he did the translation of my first opera here!

That’s a nice little cycle!

Yes, it is! And even though he is a professor emeritus here, David has been at a lot of rehearsals. He has been really involved. It’s been fantastic to work with him in a very different way and still learn from him.

Was it his choice to put this in English?

Actually, David wrote this for Professor Kenneth Shaw’s production here but then retired after spending a lifetime here. This is one of our ways to thank and honor him and the work that he’s done for CCM.

Are English-sung operas a theme this year?

Well, that’s something that we as a department really made an effort to do this year. Both Mainstage Operas were in English, which is more challenging to sing than other languages. The students need to learn how to sing in English and make it understandable and not lose their vocal quality.

____________________

Leoš Janáček’s The Cunning Little Vixen runs April 8 – 10 in UC’s Corbett Auditorium. Mark Gibson conducts with stage direction and choreography by Vince DeGeorge. This production will be sung in English, with a new translation by CCM Professor Emeritus David Adams. You can learn more about the production here.

CCM News Faculty Fanfare
A mask from CCM's 2016 production of THE CUNNING LITTLE VIXEN. Photography by Mark Lyons.

CCM’s Mainstage Series Presents ‘The Cunning Little Vixen’ April 8 – 10, 2016

CCM brings you Leoš Janácek’s anthropomorphic opera, The Cunning Little Vixen, from April 8 – 10 as part of this year’s Mainstage Series. Instead of the typical protagonists of kings, queens and courtly staff, the stars of Janácek’s opera are foxes, dragonflies and badgers, and a host of woodland creatures, as well as the humans who try to tame them. Mark Gibson conducts with stage direction and choreography by Vince DeGeorge. This production will be sung in English, with a new translation by CCM Professor Emeritus David Adams.

The story begins with a Forester who, asleep at the base of a tree after a long night of drinking, awakens to the sight of a playful vixen cub. Delighted with his newfound furry friend, the Forester stumbles home to his farm to show his family. Discontent with her life in captivity, the cunning Vixen plots her escape, ruffles some feathers among the farm animals, and flees into the night. The Forester is then devastated and left alone to pine after his lost treasure.

Meanwhile, the Forester’s drinking buddies have troubles of their own. The Schoolmaster lusts after a young woman engaged to another man, and the Priest struggles to reconcile a misstep in his past with his present life of piety. Each man finds himself tormented by his own obsession, and struggles to accept the natural progression of life and death when it is out of his control.

One of the design inspriations for CCM's new production of THE CUNNING LITTLE VIXEN.

One of the design inspriations for CCM’s new production of THE CUNNING LITTLE VIXEN.

Inspired by a serial comic strip printed in the local paper, Leoš Janácek uses music and dance to breathe life into the characters he saw on the page. DeGeorge said a muse in the form of a little wooden vixen, gifted from his wife 10 years ago, inspired his vision for CCM’s production of the opera.

The geometric nature of the figurine, which is featured on the program cover, is reflected in the masks worn and carried by the characters as they transform throughout the opera.

“One of the things that is most prevalent in this opera is the relationship between humans and animals. The actors come on stage as humans and they transform into animals in front of the audience,” DeGeorge said. “There’s a sort of formalism about this little creature that I love but there’s also a playfulness that embodies the spirit of this production.”

It’s that very spirit, the transformative essence and flow of cycles within the opera, that Janácek masterfully elicits in your ears. Janácek will mesmerize you with his lush harmonies and sweeping melodies, Hollywood strings, flittering elfin-like woodwinds solos, and powerful romantic brass, in this fantastical tale of the intimate relationship between man and nature.

Join us in CCM’s Corbett Auditorium, this April 8-10, to explore the human condition within the enchanted world of music and dance.

Leoš Janácek’s
THE CUNNING LITTLE VIXEN
An Opera in Three Acts
Critical revised version by Jiri Zahrádka
Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

The Creative Team

  • Mark Gibson, conductor
  • Vince DeGeorge, stage director and choreographer
  • Marie-France Lefebvre, musical preparation
  • Mark Halpin, scenic designer
  • Jeremy Dominik, lighting designer*
  • Oran Wongpandid, costume designer*
  • Kelly Yurko, wig & make-up designer
  • Kristen Budke, properties designer*
  • Susan Moser, choreographer
  • Michael Medina, stage manager*
  • John Murton, assistant conductor (Sunday matinee)*
  • Maria Fuller, rehearsal pianist*
  • Levi Hammer, rehearsal pianist*
  • Michael Medina, rehearsal pianist*

* CCM student

Performance Times

  • 8 p.m. Friday, April 8
  • 8 p.m. Saturday, April 9
  • 2 p.m. Sunday, April 10

Location
Corbett Auditorium, CCM Village
University of Cincinnati

Purchasing Tickets

Tickets to The Cunning Little Vixen are $31-35 for adults, $20-24 for non-UC students and $18-22 for UC students with a valid ID.

Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online at ccm.uc.edu/boxoffice/mainstage/cunning-little-vixen.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

____

CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Mainstage Season Production Sponsor: Macy’s

Community Partner: ArtsWave

Opera Department Sponsor: Mr. & Mrs. Edward S. Rosenthal

Opera Production Sponsor: Genevieve Smith

CCM News
The logo for Broadway's Lysistrata Jones.

CCM Musical Theatre Presents Energetic Comedy ‘Lysistrata Jones’ April 7-9, 2016

 

CCM caps off its 2015-16 series of musical theatre productions with Lewis Flinn and Douglas Carter Beane’s Lysistrata Jones, a modern pop retelling of the classic Greek comedy Lysistrata by Aristophanes.

The witty, high energy musical runs April 7 – 9 in the Cohen Family Studio Theater, featuring stage direction by Assistant Professor Emma Griffin, choreography by Adjunct Assistant Professor Patti James and Music Direction by CCM student Danny White. Like all Studio Series productions, admission to Lysistrata Jones is free, but reservations are required. Tickets become available at the CCM Box Office at noon on Monday, April 4.

Lysistrata Jones closely parallels the plot of the ancient Lysistrata, albeit with some artistic liberties that bring the story into the 21st century. In Aristophanes’ original, Lysistrata leads the women of Athens to stop having sex with their husbands and lovers until the long-lasting Peloponnesian War has finally ended. In the modern musical, the men’s basketball team at fictional Athens University has lost every game for the last 30 years when a cheerleader named Lysistrata “Lyssie J.” Jones transfers to the school. Lyssie J. inspires the girls at the school to stop “giving it up” to their boyfriends on the team until they finally win a game.

“It’s very clever,” says director Emma Griffin, “Anyone who knows the classic play really well will be delighted at the intelligence of the remake. But you don’t need to know the original at all, kind of like you don’t need to know Romeo and Juliet to understand and love West Side Story.”

Griffin and her creative team have turned CCM’s Cohen Family Studio Theater into a basketball arena, but Griffin is quick to point out that this is not your garden variety high school gymnasium:

“The creative team and I spent a lot of time looking at very heightened representations of sports and pop music. We also looked at comic books for some of the styling as well. So what you’ll see is a very colorful, poppy setting.”

The original Broadway production of Lysistrata Jones was reviewed extremely well, with Ben Brantley of the New York Times likening the show to the fun-filled Broadway musicals of the 1940s and 50s. He made sure to add, however, that “there’s a tasty substance beneath the froth.” Griffin agrees:

“This show does something that I think is quite difficult to do in terms of tone: it’s super poppy and funny, but the story is told in a very witty and intelligent way.”

With free admission and limited seating, CCM’s Studio Series productions remain one of the hottest tickets in town.

Learn more about how secure your tickets by visiting ccm.uc.edu/about/villagenews/did-you-know/how-to-studio-series.

CCM’s production of Lysistrata Jones is rated PG-13. There is no strong language or nudity; the subject matter includes sexual innuendo, but nothing overt.

LYSISTRATA JONES
A Musical Comedy About Faith, Hoops and Chastity
Book by Douglas Carter Beane
Music and lyrics by Lewis Flinn

Performance Times 

  • 8 p.m. Thursday, April 7
  • 8 p.m. Friday, April 8
  • 2 and 8 p.m. Saturday, April 9

PLEASE NOTE: the 8 p.m. performance of Lysistrata Jones on April 9 will coincide with an FC Cincinnati game scheduled to start at 7 p.m. in Nippert Stadium.

Location
Cohen Family Studio Theater, CCM Village
University of Cincinnati

Reserving Tickets
Admission to Lysistrata Jones is free, but reservations are required. Tickets become available at noon on Monday, April 4. Visit the CCM Box Office or call 513-556-4183 to reserve. Limit two tickets per order.

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.

____

CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Community Partner: ArtsWave

Lysistrata Jones is presented by arrangement with TAMS WITMARK MUSIC LIBRARY, INC., 560 Lexington Avenue, New York, New York 10022

____________________

Story by CCM and UC Lindner College of Business graduate student Ryan Strand (BFA Musical Theatre, 2006)

CCM News
CCM Musical Theatre's class of 2016.

CCM Musical Theatre Presents Annual Senior Showcase March 17 and 19

CCM Musical Theatre's class of 2016.

CCM Musical Theatre’s class of 2016.

Cincinnati audiences will get a sneak peek of an original showcase created by the 2016 graduating class from CCM’s Department of Musical Theatre during the annual “Not Famous Yet” Showcase, which runs on March 17 (CCMpower benefit performance) and March 19 in UC’s Patricia Corbett Theater.

The March 17 benefit performance starts at 7 p.m. and features dinner-by-the-bite and a post-performance celebration. Tickets for this benefit event are on sale now. For tickets and additional information, visit ccm.weshareonline.org/ws/opportunities/NotFamousYetShowcase2016.

The March 19 performances take place at 4 and 8 p.m. and are free, but reservations are required. Tickets for these free performances become available at the CCM Box Office at noon on Monday, March 14, 2016.

Each year, seniors from CCM’s musical theatre program travel to New York to present a showcase for the leading agents, casting directors and managers in the business. The show takes the format of a Broadway audition, with the actors showing off their solo and ensemble skills through song and dance numbers. This year’s work is created by the students themselves under the supervision of program chair Aubrey Berg, with musical direction by Julie Spangler and musical staging by Samantha Pollino.

This year’s performance is the 24th edition of the CCM “Not Famous Yet” showcase. The annual showcase began with the establishment of the Patricia A. Corbett Distinguished Chair of Musical Theatre in 1991. At the time of its inception, it was the only academic chair of its kind in the United States. Learn more about the Musical Theatre Class of 2016 here.

CCMpower Benefit Performance
The opening performance of the Musical Theatre Showcase on March 17 is part of a benefit for CCMpower. The event begins at 7 p.m. and includes dinner by the bite.

CCM alumna Lisa Howard.

CCM alumna Lisa Howard.

This event also includes the presentation of the Musical Theatre Young Alumni Award, which recognizes outstanding professional achievement by graduates of CCM’s musical theatre program from the past two decades. This year’s recipient is Lisa Howard (BFA Musical Theatre, 1997).

A native of Akron, Ohio, Howard began her performing career with the ETC All American Youth Show Choir and Firestone High School’s performing arts department before heading to CCM.

She has worked at prominent regional theaters across the country including the St. Louis MUNY, Kansas City Starlight, the Olney Center, Goodspeed Opera House, Pittsburgh Civic Light Opera and Barrington Stage Company. She has performed in the national touring company of Les Misérables.

On Broadway, Howard has been seen as Diva 1 in Priscilla, Queen of the Desert, Missy Hart in 9 to 5, Head Nurse in Lincoln Center’s TONY award winning revival of South Pacific and – most notably – as Rona Lisa Peretti in The 25th Annual Putnam County Spelling Bee, for which she won a Drama Desk Award for Best Ensemble Performance.

In the concert scene, Howard has performed in “Broadway Today” produced by the Spot-On Entertainment Co. and in the Kaufman Center’s Broadway Close-up Series in “Stephen Schwartz: Magic To Do” and William Finn’s “More Infinite Joy” and “Even More Infinite Joy” at Merkin Hall. She has sung with the Cincinnati Symphony Orchestra and with Peter Nero and the Philly Pops. At Town Hall in NYC, Howard has performed in “Broadway Unplugged,” “A Night At The Operetta” and the popular “Broadway By The Year” series.

Howard’s debut solo CD, Songs of Innocence and Experience: the Music of William Finn was released in the Spring of 2011. Her TV and film credits include Ugly Betty and the Twilight Saga: Breaking Dawn Part II.

Tickets for the March 17 benefit are:

  • Patron Tickets: $100 each; includes a pre-show patron reception with Lisa Howard at 6 p.m. in the Baur Room of the Corbett Center for the Performing Arts, general performance seating, dinner-by-the-bite, wine and garage parking.
  • General Public Tickets: $75 each; includes general performance seating, dinner-by-the-bite, wine and garage parking.
  • CCMpower Member Tickets: $50 each; includes general performance seating, dinner-by-the-bite, wine and garage parking.
  • Young Professional (40 and under) and CCM Alumni Tickets: $35 each; includes general performance seating, dinner-by-the-bite and garage parking.

Dinner-by-the-bite will follow the performance at 8 p.m. in the CCM Atrium. Proceeds benefit student career development grants and scholarships. Seating is limited. To reserve a ticket, call CCM External Relations at 513-556-2100 or visit ccm.weshareonline.org/ws/opportunities/NotFamousYetShowcase2016.

CCM Hosts FREE Performances of the Showcase on March 19
Admission to the Musical Theatre Showcase at 4 and 8 p.m. on Saturday, March 19, is FREE. Seating is limited and reservations are required. Tickets become available at noon on Monday, March 14; please visit the CCM Box Office or call 513-556-4183 to make a reservation. Limit two tickets per order.

Performance Times

  • 7 p.m. Thursday, March 17 — CCMpower Benefit
  • 4 & 8 p.m. Saturday March 19

Location
Patricia Corbett Theater, CCM Village
University of Cincinnati

Parking and Directions
Parking is available in the CCM Garage (located at the base of Corry Boulevard off Jefferson Avenue) and additional garages throughout the UC campus. Please visit uc.edu/parking for more information on parking rates.

For detailed maps and directions, please visit uc.edu/visitors. Additional parking is available off-campus at the new U Square complex on Calhoun Street and other neighboring lots.

For directions to CCM Village, visit ccm.uc.edu/about/directions.
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CCM Season Presenting Sponsor and Musical Theatre Program Sponsor: The Otto M. Budig Family Foundation

Community Partner: ArtsWave

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