Stay Connected: CCMONSTAGE Online’s Latest Newsletter

Experience the artistry and expertise of our students, alumni, faculty and staff through our CCMONSTAGE Online e-newsletter. Our latest edition features performance videos, stories and other resources designed to help us stay connected.

UC plans to welcome back students to campus on Aug. 24 for the start of the fall semester. A thoughtful blend of in-person and virtual offerings, in addition to enhanced health and safety measures, will provide students with the best collegiate experience possible in this new era of living and learning. Learn more about UC’s Return to Campus.

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CCM Dance co-ops create pipeline from student to professional artist

The college’s co-op program connects students to professional ballet companies while they complete their BFA degrees, creating a pipeline that leads young artists to their future careers. Student Grace Mccutcheon and alumna Hannah Holtsclaw share how CCM Dance co-ops have impacted their careers so far. Read more.

WVXU and CCM Acting’s “O’Toole From Moscow” is available to stream on demand

Listen online to enjoy Rod Serling’s comedy about confusion between Russians and the Cincinnati Reds. Directed by CCM Professor Richard Hess, the radio play features a cast of CCM Acting students with narration by Serling’s daughter, Anne. Read more.

Internationally acclaimed stage director Greg Eldridge joins CCM’s opera faculty

Eldridge has worked across eight countries at some of the world’s most famous opera houses. His work has been praised by critics for its “thoughtful and effective” staging, with “detailed characterizations and considered through-lines” a hallmark of his directing style. Read more.

Eight UC faculty recognized for excellence in mentoring undergraduate researchers

CCM Assistant Professor-Educator of Piano Andy Villemez was named one of this year’s outstanding research mentors. UC offers numerous opportunities for undergraduate students to participate in research and explore it as a possible career. Read more.

Arts for all: CCM offers mix of online, in-person electives in fall 2020

CCM offers dozens of different general studies and arts elective courses in fall 2020. These credit-granting courses are open to all UC students and cover a wide range of topics including dance, movies and media, music and theatre arts. Read more.

CCM Organ Professor spotlights C.B. Fisk Opus 148 Organ on “Around Cincinnati”

Cincinnati’s Christ Church Cathedral dedicated a new C.B. Fisk Organ Opus 148 in 2018. To learn more about this special instrument, WVXU’s Alexander Watson recently spoke with CCM Professor of Organ and Harpsichord Michael Unger and David Pike, head tonalist from C. B. Fisk Organ Builders. Read more.

CCM Sounds Design student wins Pat MacKay Diversity in Design Scholarship

BFA Sound Design student Alena Milos is a recipient of the 2020 Pat MacKay Diversity in Design Scholarship, presented by Questex’s Live Design International (LDI) in partnership with TSDCA and USITT. Live Design, a creative and technical resource for live design professionals, recently featured Milos in a Q&A published online. Read more.

FAQs and Online Resources

Please refer to our coronavirus resource website to help answer your frequently asked questions. This website is updated as new information develops, so please check back often. See more UC answers to your important questions.

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CCM Alumni Applause CCM News CCMONSTAGE Faculty Fanfare Student Salutes

CCM Celebrates 2020 Faculty Retirements

As the 2019-20 academic year comes to a close, UC’s College-Conservatory of Music celebrates the careers of five retiring faculty members who have given nearly 124 years of combined service to the college. These members of the CCM family have dedicated themselves to continuing the college’s legacy as a leading training center for the performing and media arts:

  • Earl Rivers, professor of music and director of choral studies, 1973-2020
  • Dean Mogle, professor and head of costume design and technology, 1989-2020
  • Alan Siebert, professor of trumpet, 1990-2020
  • Mark Williams, professor of lighting design and technology, 2009-20
  • Stephen Allee, professor of music, 2015-20

Please join us in saluting their years of service to the CCM community!

Earl Rivers conducts CCM’s 2018 performance of J.S. Bach’s “St. John Passion” at Cincinnati’s Knox Presbyterian Church. Photo/Andrew Higley

Earl Rivers arrived at CCM as a DMA student in September 1970. During his first month at the college, he remembers joining other student conductors and the May Festival Chorus to welcome incoming Cincinnati Symphony Orchestra Music Director Thomas Schippers with a performance of Giuseppe Verdi’s Requiem at Music Hall. He has since presented numerous choral masterworks with students at CCM and throughout Greater Cincinnati.

“My favorite memories at CCM include the staged productions we accomplished of J.S. Bach’s St. John Passion and St. Matthew Passion, and of Honegger’s Joan of Arc at the Stake — all staged by talented student directors in CCM’s Opera Stage Directing Artist Diploma Program,” Rivers says. “These productions prepared CCM’s student singers, instrumentalists, conductors, and technical theatre majors to become leaders in the next generation of performers in staged productions of concert works and oratorios.”

Dean Mogle displays his costume designs for CCM’s 2016 production of “Swan Lake.” Photo/Becky Butts

After 31 years at CCM with nearly 150 costume design graduates and more than 300 supervised staged productions, Dean Mogle has too many memories to single out only a few. “The richness of student talent over the years has elevated all of us to new heights in training,” he says.

“I am most proud as our students take their rightful places in this country’s most prestigious theatre, opera and dance organizations, as well as Broadway, motion pictures and television productions,” Mogle adds. “Over the years, the incredibly dedicated professional staff and faculty have mentored each student toward their full potential and guided them into their chosen areas of this profession. Whether designing, assisting, managing, making or dressing, our students are admired by the profession for their talents, skills and dedication — hallmarks of CCM.”

Alan Siebert and Bryan Crisp snap a selfie behind-the-scene of Crisp’s Music On Purpose podcast. Photo/Bryan Crisp

Alan Siebert’s favorite memories of are watching students succeed, whether at a recital, conference or on stage. Over the years, he has celebrated students’ accomplishments near and far — in performances in Cincinnati as well as all over the world including Bangkok, Thailand.  He remembers trying to livestream a broadcast of students performing at the National Trumpet Competition in Texas when he and his wife were driving home from one of his own concerts. They pulled into the parking lot of a shopping center, sat in their car and watched the performance on his phone so they could cheer them on from afar.

“I also love performing with my former students,” adds Siebert, who recently reunited with former student Bryan Crisp (MM, ’05) to talk about his career on Crisp’s Music On Purpose podcast. “Whether it’s in a recital, orchestra or chamber music setting. It is always gratifying to see them years later and marvel at how well they have done, knowing that you had a small part in that development. I have had great colleagues and students at CCM and also many wonderful opportunities because of CCM.”

Mark Williams coordinated the BOOM! lighting display at CCM’s 2020 Moveable Feast. Photo/Quinn Villarreal

Mark Williams is the instructor and coordinator behind CCM’s annual BOOM! lighting showcase, a dazzling stage lighting and technical production display by students in his Moving Light Programming course. The event inspired the “Light Their Way” theme at CCM’s 2020 Moveable Feast fundraiser.

Former student Oliver Littleton (BFA, ’19) remembers taking Williams’ Moving Light Programming course and how it challenged him to examine his design process and use lighting technology in new ways. “The training from Mark’s course is something I use all the time in my work now,” said Littleton, who began working as a lighting design intern at Walt Disney World during his final year at CCM.

CCM faculty members Kim Pensyl, Stephen Allee, Craig Bailey and Scott Belck in Brazil during CCM’s residency with JALCO. Photo/Stephen Allee

A pianist, composer and arranger, Stephen Allee has spent more than 35 years working primarily as a jazz instructor as well as writing and performing for syndicated radio programs, network TV and motion pictures. Over the summer, he traveled with the CCM Jazz Orchestra to São Paulo, Brazil for an international residency with Wynton Marsalis’ Jazz at Lincoln Center Orchestra. CCM’s Department of Jazz Studies was named Jazz at Lincoln Center‘s inaugural College Affiliate, a distinction reserved for the country’s top-ranked jazz programs.

More recently, Allee worked with fellow CCM faculty member Rusty Burge and musicians Steve Houghton, Rob Dixon and Jeremy Allen to release BAHAD in January 2020. Allee wrote the title track of the record, which is available to stream online.

“My experience in the Jazz Studies Department at CCM has been nothing short of amazing,” Allee says. “Our students have grown by leaps and bounds, nurtured by the encouraging atmosphere in our department.”

CCM News Faculty Fanfare
Littleton was the assistant lighting designer for the New Year's Eve Celebration at Epcot in Walt Disney World.

Designing Disney: Inside Look at CCM Student’s Internship at Walt Disney World

Graduate Lighting Design student Oliver Littleton is in his final year at CCM, and is already working full-time as a paid professional intern at Walt Disney World in Orlando. The MFA student is finishing up his school work from Florida in order to graduate on time this May.

Littleton works as a show lighting design intern with Disney Imagineering, but is also working on a CCM project in Cincinnati that was originally developed by Disney Theatrical Productions. He is the lighting designer for CCM’s upcoming Mainstage Series production of The Hunchback of Notre Dame, which runs Thursday, March 7-Sunday, March 10, 2019, at CCM’s Corbett Auditorium.

Now, this is not exactly like the animated film musical that patrons may remember from the late ‘90s. The stage musical is based on Victor Hugo’s gothic novel and songs from Disney’s animated feature. It showcases music and lyrics by Alan Menken and Stephen Schwartz, including some new songs that weren’t heard in the film version.

“The stage musical hews closer to the original novel by Victor Hugo and, despite the endearing gargoyles, is designed for adult audiences who will see it as a cautionary tale for our times,” says CCM Musical Theatre Chair Aubrey Berg, director of CCM’s production. Parental discretion is advised.

Littleton was the assistant lighting designer for the New Year's Eve Celebration at Epcot in Walt Disney World.

Littleton was the assistant lighting designer for the New Year’s Eve Celebration at Epcot in Walt Disney World.

Disney’s professional internships are designed to connect students and recent graduates with paid professional opportunities and as the company evaluates them for future employment. Littleton began his internship with Disney over the summer, and plans to continue his work for the company for the foreseeable future.

“I want to continue growing my skills in the entertainment and architectural fields,” Littleton says. “I hope to continue designing for theatre and the opera as well, for both enjoyment and experience. However, I think my long term plans lie in architectural entertainment applications for lighting design.”

Between balancing school work and his work as a Disney Imagineer, Littleton found time to catch up with us to share some behind-the-scenes details about CCM’s production of “Hunchback” and his experience in Disney’s professional internship program.

What does your work at Disney entail? How did you come to this opportunity?
In the spring of 2018, I applied for a Lighting Design Professional Internship with Disney Parks Live Entertainment in Walt Disney World, Florida.  Disney Parks Live Entertainment is the group who design and plan all of the live entertainment aspects of Disney’s parks and resorts around the world. That includes stage shows, parades, live celebrations, events and nighttime spectaculars.  I was chosen as the Lighting Design Professional Intern for the summer and fall cycles, and held that position from June until the end of 2018. I worked as an assistant designer, associate designer, draftsmen and lighting consultant for dozens of projects both current and upcoming. Some of the completed projects that I worked on include Mickey’s Not So Scary Halloween Party, Mickey’s Very Merry Christmas Party, DVC Moonlight Magic Events and The Wonderful World of Disney: Magical Holiday Celebration Live on ABC.

As the end of my professional internship with entertainment neared, I was offered a position working as a Show Lighting Design Professional Intern with Disney Imagineering. Walt Disney Imagineering is the creative force behind Walt Disney Parks and Resorts that dreams up, designs and builds all Disney theme parks, resorts, attractions, cruise ships, real estate developments and regional entertainment venues worldwide. As a part of the show lighting design team I work to evaluate and assess the existing lighting design in all of our venues and help to maintain the original intent as well as improve the quality of the lighting.  I will be in this position until June, at which time I hope to be offered a full-time position in the same group doing similar work.

Littleton was the assistant lighting designer for the New Year’s Eve Celebration at Epcot in Walt Disney World. Photo provided.

How have you been able to balance your work at Disney and your studies at CCM?
A combination of great understanding by my professors and not much sleep! Last semester I was officially on co-op for 9 of my credit hours, so that was a bit easier than this one has been. I have been working on “Hunchback” with Aubrey Berg and my assistants since last September, and that was pretty easy to balance by putting in a few hours a week in the evenings to communicate with the team via email. After I was offered the opportunity to stay at Disney, I communicated extensively with my advisors about what was best for my education along with, obviously, my future career.  We worked out how many days I would be in Cincinnati during the semester for the show and how I could fulfill some of my class requirements online from Florida. I continued communicating with the director and design team from afar. Frankly it’s just been plenty of long nights and busy weekend days as its been both my full-time job with Disney and another 20 to 30 hours a week of doing things for my MFA.

It has been awesome of my professors to work with me and help me take this amazing opportunity while staying on track to get my degree in May as planned.

What sort of special effects have you incorporated into your lighting design for CCM’s production of The Hunchback of Notre Dame?
The show presents us with lots of unique challenges. We need to quickly tell complex moments of the story and show the various scenic changes as characters travel from location to location. We use some great physical tricks to achieve this in the set with props and lighting — but I don’t want to give anything away for people who will come see the show. The big two challenges on this show have been lighting a huge and architectural set, as well as treating five different backdrops for the show. I’ve used a lot of the same techniques and approaches in “Hunchback” that I have previously taken in lighting buildings and event structures, as well as approaches I’ve used in more traditional theatre settings. I think a lot of people who come and see the show will experience a set that feels just a bit different than what they are used to seeing onstage.

A set rendering for CCM’s production of “The Hunchback of Notre Dame” by student scenic designer Lindsey Purvis.

Hunchback” feels epic, dynamic and very real, where so many sets can come off as thin, flimsy and flat. I think the other thing to appreciate is how we use light and subtle changes of the set to quickly move through time and place. I think the audience will be able to quickly understand where we are just from a backdrop or a color movement and hopefully they are impressed by how many looks and feelings we draw out of the space.

What has been your favorite lighting design experience at CCM? What about outside of CCM?
At CCM, I designed the 2017-18 Mainstage production of Candide in Patricia Corbett Theatre. I had both a really great experience and, I think, a pretty cool and unique outcome. We worked hard to create a very unique and bold approach to the tricky piece. A huge part of the storytelling fell to my lighting design and it was a blast to take on that responsibility with such a fun show. Outside of CCM my work at Disney has been really exciting, obviously, and I think that’s been my favorite experience in a long time.

Has there been a specific class or instructor who particularly impacted your learning experience at CCM? How so?
Mark Williams and his Moving Light Programming class my first year at CCM was both an incredible challenge and an essential learning experience for me. The course was about learning to use moving light consoles to program intelligent fixtures in high pressure environments. The course taught me about my own design process as well as ways to use technology to help create stories that otherwise couldn’t exist. The training from Mark’s course is something I use all the time in my work now.

Do you have anything else to add about your experience working on CCM’s production of The Hunchback of Notre Dame?
It has been great to work on my first musical at CCM and an exciting change of pace. It’s a unique and powerful addition to our season and a wonderful conclusion to my time earning a masters. I hope everyone who is able to see our production appreciates the piece as a modern and important show; watching rehearsals and being a part of the process has given me a real appreciation for the music and elegant storytelling that comes from both Hugo’s novel and Disney’s animated take on the story. It has been a process that I will remember and continue learning from for a long time.

CCM’s epic production of The Hunchback of Notre Dame opens on Thursday, March 7 and continues through Sunday, March 10, 2019. Tickets are on sale now through the CCM Box Office.


Music by Alan Menken
Lyrics by Stephen Schwartz
Book by Peter Parnell
Based on the Victor Hugo novel and songs from the Disney film
Originally developed by Disney Theatrical Productions

Performance Times

  • 8 p.m. Thursday, March 7
  • 8 p.m. Friday, March 8
  • 2 p.m. Saturday, March 9
  • 8 p.m. Saturday, March 9
  • 2 p.m. Sunday, March 10

Corbett Auditorium, CCM Village
University of Cincinnati

Purchasing Tickets
Ticket prices start at $32. Discounts are available for UC and non-UC students. Service charges may apply for online orders.

Single tickets are on sale now! Tickets can be purchased in person at the CCM Box Office, over the telephone at 513-556-4183 or online through our e-Box Office!

Visit for CCM Box Office hours and location.

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 campus of the University of Cincinnati. Please visit for more information on parking rates.

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

For directions to CCM Village, visit

Mainstage Production Sponsor: Macy’s

Musical Theatre Production Sponsor: Dr. & Mrs. Carl G. Fischer

Musical Theatre Performance Sponsor: Graeter’s Ice Cream

THE HUNCHBACK OF NOTRE DAME is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, 421 West 54th Street, New York, NY 10019 Tel: 212-541-4684 Fax: 212-397-4684

CCM News Student Salutes
A model of the scenic design for CCM's production of 'Idomeneo.'

CCM Behind-the-Scenes: Lighting Design for Mozart’s ‘Idomeneo’

First-year graduate student Oliver Littleton’s first lighting design work was in churches, small theaters and tiny clubs. Now his designs will be seen in the Mainstage production of Idomeneo at UC’s College-Conservatory of Music.

The opera opens on Thursday, Mach 30 and continues through Sunday, April 2 in CCM’s Patricia Corbett Theater. Tickets are available through the CCM Box Office.

Littleton began his theatre training in Alabama at the age of 12. He wanted to be an actor, but always had an interest in lighting design. After earning a BFA in technical theatre from Adelphi University in New York, Littleton chose to pursue his graduate studies at CCM. He enrolled in CCM’s Theatre Design and Production program, where he studies lighting design and technology.

Light plays a key role in creating the “gods and monsters” in CCM’s production of Idomeneo. In an interview with CCM graduate assistant Charlotte Kies, Littleton shared some of his thoughts on the expressive power of lighting and its effect in Mozart’s first great opera seria.

What drew you to the lighting design program at CCM?
I loved the opportunity to be the lighting designer for a huge variety of genres including dance, opera, theatre and musicals. I value our large production scale and commitment to modern technology in all areas of the technical and design departments. Most important is probably my comfort within the culture of the CCM community.

It’s a hardworking environment that demands excellence, and does its best to surpass being just an educational institution in order to produce great art in a variety of fields.

How does your lighting design for Idomeneo compare to your work in other CCM productions?
This is my first Mainstage production at CCM so obviously scale is the big one! I designed Middletown in the fall and Transformations just a month ago, both in the Cohen Family Studio Theatre. Though they presented unique challenges, the sheer size of those productions was much smaller than this.

We’ve heard that lighting plays a significant role in establishing the abstract setting and in creating the “gods and monsters” of Idomeneo. Can you describe how you use light to create these “special effects?”
The metaphors of gods and monsters in this production of Idomeneo, in my mind, are far more important than their physical presence in the opera. To this end the “gods and monsters” are expressed in lighting with the contrast between restraint and excess.  Using color, intensity and texture to contrast between safe comfort, otherworldly mystery and grimy disappointment helps tell the story of monsters and heroes.  Our sea monster is of the mind.  It is doubt, hate, selfishness and it gets expressed with rich vivid color and powerful waves of light.  I want the lighting to drive this change and make the audience question who really are the monsters and gods of the piece.

A god-like face can be seen in Littleton's lighting design concept for 'Idomeneo.'

A god-like face can be seen in Oliver Littleton’s lighting design concept for ‘Idomeneo.’ Photo provided by Oliver Littleton.

What other roles does the lighting play in this opera?
When you start looking at abstract or ethereal lighting design, the first pitfall you see lighting designers take is forgetting that the point of the production is for audience members to sit in seats and watch people do things. All the fancy design in the world doesn’t amount to anything if the patrons can’t see the performers and understand what is going on in the story. The first job of every lighting designer is the help interpret the story and we do that in a number of ways. Lighting some areas of the stage while leaving others dark tells the audience where to look and focus. Using toplight and backlight that makes it difficult to see facial features gives a sense of drama and tension, while front light imbues a naturalistic nature to the stage. Every choice is informed by the question, “How does this serve the story,” and any choice that is not enslaved to it must be mercilessly eliminated.

Do you have anything else to add about your experience working on Idomeneo?
Idomeneo is a criminally underrated opera that is one of Mozart’s greatest offerings musically. I hope that everyone who watches the show leaves the theater saying things like “what a wonderful and interesting production” or “that was a beautiful way to share that music and story with us.” If they are talking about my lights or the set more than the characters’ choices or vocal prowess, then we as a design team have failed.

The greatest joy I take in my work is contributing to performers sharing stories and feeling with the audience. I hope this show does that for everyone who comes to see it.

CCM’s production of Idomeneo is directed by CCM artist diploma candidate Marcus Shields and conducted by Assistant Professor of Music Aik Khai Pung. It is sung in Italian with English supertitles. Find more information on the production in our press release.


Composed by W.A. Mozart
Libretto by Giovanni Battista Varesco
Aik Khai Pung, conductor
Marcus Shields, director

Performance Times
8 p.m. Thursday, Mar. 30
8 p.m. Friday, Mar. 31
8 p.m. Saturday, April 1
2 p.m. Sunday, April 2

Patricia Corbett Theater, CCM Village
University of Cincinnati

 Purchasing Tickets
Tickets to Idomeneo are $31-35 for adults, $22-25 for non-UC students and $18-21 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

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. Additional parking is available off-campus at the U Square complex on Calhoun Street and other neighboring lots. Please visit for more information on parking rates.

For detailed maps and directions, please visit

For directions to CCM Village, visit


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

Mainstage Season Production Sponsor: Macy’s

Story by CCM Graduate Student Charlotte Kies

CCM News Student Salutes
CCM's Cohen Family Studio Theater.

CCM Lighting Design Majors Show Off Their Skills With Help From Vincent Lighting Systems

LightingDesign0226The stars-of-tomorrow in CCM’s Lighting Design and Technology program will have the chance to shine brighter than ever this week thanks to the generosity of Vincent Lighting Systems.

Each year, students in CCM’s course on “Moving Light Programming” get an opportunity to show off their mastery of the art and science of lighting design in a dazzling class presentation entitled “BAMM!”

Students spend weeks planning for this capstone event and are then given only a few days to execute their plans, programming complex lighting on a rig of various fixtures – each with different attributes and abilities – in CCM’s versatile Cohen Family Studio Theater.

This year, long-time CCM supporter Vincent Lighting Systems has donated equipment to the event, allowing students to install and work with some of the most advanced gear available in the lighting industry.

This unique experience puts these students on the forefront of lighting education, reinforcing CCM’s reputation as the finest training program for lighting professionals in the country.

CCM’s faculty, staff and students would like to thank UC alumni Paul Vincent and Adam Hayward, along with the rest of the Vincent Lighting Team, for making this experience possible.

CCM Lighting Design and Technology presents BAMM! at 8 p.m. on Friday, Jan. 16. This is an open class presentation, however seating is limited.

Learn more about CCM’s Lighting Design and Technology program by visiting

Learn more about Vincent Lighting Systems by visiting

CCM Alumni Applause CCM News

CCM Lighting Design Student Receives Electronic Theatre Controls’ 2013 Student Sponsorship Award

Lighting Design graduate student Angelina Vyushkova.

Lighting Design graduate student Angelina Vyushkova.

Congratulations to MFA Lighting Design candidate Angelina Vyushkova on receiving Electronic Theatre Controls‘ (ETC) 2013 LDI Student Sponsorship. Now in its 14th year, this program awards exceptional lighting design and stage technology students an all-expense-paid trip to the LDI 2013 trade show, where they will get a behind-the-scenes look at new technology and get to network with industry professionals.

Vyushkova and six other sponsorship recipients are also matched with industry luminaries, who offer individual support, advice and encouragement to the students as they launch their careers. You can learn more about ETC’s 2013 LDI Student Sponsorship recipients here.

Now a CCM graduate student, Vyushkova received a bachelor of fine arts with an emphasis on theatre design and production from Texas Christian University in 2012. Originally from Russia, she earned a diploma from Perm Art College #1 in 2004. Her light designs have been seen on stage at the Hardy and Betty Sanders Theatre, the W.E. Scott Theatre, and Bass Hall in Fort Worth, Texas.

CCM News Student Salutes

CCM Alumnus Travis Hagenbuch Nominated For Fourth Primetime Emmy

CCM Alumnus Travis Hagenbuch with the first two Emmys he won.

CCM Alumnus Travis Hagenbuch with the first two Emmys he won.

CCM alumnus Travis Hagenbuch (BFA, 2007) was nominated for his fourth primetime Emmy award this year (ceremonies were held on Sept. 22).

Nominated in the category of “Lighting Design,” Hagenbuch has designed lighting for such live televised events as the Olympics, President Obama’s inaugural celebration, a Super Bowl halftime show with Tom Petty, the Academy Awards, the Grammy Awards, the Tony Awards, the Academy of Country Music Awards, BET Awards, as well as TV specials for Lionel Richie, Betty White’s 90th birthday and Celine Dion.

The three Emmys has won to date are for the Vancouver Olympics’ opening ceremony in 2010 and for two Grammy ceremonies in 2011 and 2012.

You can learn more about Travis Hagenbuch courtesy of UC Magazine.

CCM Alumni Applause CCM News

CCM MFA Student Alan Hanson Wins iSquint and Stage Directions’ 2013 Lighting Design Competition

"Chess" runs Oct. 25 - 28 in UC's Corbett Auditorium. Photography by Mark Lyons.

“Chess” runs Oct. 25 – 28 in UC’s Corbett Auditorium. Photography by Mark Lyons.
Tickets on sale now! Visit for more information. Photography by Mark Lyons.

We are thrilled to announce that CCM class of 2013 MFA Lighting Design student Alan Hanson has won the 2013 Student Lighting Design Competition organized by online entertainment lighting industry publication iSquint and theatre art and technology journal Stage Directions!

Hanson’s lighting design for CCM’s Fall 2012 Mainstage Series production of Chess took the title in this third annual competition, which offers a valuable prize package of lighting software and literature.

View a slideshow of Hanson’s award winning work on Chess here.

The Student Lighting Design Competition is sponsored by lighting technology companies City Theatrical, Nemetschek Vectorworks and Field Template Soft Symbols, and is judged by leading experts in the lighting design field and developers of the software entrants must use to create their design entries. Visit to learn more about this competition.

Congratulations to Alan on this exciting award!

CCM News Student Salutes

CCM Theatre Design & Production Students Win State-Of-The-Art ETC Consoles

We are proud to announce that a team of CCM Theatre Design & Production (TD&P) Lighting Design and Technology students won second place in Electronic Theatre Controls‘ recent “Show Us Your ETC!” student-video challenge.

The students involved in this effort included producers Nik Robalino, David Seitz and Ethan Peterson with assistance from Natalie Estes, Alan Hanson, Alan Kleesattel and Tim Schmall. Their project involved combining their technical and graphic skills to pixel-map Fred Foster’s face.

CCM News CCM Video Student Salutes