CCM Dance presents 'Swan Lake.'

CCM Dance Presents Lavish New Production of Enduring Classic Ballet ‘Swan Lake’ April 22-24, 2016

Swan Lake

Madison Holschuh as Odette and Samuel Jones as Prince Siegfried in CCM’s production of ‘Swan Lake.’ Photo by René Micheo.

CCM’s Department of Dance presents Tchaikovsky’s timeless ballet, Swan Lake, April 22-24 in Corbett Auditorium. 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, which Dance Magazine has hailed as one of the country’s “top programs to consider.” The lavishly staged spectacle features accompaniment by CCM’s lauded Concert Orchestra under the direction of Assistant Professor of Music Aik Khai Pung.

A tale of unending love and haunting mystery, Swan Lake is one of the most well-known fables of our time. The classic Russian ballet is performed in four acts and tells the story of Odette, a maiden turned into a swan by the evil sorcerer, Von Rothbart.

Disinterested in potential love matches arranged by his mother, Prince Siegfried is in search of a wife when he stumbles upon Odette during a night hunt. The two fall madly in love but their romance is hindered by Odette’s curse – which forces her and her fellow maidens to become swans by day and human by night.

Swan Lake marks only the second time in CCM’s nearly 150-year history that a full-length story ballet has been included in the Mainstage Series. As a result, this production features brand new costumes designed and built in-house, which is actually a CCM first.

Costume Design and Technology Program Head Dean Mogle spent 18 months on the creation of Swan Lake’s intricate costumes. For the past 40 years, Mogle has designed for numerous drama, musical theatre, opera and dance productions, including the Cincinnati Ballet’s The Nutcracker.

“The ballet world is a totally different beast,” Mogle said of the challenging costume designs. “In dance, it’s all about the body and movement.”

In addition to the famous white swan costumes traditionally associated with the ballet, the story will come to life with vibrant colors and rich fabrics adorning the talented performers of CCM Dance. In particular, keep an eye out for the intricately designed costumes worn by Prince Siegfried’s potential wives on display during the opulent ball in Act III.

For this production, the iconic role of Odette will be performed by dance majors Yu-Ting Huang (on Friday and Sunday) and Madison Holschuh (on Saturday).

Guest artist Patric Palkens, appearing by permission of the Cincinnati Ballet, will perform as Prince Siegfried in the Friday and Sunday performances of Swan Lake. Palkens joined the Cincinnati Ballet in 2011 and was promoted to Principal Dancer in 2015. He returns to Cincinnati after spending a year in Europe with Salzburg State Theater Austria Dance.

The ballet will also feature Assistant Professor of Dance André Megerdichian, who will dance the role of evil sorcerer Von Rothbart. Megerdichian has performed professionally over two decades with such companies and choreographers as the Jose Limón Dance company, Janis Brenner and Dancers, The Mary Anthony Dance Theatre, Soundance Repertory Company, Reidel Dance Theatre, Daniel Charon and Sean Curran.

Join us for this timeless tale of love and magic in CCM’s Corbett Auditorium April 22-24.

Performance Times

  • 8 p.m. Friday, April 22
  • 8 p.m. Saturday, April 23
  • 2 p.m. Sunday, April 24

Location
Corbett Auditorium, CCM Village
University of Cincinnati

Purchasing Tickets
Tickets to Swan Lake are $27-31 for adults, $17-20 for non-UC students and $15-18 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/swan-lake.

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

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

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

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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.

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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.

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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
The set for CCM's Mainstage Series production of Green Day's 'American Idiot.' Photo by Ryan Strand.

A Discussion With ‘American Idiot’ Set Designer Thomas Umfrid

The curtain rises on CCM’s production of Green Day’s punk rock-opera American Idiot  at 8 p.m. on Thursday, March 3, but the behind-the-scenes work has been going on for months. Much of the design process for a musical must be completed before actors even step into the rehearsal hall, but the work doesn’t end there. It continues all the way to opening night.

Thomas Umfrid, American Idiot set designer and Professor of Stage Design at CCM, is no stranger to the process. His career has taken him around the world, designing for opera, drama, musical theatre, dance and more. We were able to tear him away from his hectic schedule leading up to opening night to give us a little insight about his design.

Talk about the overall design for American Idiot and how you came up with it.

An image of the aftermath of the Sept. 11 terrorist attack in New York City.

An image from ground zero in the aftermath of the Sept. 11 attack in New York City.

Director Aubrey Berg came up with the design concept, a lot of which is based on iconographic 9/11 imagery, which I then developed into the design.

This project has an overriding environmental conceit and isn’t supposed to be any particular time or place.  It’s a space that evokes a dark and pessimistic mood and serves the loosely episodic stage action.

The music and lyrics aren’t pretty or glamorous, they ’re down and dirty. So is the set.

How does the set help tell the story?

Although the story deals with events passing in time and inter-related characters, it doesn’t necessitate “in focus” scenic environments, time of day or symbolic references to actual places.

For example, the characters go to New York, but the city isn’t directly rendered in any particularly recognizable way. It could be any big western city where marginalized and drugged out suburban youth have fled to try and find themselves, and in so doing, get terribly lost in the process.

How close is the actual product on stage to the initial ideas?

There is always a natural, and expected, “page to stage” evolution of a set design from the scale model and mechanical drawings to the real thing sitting on stage.

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My student, staff and faculty colleagues have done an incredible job of developing and translating Aubrey’s and my ideas to the stage. When the cast moves into the theater and begins to explore the, at times, 28 foot high stage after weeks of rehearsal in a rather neutral and barrier free rehearsal hall, I’ll have a much better idea of how successful we’ve been in translating our ideas to the stage. This is always a crucial and exciting phase of any show.

What was most important to you to convey through the set?

I hope the audience will be subconsciously affected by the environment and, rather than notice anything in particular about the set, have a visceral reaction as they experience the show as a whole entity.
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American Idiot runs March 3 – 13 at CCM’s Patricia Corbett Theater. This production contains mature subject matter, including references to drug use, sexual content and profanity. 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/american-idiot.

CCM's Mainstage Series production of Green Day's 'American Idiot' plays March 3 - 13, 2016.

CCM’s Mainstage Series production of Green Day’s ‘American Idiot’ plays March 3 – 13, 2016.

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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

American Idiot 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 | Phone: 212-541-4684 | Fax: 212-397-4684 | www.MTIShows.com

CCM News CCM Slideshows Faculty Fanfare
A portion of the cover to CCM's 2015-16 Season Brochure.

CCM’s 2015-16 Subscription Packages Are On Sale Now. Plan Your Season With Our New Brochure Today!

Established in 1867, the nationally ranked and internationally renowned University of Cincinnati College-Conservatory of Music is a preeminent institution for the performing and media arts.

CCM's 2015-16 Season Brochure.

Click here to view CCM’s 2015-16 Season Brochure.

Each year, our talented young artists and world-class faculty and staff members collaborate on an unparalleled series of performing arts events.

This year, we proudly present over 50 major concert and theatre productions, ranging from all-time classics to modern Broadway blockbusters.

Whether you prefer charming operas or thrilling dramas, stunning symphonies or swinging jazz, old favorites or world premieres, there’s something for you at CCM this season.

Join us for a performance and see for yourself why critics and audiences alike can’t stop talking about our resident artists and “stars of tomorrow!”

Plan your season today by downloading a digital copy of CCM’s 2015-16 brochure. Physical copies are available at CCM’s Box Office, as well!

Subscription and flex ticket packages are on sale now. Single Concert Series and Ariel Series tickets go on sale beginning Aug. 24, 2015. Single Mainstage Series tickets go on sale beginning Aug. 31, 2015.

For more details about CCM’s 2015-16 performance schedule, contact the CCM Box Office at 513-556-4183 or visit ccm.uc.edu.

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SPONSORS AND PARTNERS

CCM recognizes and thanks the following corporations, foundations and individuals for their generous support of $10,000 and above:

Louise Dieterle Nippert Trust
Scholarship and Resident Artist Sponsor

The Andrew W. Mellon Foundation
CCM/CSO Diversity Fellowship Sponsor

The Otto M. Budig Family Foundation
Season Presenting Sponsor, Musical Theatre Program Sponsor & Event Sponsor

The Corbett Endowment at CCM
Dance Department Supporter & All-Steinway School Sponsor

ArtsWave
The Greater Cincinnati Foundation
H. Wayne Ferguson Family Foundation
The Carol Ann and Ralph V. Haile, Jr./U.S. Bank Foundation
Frances R. Luther Charitable Trust

Community Partners

Macy’s
Mainstage Season Production Sponsor

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

The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC, Corporate Counsel
Visiting Artists Sponsor

The Estate of Mr. William A. Friedlander
Mrs. William A. Friedlander
Dr. & Mrs. Randolph L. Wadsworth
Mr. & Mrs. J. David Rosenberg
Mr. & Mrs. Harry H. Santen
Mr. & Mrs. Thomas E. Stegman

Ariel Quartet Sponsors

Jan Rogers
Willard and Jean Mulford Charitable Fund of the Cambridge Charitable Foundation

Choral Studies Sponsors

Ms. Margaret A. Straub & Mr. Neil R. Artman
Studio Drama Series Sponsor

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A preeminent institution for the performing and media arts, CCM is the largest single source of performing arts presentations in the state of Ohio.

All event dates and programs are subject to change. For a complete calendar of events, please visit us online at ccm.uc.edu.

CCM News
CCM presents COSÌ FAN TUTTE from April 9-12, 2015. Photography by Mark Lyons.

CCM Slideshows: Così fan tutte

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CCM’s 2014-15 Mainstage Series comes to a spectacular conclusion TONIGHT through Sunday, April 12, with a groovy new production of Mozart’s Così fan tutte.

Don’t miss your opportunity to experience this masterpiece this week ONLY. Mark Gibson conducts, with direction by Robin Guarino. Photography by Mark Lyons.

Performance Times

  • 8 p.m. Thursday, April 9
  • 8 p.m. Friday, April 10
  • 8 p.m. Saturday, April 11
  • 2 p.m. Sunday, April 12

Location
Patricia Corbett Theater, CCM Village, University of Cincinnati

Purchasing Tickets
Tickets to Così fan tutte are $31-35 for adults, $20-24 for non-UC students and $18-22 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/cosi-fan-tutte-mainstage.

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

CCM News CCM Slideshows
Sarah Davenport as Heidi Holland in CCM's Mainstage Series production of THE HEIDI CHRONICLES. Photography by Jay Yocis.

CCM’s Mainstage Series Presents the Tony Award and Pulitzer Prize-Winning ‘The Heidi Chronicles’ Next Week

Sarah Davenport as Heidi Holland in CCM's THE HEIDI CHRONICLES. photography by Mark Lyons.

Sarah Davenport as Heidi Holland in CCM’s THE HEIDI CHRONICLES. photography by Mark Lyons.

CCM’s Department of Drama opens its spring Mainstage Series with its debut of Wendy Wasserstein’s The Heidi Chronicles, running Feb. 11 through Feb. 15, in the Patricia Corbett Theater.

An examination of feminism and its evolution from the 1960s through the late 1980s, The Heidi Chronicles follows Heidi Holland, a successful art historian, who tries to find her true self in a rapidly changing world as the roles of women were being redefined.

Students and audience members alike will get the chance to witness a piece of history on stage as director Richard E. Hess, A.B., Dolly, Ralph and Julia Cohen Chair of Dramatic Performance, attempts to make connections between a generation who lived through the ’60s, ’70s and ’80s and students who are now products of this age.

Hess asks a thought-provoking and timely question: “What would Wendy think of life in America in 2015, where we still must deeply question this country’s commitment to racial and gender equality?”

Wasserstein was the first woman playwright to receive a Tony Award for Best Play for The Heidi Chronicles. Her work also earned her prestigious awards including the 1989 Pulitzer Prize, a New York Drama Critics Circle Award and a Drama Desk Award, among others.

Hess says that Wasserstein liked to create characters “who struggled with the shifting demands and definitions of self, unique to a time and place.” This struggle rings true even today.

Second-year Theater Design and Production graduate student Jillian Coratti serves as costume designer for this production. She talked with Hess at the beginning of rehearsals about his vision for the look and feel of the production. “The hardest part about this production was making it look real,” she explains. “This show is dramatic and thoughtful, but very rarely flashy. The characters are real and contemporary, so I didn’t want to make anything come across as overly theatrical.”

Coratti did a great deal of research in magazines and blogs, even pulling out older family photo albums. Her uncles grew up as members of the “baby boomer” generation, so she was able to find looks from the 70s and 80s in their wedding albums. Since each scene in The Heidi Chronicles is set in a new time period, there are a lot of quick costume changes. Heidi alone has 13 changes!

But the easiest and most rewarding part has been the fittings. Coratti says, “The actors are so eager and willing to see their costumes because they can connect with these clothes. They’re very similar to what we wear everyday, yet some come from our parents closets.”

  • Richard E. Hess, director
  • Thomas C. Umfrid, scenic designer
  • Jillian Coratti, costume designer
  • Taylor Malott, wig & make-up designer
  • Joe Beumer, lighting designer
  • Corbin Wescott, sound designer
  • k. Jenny Jones, fight choreographer
  • Susan Stephenson, stage manager

The Heidi Chronicles Cast List:

  • Sarah Davenport as Heidi Holland
  • Clare Combest as Susan Johnston
  • Colin Edgar as Peter Patron
  • Connor Lawrence as Scoop Rosenbaum
  • Ryan Garrett as Chris Boxer/Steve/Waiter
  • Katie McDonald as Jill/Sandra Zucker-Hall
  • AC Horton as Fran
  • Julia Netzer as Becky
  • Rachel Baumgarten as Debbie
  • Owen Alderson as 1968 Hippie/Mark/Dr. Ray
  • Michaela Tropeano as Molly McBride/Clara
  • Alice Skok as Lisa
  • Carli Rhoades as Betsy
  • Sydney Ashe as Denise
  • Katie Langham as April

About The Heidi Chronicles
After its initial opening in November 1988 Off-Broadway, The Heidi Chronicles was praised by the New York Daily News as “witty, hilarious…not just a funny play, but a wise one… I doubt we’ll see a better play this season.” Even Variety raved, “Not many plays manage Heidi’s feat of inducing almost continuous laughter while forcing the audience to examine its preconceptions.” In March of 1989, The Heidi Chronicles was transferred to Broadway and became a long-running success with an impressive 622 performances when it closed in September of 1990.

Comprised of a series of interrelated scenes, the play traces the coming of age of Heidi Holland, a successful art historian, as she tries to find her bearings in a rapidly changing world. Gradually distancing herself from her friends, she watches them move from the idealism and political radicalism of their college years through militant feminism and, eventually, back to the materialism that they had sought to reject in the first place. Eventually Heidi comes to accept the fact that liberation can be achieved only if one is true to oneself, with goals that come out of need rather than circumstance.

Read Rick Pender’s thoughts on the legacy of Wendy Wasserstein and the importance of The Heidi Chronicles, courtesy of CityBeat.

Performance Times

  • 8 p.m. Wednesday, Feb. 11 (preview)
  • 8 p.m. Thursday, Feb. 12
  • 8 p.m. Friday, Feb. 13
  • 2 and 8 p.m. Saturday, Feb. 14
  • 2 p.m. Sunday, Feb. 15

Location
Patricia Corbett Theater, CCM Village
University of Cincinnati

Purchasing Tickets

Tickets to The Heidi Chronicles are $27-31 for adults, $17-20 for non-UC students and $15-18 for UC students with a valid ID. Saturday matinee student rush discount tickets are available beginning at 1 p.m. on Saturday, Feb. 14 and are $12-15. Tickets to the Feb. 11 preview performance are just $12.

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/heidi-chronicles-mainstage.

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

CCM News