Welcome to the winter issue of our academic e-newsletter, The Through-Line. On a quarterly basis, The Through-Line keeps you informed of the work being done by our students, faculty, staff, and alumni.
We hope you'll enjoy reading The Through-Line, and we welcome your thoughts, questions, and suggestions. Please get in touch with us at: katrinae@uw.edu.
By Todd London
This year, for the first time, I have the good fortune to be leading our undergraduate “Majors Seminar,” alongside of Professor Andrew Tsao, the head of our B.A. program, and our new undergraduate advisor Caitlin Goldbaum. This is the course where we introduce drama majors to other working professionals and point them toward the many career paths open to them.
But what are the career paths? Are there any? This is a tricky one for several reasons, not the least of which is that—to be honest—the theatre does not have a solid economic base, nor stable professional tracks, especially for those of us who work on the artistic (as opposed to administrative) side of the field—actors, directors, playwrights, designers, composers. On top of that, the theatre—cultural activity in general—is changing so rapidly that it’s impossible to know exactly what we’re preparing our students for.
In my last letter, I flagged some of these changes and the questions with which we need to arm our students. One of these questions fell squarely in the career category: In this DIY moment, what are the possibilities of amateurism—art for love—and what are the advantages of professionalism? The arts have always been a love sport, and even...
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Marya Sea Kaminski is a writer, actor, and solo performer, and, as of September 2014, the Associate Artistic Director of Seattle Repertory Theatre. She is a founding member of and was co-artistic director of the Washington Ensemble Theatre from 2004-2008. Her work has earned her many awards including the 2010 Genius Award in Theater from The Stranger. Marya earned her MFA (Professional Actor Training Program) from UW Drama in 2004. She recently took the time to answer a few questions over email about her new role at Seattle Rep.
In August, you wrote about your desire to return to artistic leadership. How do you define/approach artistic leadership?
For me, leadership is about standing up for the community I belong to, making sure everyone is counted and that we are collectively nourished with the things we need. In the case of artists, I believe our nourishment comes from opportunity, variety, challenge, and collaboration. I don't think leadership is about forging forward and hoping people follow in the momentum of big decisions, though sometimes that might happen. I think it's primarily about serving, your people and your craft. Of course, there is a vast distance between describing this kind of leadership and then actually following through on these mandates, but I think part of my job right now is to aspire. I want to consider the great theatrical leaders and thinkers of our time—Harold Clurman, Joe Papp, Anne Bogart, Hallie Flanagan, and...
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In this edition of The Through-Line, we get to know the two professional staff members that keep our shops performing at a professional standard: Alex Danilchik, technical director and head of the scene shop; and Josie Gardner, head of the costume shop. First up, Alex Danilchik shares his journey from electrical engineering and computer science student to theatre junkie.
Tell me about how you landed at this job at the School of Drama.
I started out as a student here at the university, but not in theatre. I was actually working towards a degree in electrical engineering and computer science. My older sister enjoyed theatre and was the one who suggested that I look at it as something to do on the side. I started by taking a course in theatre construction. Then, during my summers, I started working for Intiman Theatre and other local theatres; just kind of fully engulfed myself in theatre. It very quickly caught me.
As a student, I evolved into someone the School counted on to do props for the shows and was eventually hired in a half-time position. About two-years after that I became full-time. I mostly worked on props, but with my background in computers and electronics, I helped with audio/visual type things as well. I grew up learning how to be a jack of all trades. Just give me a project, and if it’s a challenge that’s even more fun. I think that’s why theatre appealed to me:...
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Josie Gardner, head of the costume shop, has been at the School of Drama full-time since 1990. Working with Josie and her support team provides graduate students in costume design the opportunity to tackle large, complex productions and work directly with a professional staff.
When did you first come to UW and what was your original role?
I have an MFA from UCLA in costume design and an undergraduate degree in directing. I was first hired by the School of Drama as an interim faculty member in 1983. After which, I freelanced for four or five years before joining the faculty at Cornish College of the Arts, where I taught for four years. I was hired back here as costumer in 1990. Shortly after I came on as a costumer, the costume shop manager gave his notice and the faculty promoted me. I’ve been the costume shop supervisor ever since.
Can you describe how you work the graduate students?
The student designer totally works within the classroom and with their director to come up with the concept and drawings. By the time the design comes to us in the shop, there is a clear concept of what the show will look like. What I do is go through item by item with the designer. They talk to me about what is in their mind. We might look at a sketch and ask: is the character wearing a pair of pantyhose or seemed stockings? Is this a pair of cotton stockings? There are always multiple options...
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L. Zane Jones, associate professor launched a new theatre company, Civic Rep. The inaugural production, A Streetcar Named Desire, featured Robert Bergin (MFA ‘12) as Steve, Ali Rose Panzarella (MFA ‘14) as costume designer, Robin Hall Smith (BA ‘13) as the Doctor, Josh Langager (current BA) as the Young Man, Michael Hanley (current BA) as stage manager, Andrew Swan (current BA) as co-sound designer, and Sam Read (Director of External Relations) as Mitch.
Many faculty and alumni received recognition from the Seattle Times in its annual Footlight Awards, including Valerie Curtis-Newton (professor and MFA), who directed The Mountaintop, listed among best mainstage plays; Matthew Smucker (MFA) for his set design of Who's Afraid of Virginia Woolf?; Melanie Burgess (MFA) for her costumes in Importance of Being Earnest; and Andrew D. Smith (lecturer and MFA) for his lighting design of Boy at the Edge of Everything.
Principal Lecturer Cathy Madden's new book Integrative Alexander Technique...
Read moreUpcoming Deadlines, Performances, and Events
Twelfth Night - MFA directing thesis production
by William Shakespeare
directed by Leah Adcock-Starr
Meany Studio Theatre
Jan 28-Feb 8
More info
MFA Design Applications Due
Applications for all programs (scenic, costume, and lighting) are due February 9
In-person interviews are required and must be held no later than February 19
More info
PhD Application Deadline
Applications for the doctoral program in theatre history and theory are due February 15
More info
The Hostage - MFA directing thesis production
by Brendan Behan
directed by Tina Polzin
Mar 4-15
Floyd & Delores Jones Playhouse
More info