Creighton University - Bluejay Yearbook (Omaha, NE)

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A Company of Dancers Long a tradition, the Creighton Dancers presented a diverse con- cert To the average college student, modern dance is an enigma and ballet is monotonous--in other words, an evening of frustration and 40 winks. But C.U. students opened their mind to the creation of motion with A Company of Dancers ' diverse fall con- cert performed at the Interim Performing Arts Center. The dance troupe presented a contrasting selection of four works, including two modern dances and both a story and an abstract ballet. Chosen through audition, the members of the company included Creighton students as well as Omaha-area dancers. The modern dances survived the spitting distance between performer and audience at the PAC, but the converted warehouse ruins the elegance and grace attempted by toe dancers Le Capricciose Tessiture, choreographed by instructor Valerie Roche, was victimized by echoes of toe shoes. Costumes, designed by Kathy Gustafson, helped remedy the problem to some degree through layers of flowing knee-length net- ting. However, efforts by dancers were too apparent in the make-shift performing center, creating difficulty in communicating the freer flowing beauty of ballet. With a four-year-old interim performing arts center and an expected two more years until construction on the real center begins, it ' s no wonder why there were only two dance majors at Creighton, Laurie Steele and Julie Gilligan. By Elizabeth O ' Keefe A Company of Dancers 25

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Behind the Scenes A Creighton Player ' s diary Looking back on it now, it doesn ' t seem like anything happ ened. All the time and effort seem forgotten by most, but not by me. All the suffering, learning, changing and rechanging of blocking and ways of speaking--I remember it all. The first week and a half, I didn ' t even practice. My first rehearsal was long and tedious. Those first rehearsals were basically to give us, the actors in Jimmy Dean, Jimmy Dean, a sense of where to be on the stage at certain times and when to move. At first, I really didn ' t spend much time on the script or learning lines outside of the rehearsals. Later, Dr. Steve Peters, the direc- tor, started to work with us on our characters (their feelings and actions), but he made it clear that he wanted everything to come from inside of us. He told us that he saw something inside each of us that made us right for our characters and that was why we were chosen for the play. It made us feel type cast. Being type cast isn ' t bad if we already have something in us that is like the character we portray. Yet, it doesn ' t make it easier to be like your character. I may have characteristics, such as voice and appearance, similar to my character Mona, but I could never see myself do things that Mona did. Throughout the rehearsals, I questioned my acting ability until I finally couldn ' t stand it. One night, after rehearsal, after all the other actors had left, I told Steve of my fears and worries about my abililty. After listening, he assured me that I would do a great job. I think I did. Rehearsals became more demanding as opening night neared. A week before our opening show, we would work from 7 to 11 p.m. Sometimes it felt like there wasn ' t any progress being made. The cast secretly wondered if they would ever be ready by opening. The Sunday before opening, I still didn ' t have my lines memorized. Sunday was our first technical rehearsal-that is, with lights and sound. I think I was more worried about this night than openine night. We worked from two in the afternoon until early that evening. We made quite a few mistakes as did the crew. Monday night we had another technical rehearsal with full costume. By Tuesday, I had all my lines memorized. I had them writ- ten on index cards and flashed them to myself throughout the day. I also worked with Steve for three hours, just going throughh Mona ' s feeling in different scenes. Wednesday. Opening night. I got to the theater at 5:30 p.m. Backstage, the walls are covered with mirrors so the actresses can perfect their makeup and hair before the final curtain rises. Sonla Keffer makes ture each hair is perfect. 26 Plays