Creighton University - Bluejay Yearbook (Omaha, NE)

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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

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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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The cast of Jimmy Dean feveiiahly applies their makeup. Judson Jones, left, aids the Jimmy Dean soundman. Dr. Steve Peters, right, directs Kathy Meier, left, Michele Brockhaus, back to camera, and Sonia Keffer through a readthrough. Along with acting, I was also house manager of the theater. I opened the doors and checked the heat and lights. I checked my props and made certain everything I used during the show was in its proper place. Then it was time for make-up, which got easier every night. After we got into costume we were all pretty nervous. People were telling jokes to help relax. The lights went down and the audience hushed. The audience. Our first living, breathing, laughing booing audience. It was nearing my entrance cue. I checked everything and the next thing I knew, I was standing in the doorway and the lines were just coming out. I felt my opening night performance was poor. My family and friends all felt I did just fine. I started crying during intermission and did not know how I could go back on. I did, and the second act went much better. I received flowers, hugs and words of en- couragement from everyone. I spoke to a number of people at the recep- tion. I was still feeling dovra but one of the other actors cheered me up. The next three nights progressively im- proved and audiences were larger. By Sun- day, the last show, we were all feeling good about the show. We did not foresee any pro- blems. The show started as usual when Sissy was hanging on the ceiling fan and the bulb fell to the floor. It was as if it happened in slow motion. We handled it perfectly. We swept it off the floor and the play went on without any other problems. When the final curtain call came we were all happy, smiling and bowing, but when the curtain went down for the last time, we were all very relieved. By Sonia Keffer Plays 27