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2014-2015 BSC Theatre Students, Faculty and Staff

What stirs up with a big dose of wit, a dash of extra strength mix-up and a smidgeon of romance? David Ives’ adaptation of Pierre Corneille’s “The Liar!”

Richard III

Richard III

How much can we really know about our leaders?  How and why does a leader succeed to power against all odds and then destroy himself? Richard pulls the wool over everybody’s eyes – for a time. He fools his brother King Edward – so much so that after Edward’s death, he is appointed guardian of young Prince Edward, the successor to leadership. As our mercenary hero schemes his take-over, he facilitates the murder of Hastings, a loyalist to the young Prince. He then installs young Prince Edward and his younger brother York into the Tower of London.  The first and last time we see the young Prince onstage he says “I do not like the tower of any place.” And with good reason. Both boys present a threat to Richard’s plots and conveniently disappear into a vortex of fate. The ethics and morality of his culture do not apply to our central character.

Mindful of his need for funds, Richard woos the newly widowed, wealthy Lady Anne into his arms. Intriguingly, Richard is responsible for the death of Anne’s father-in-law Henry VI as well as Henry’s son, Prince Edward.  Yes, there are multiple Edwards in this play: King Edward IV (Richard’s brother), young Prince Edward (King Edward’s son and heir), and Prince Edward (Henry VI’s son).

Oh, let’s not forget Richard’s other adversaries, his brother Edward’s wife, Queen Elizabeth, and her entire family! In our trans-gendered production this includes her sister Rivers as well as her sons Dorset and Grey – all eager to hold onto their key to the magic kingdom. Here’s a plot spoiler: they are not successful in their quest and two of them die.       

Richard not only deceives his brothers and Anne, but his senior advisor Buckingham, Catesby (Hasting’s legal advisor), Norfolk and  Ratcliff  (key military advisors). Fair weather Stanley supports Richard until he perceives a power shift and joins the army of Richmond, who ultimately defeats Richard’s regime at the end of the play.

Historically, the man who defeated Richard III was a violent and ineffectual leader. In BSC’s production we jump out of the frying pan into the proverbial fire - the semi-automatics weapons wielded by Richmond’s soldiers mirror future tribulation. Richard is not a hunchbacked villain, but a charming and brilliant politician who deceives even those closest to him.

BSC’s production is inspired by post-modern images, colors and icons of power and privilege. In our study of the text, bold images of destruction and decay burble up – Richard reports himself as “scarce half made up.” Magic and bad dreams present themselves: nightmares, prophesies, curses, blood, legions of foul fiends and of course - ghosts. The past and present are intimately connected, practically simultaneous.  Check out of our prodcution web site for more photos of Richard III and a our with  one of the theatre’s most ruthless characters - a masterful word-sorcerer whose poison seemingly bubbles from “so sweet a place.” 

Lighting Design - RENT

There is nothing in this world that is more humbling than being part of something larger than yourself. Something, that when all the small pieces are put together, they form a masterpiece. This is my understanding of theatre. The greatest moment of this understanding is when you finally settle in one of the seats and get to watch the 180 hours of work come together. To inhale deeply as the lights dim and the music fades up; there is not greater understanding.

My experience in the Birmingham Southern Theatre is unique because, unlike most of the students, I can always be found in black behind the stage or behind the drafting table. My passion lies in the technical side of theatre.  Starting at props design, growing to scenic design, and finally peaking at lighting design.  Being on crew in each of the fields and later heads of these crews, I finally found my ‘nitch’ as a designer.

The past Spring, 2012, I was honored to be the Lighting Designer for the theatre’s magnificent production of RENT by Jonathan Larson.  It was here that I found my true calling and my future career.

Designing the lights for any show is no easy task, even if you have taken a lighting course, understand the mechanics of lighting instruments, and have a creative eye. Designing lights is the columniation of all of your knowledge in lights, your creative eye, and your ability to take risks.

Specific to RENT, my experience was nothing short of life changing. I spent over 180 hours working on the show. After reading the script three times and understanding not only what is happening via text, but also what is unsaid, I began to formulate my design.  Using blank pieces of computer paper, I would sketch the stage and the actors’ positions. Then I would use a gel book (full of the colors to change the lighting color) and tape colors I felt would be of use to me. Some pages were full of 20 or so cuts of gel. As the rehearsals progressed I would change my design according to new discoveries for the actors and myself. During this time I would also be writing in my script the lighting cues, when they should come on and when they should fade out. While working on the creative design aspect for each scene (also known as specials) I was creating the base lighting that would be present in every scene. This lighting ensures that the actors and the set will have adequate coverage so they can be seen from the audience.  There are many methods to a base lighting system, however I decided to take one of the famous ones and create a reverse of it.  In my opinion, I think it worked well with the specials that I added in.   Finally after creating the base lighting and then all the specials for each scene, I would program them all together during the week leading up to the show. We would run through every rehearsal with the lights, sound, cues, signing, and dancing. By the opening of the production, we had a pretty darn show to perform.

This process took place over about a two month period, with late nights, early mornings, and the blood, sweat, and tears of the Lighting Crew and myself. We worked tirelessly on this show, and I feel that it was phenomenal.

Thank you all for reading and I hope that everyone will have the chance to be involved I a theatrical production, especially on the technical side!  I cannot wait to continue my love for lighting design during this final year at Birmingham Southern and carry on into my future.

Love & Lights,

Jacquelyn R. Cox

Journey to South Africa: January 2012

Although I missed the energetic weeks of living in the theatre from dawn to dusk and the chill of opening the green room door to a dark January evening after a long day of sweaty rehearsals, I must admit I enjoyed myself thoroughly journeying through the country of South Africa. A lot. So much, I really want to obtain dual citizenship ASAP and go live and teach there. This may seem far-fetched, but who doesn’t love an extraordinary goal with seemingly insurmountable obstacles?

The name of the interim trip is titled After Apartheid: The New South Africa. After a week of discussing African literature- and even a play! (Master Harold and the boys)- we flew from the Birmingham airport to Detroit and from Detroit to Amsterdam and from Amsterdam to Cape Town. Cape Town looks NOTHING like one’s typical imaginings of South Africa with its breath-taking mountains and beaches. Of course I brought with me a journal to write about every detail of this amazing experience. It was upon arrival that I was reminded of (and journaled extensively about) the principle of assumption versus reality. I had assumed to find sand and zebras but there I was looking at a vast expanse of mountains and beautiful coastline. Welcome to South Africa!

Although I felt completely at home with the people there and soaked up every moment of the America-free culture, I couldn’t help feeling a huge void. I knew instantly what was missing—the constant presence of theatre friends. Seriously. There I was in Africa and I was truly missing the friendship of my fellow thespians. I journaled for pages and pages trying to put my finger on what that special quality of “theatre people” is that I was so desperately missing. Is it the natural empathy that develops because of our craft? Is it the constant encouragement and uplifting spirit that radiates from their speech? I can’t seem to put it into words, but there is a noticeable distinction about the kind of people theatre performers tend to be and it took me being half way around the world to truly miss that fellowship.

Luckily it was filled by the incredible spirits of the African people. You know how when you are having a marvelous day and you smile and greet everyone you encounter on the sidewalk? You also know how each time the victim of that smile looks at you suspiciously or only half-heartedly receives the friendly gesture, you find your enthusiasm dropping in distinct blows? Not in South Africa. The opposite reaction occurred. Everyone, and I literally mean everyone, that I encountered with a smile or nod whole-heartedly accepted the gesture, engaged in the compassionate exchange, and continued uplifted by the human interaction. I was amazed. This distinct spirit is called Ubuntu, a Zulu word that is not translatable in the English language—probably because it doesn’t really exist in America’s individualistic culture. Ubuntu roughly means: My humanity is bound up in your humanity. If you succeed, I succeed. If you fail, I fail. We are all connected and must treat each other accordingly. I am not envious of your success because it is my success. Wow. How seldom do we see this in theatre, where people are competing for leading roles and once they get the role, look for the strongest tactics to manipulate others to achieve a selfish goal. Haha. I know, it is quite a pessimistc view of theatre, but you can’t deny its truth! I have actually struggled with this concept of “selfish theatre” since last year and just recently realized that theatre can be used for activism , social change, and therapy. I’m hoping to study abroad in Cape Town and learn more about the use of theatre for the advancement of ubuntu.

An odd thing occurred while I was there- I kept feeling so drawn to the poor townships. Instead of merely feeling sympathy for the people in the towns, I yearned to be there with them in the village, teaching, interacting, and pouring into the people there. It defied logic. Who wants to willingly live in a shack with an outhouse down the road? I was even frustrated that we went to so many tourist destinations. I just wanted to be in those villages and live like they lived. Though they have little, they are so joyful and content. They know what it means to truly live. Without facebook. Without iphones. All they have is each other—and that’s all they really need. I want to know that life, a pure and simple existence.
I discovered my burning desire for the poor, and I’m hoping to combine that desire with theatre, to hopefully leave this world a little better than it was when I got here.
Thanks Africa.