
{"id":5575,"date":"2020-09-28T16:15:14","date_gmt":"2020-09-28T20:15:14","guid":{"rendered":"https:\/\/arts.cah.ucf.edu\/?page_id=5575"},"modified":"2020-09-28T16:15:14","modified_gmt":"2020-09-28T20:15:14","slug":"htcc","status":"publish","type":"page","link":"https:\/\/cah.ucf.edu\/events\/htcc\/","title":{"rendered":"How to Catch Creation"},"content":{"rendered":"\t\t\t<section class=\"ucf-section ucf-section-date-change-theatre \">\n\t\t\t\t\t\t\t\t<div class=\"jumbotron jumbotron-fluid bg-primary media-background-container mb-0 p-4\"\n\t\t\t\t\t\t\t\t\t>\n\t\t\t\t\n\t\t\t<div class=\"container text-center\"\n\t\t\t\t\t\t>\n\t\t\t\t\n<span class=\"lead\"><strong>Scroll down to view the playbill and to learn more about the play.<\/strong><\/span><\/p>\n<p><span class=\"lead\"><em>Please note the new date of this production.<\/em> Read more about schedule changes <a class=\"text-secondary alert-link\" href=\"https:\/\/news.cah.ucf.edu\/news\/theatre-season-fall-2020\/\" target=\"_blank\" rel=\"noopener\">here<\/a>. <\/span><br \/>\n\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\n\t\t\t\t\t<\/section>\n\t\t\n\t\t\t<div class=\"jumbotron jumbotron-fluid bg-inverse media-background-container mb-0 pt-4 pb-5\"\n\t\t\t\t\t\t\t\t\t>\n\t\t\t\t\n<img decoding=\"async\" class=\"media-background object-fit-cover\" src=\"https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/bg-blurry_tree_grey.jpg\" \/><br \/>\n\t\t\t<div class=\"container text-center\"\n\t\t\t\t\t\t>\n\t\t\t\t\n\t\t\t<div class=\"row\"\n\t\t\t\t\t\t>\n\t\t\t\t\n<div class=\"col-md-6 col-lg-4 col-xl-3 mx-auto\"><a class=\"btn btn-lg btn-outline-danger text-danger\" href=\"https:\/\/www.showtix4u.com\/event-details\/39666\" target=\"_blank\" rel=\"noopener\">Watch Here<\/a><\/div>\n<div class=\"col-md-6 col-lg-4 col-xl-3 mx-auto\"><a class=\"btn btn-lg btn-outline-danger text-danger\" href=\"https:\/\/www.youtube.com\/watch?v=XiE-tw22Lls\" rel=\"noopener\">Watch the Talkback<\/a><\/div>\n\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\n\t\t\t<div class=\"jumbotron jumbotron-fluid bg-secondary mb-0 pb-0\"\n\t\t\t\t\t\t\t\t\t>\n\t\t\t\t\n\t\t\t<div class=\"container\"\n\t\t\t\t\t\t>\n\t\t\t\t\n<p>Broadcast and talkback on Saturday, October 17 at 7 p.m. EDT<br \/>\n<span style=\"text-decoration: underline\"><strong>Ticket link goes live at 7pm.\u00a0Please note you will not be able to register before 7pm the day of the premiere.<\/strong><\/span><br \/>\n<em>This performance will not have public on-demand viewing after the broadcast.<\/em><\/p>\n<hr class=\"my-4\" \/>\n<p>Two artists with their partners find their lives unexpectedly intertwined with the life of a Black queer feminist writer from the 1960s. This intergenerational portrayal of queer relationships of color challenges our definitions of family, love and the universal act of creation.<\/p>\n<p><em>This production contains strong language, sexual and mature content, and themes of queer intimacy.<\/em><\/p>\n<hr \/>\n<p style=\"text-align: center\">The\u00a0<em>Amplify, Empower, Illuminate<\/em><em>: Four Plays, Many Diverse Voices<\/em> series is sponsored by<\/p>\n<p style=\"text-align: center\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"129\" class=\" img-fluid wp-image-5411\" src=\"https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/OUC-Logo-300x129.png\" alt=\"\" srcset=\"https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/OUC-Logo-300x129.png 300w, https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/OUC-Logo-1024x440.png 1024w, https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/OUC-Logo-768x330.png 768w, https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/OUC-Logo.png 1353w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<hr \/>\n<h4 class=\"heading-underline heading-underline-inverse\" style=\"text-align: center\">Creative Team<\/h4>\n<div class=\"row w-100 mx-auto\">\n<div class=\"col-md-4 col-lg-4 col-xl-4\">\n<p class=\"text-center\">Sound Designer:<br \/>\n<strong>Lindsay Putnam<\/strong><\/p>\n<\/div>\n<div class=\"col-md-4 col-lg-4 col-xl-4\">\n<p class=\"text-center\">Video Design and Production:<br \/>\n<strong>Tim Brown, Rob Siler<\/strong><\/p>\n<\/div>\n<div class=\"col-md-4 col-lg-4 col-xl-4\">\n<p class=\"text-center\">Stage Manager:<br \/>\n<strong>Morgan Polodna*<\/strong><\/p>\n<\/div>\n<\/div>\n<p class=\"text-center\">Director: <strong>Johann Robert Wood<\/strong><\/p>\n<hr class=\"my-4\" \/>\n<h4 style=\"text-align: center\">CAST<\/h4>\n\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\n\t\t\t<div class=\"jumbotron jumbotron-fluid mb-4 py-0\"\n\t\t\t\t\t\tstyle=\"background-color:#eb687a;\"\t\t\t>\n\t\t\t\t\n\t\t\t<div class=\"container\"\n\t\t\t\t\t\t>\n\t\t\t\t\n\t\t\t<div class=\"row\"\n\t\t\t\t\t\t>\n\t\t\t\t\n<div class=\"col-xl-6 p-0 m-0\"><img decoding=\"async\" class=\"img-fluid\" style=\"max-height: 500px\" src=\"https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/headshots_HTCC.jpg\" alt=\"'How to Catch Creation' cast headshots\" \/><\/div>\n<div class=\"col-xl-6 p-0 m-0\"><img decoding=\"async\" class=\"img-fluid\" style=\"max-height: 500px\" src=\"https:\/\/cah.ucf.edu\/events\/wp-content\/uploads\/sites\/50\/2020\/09\/headshots_HTCC2.jpg\" alt=\"'How to Catch Creation' cast headshots\" \/><\/div>\n\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\n\t\t\t<div class=\"jumbotron jumbotron-fluid bg-secondary text-secondary py-3\"\n\t\t\t\t\t\t\t\t\t>\n\t\t\t\t\n\t\t\t<div class=\"container\"\n\t\t\t\t\t\t>\n\t\t\t\t\n<div class=\"row\">\n<div class=\"col-md-6\">\n<p>GRIFFIN: <strong>Timothy Jones II<\/strong><br \/>\nTAMI: <strong>Christy Clark<\/strong><br \/>\nSTOKES: <strong>Mackenley Ria<\/strong><br \/>\nRILEY: <strong>Janiece Deveaux<\/strong><\/p>\n<\/div>\n<div class=\"col-md-6\">\n<p>G.K. MARCHE: <strong>Jessica T. Johnson<\/strong><br \/>\nNATALIE: <strong>Anita Whitney Bennett<\/strong><br \/>\nSTAGE READER, RECEPTIONIST, U\/S TAMI, U\/S RILEY, U\/S G.K. MARCHE, U\/S NATALIE: <strong>Timandra Richardson<\/strong><br \/>\nU\/S GRIFFIN, U\/S STOKES: <strong>Karlo Buxo-Morales<\/strong><\/p>\n<\/div>\n<\/div>\n<hr class=\"my-4\" \/>\n<h4 style=\"text-align: center\">PRODUCTION TEAM<\/h4>\n<p style=\"text-align: center\">Assistant Stage Manager: <strong>Thomasa Hagney*<\/strong><br \/>\nDramaturg: <strong>Joni Newman*<\/strong><br \/>\nAssistant Video Design and Production:\u00a0<strong>Syd Deines*<\/strong><br \/>\nAssistant Sound Designer\/QLab Operator: <strong>Greyson Phillips*<\/strong><\/p>\n<p class=\"text right\" style=\"text-align: right\"><i>*denotes UCF student. All cast members are UCF students.<\/i><\/p>\n<hr class=\"my-4\" \/>\n<h4 style=\"text-align: center\">THEATRE UCF PRODUCTION STAFF, FACULTY, AND ADVISORS<\/h4>\n<p style=\"text-align: center\">Director of the School of Performing Arts:\u00a0<strong>Michael Wainstein<\/strong><br \/>\nArtistic Director:\u00a0<strong>Julia Listengarten<\/strong><br \/>\nDirector of Production:\u00a0<strong>Bert Scott<\/strong><\/p>\n<div class=\"row\">\n<div class=\"col-md-6\">Undergraduate Coordinator:\u00a0<strong>Kristina Tollefson<\/strong><br \/>\nFaculty Designer\/Advisor:\u00a0<strong>Huaixiang Tan<\/strong><br \/>\nFaculty Designer\/Advisor:<strong>\u00a0Vandy Wood<\/strong><br \/>\nFaculty Dramaturg\/Advisor: <strong>Chloe Edmonson<\/strong><br \/>\nFaculty Designer\/Advisor:\u00a0<strong>Tim Brown<\/strong><br \/>\nFaculty Designer\/Advisor:\u00a0<strong>Rob Siler<\/strong><br \/>\nProduction Manager:\u00a0<strong>Gary Brown<\/strong><\/div>\n<div class=\"col-md-6\">Technical Director:\u00a0<strong>John Heil<\/strong><br \/>\nAssistant Technical Director: <strong>Shannan Rath<\/strong><br \/>\nSound Designer\/Advisor:\u00a0<strong>Lindsay Putnam<\/strong><br \/>\nMaster Electrician:\u00a0<strong>Edd Gordon<\/strong><br \/>\nCostume Shop Manager\/Designer\/Advisor: <strong>Daniel Jones<\/strong><br \/>\nCostume Shop Floor Supervisor:\u00a0<strong>Robin Ankerich<\/strong><br \/>\nFaculty Stage Management Advisor:\u00a0<strong>Claudia Lynch<\/strong><\/div>\n<\/div>\n<div class=\"my-5\"><style>#sp-ea-5583 .spcollapsing { height: 0; overflow: hidden; transition-property: height;transition-duration: 500ms;}#sp-ea-5583.sp-easy-accordion>.sp-ea-single {margin-bottom: 10px; border: 1px solid #e2e2e2; }#sp-ea-5583.sp-easy-accordion>.sp-ea-single>.ea-header a {color: #444;}#sp-ea-5583.sp-easy-accordion>.sp-ea-single>.sp-collapse>.ea-body {background: #fff; color: #444;}#sp-ea-5583.sp-easy-accordion>.sp-ea-single {background: #eee;}#sp-ea-5583.sp-easy-accordion>.sp-ea-single>.ea-header a .ea-expand-icon { float: left; color: #444;font-size: 16px;}<\/style><div id=\"sp_easy_accordion-1714593229\"><div id=\"sp-ea-5583\" class=\"sp-ea-one sp-easy-accordion\" data-ea-active=\"ea-click\" data-ea-mode=\"vertical\" data-preloader=\"\" data-scroll-active-item=\"\" data-offset-to-scroll=\"0\"><div class=\"ea-card sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" id=\"ea-header-55830\" role=\"button\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse55830\" aria-controls=\"collapse55830\" href=\"#\" aria-expanded=\"false\" tabindex=\"0\"><i aria-hidden=\"true\" role=\"presentation\" class=\"ea-expand-icon eap-icon-ea-expand-plus\"><\/i> From the Director<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse55830\" role=\"region\" aria-labelledby=\"ea-header-55830\"> <div class=\"ea-body\"><p><i><span style=\"font-weight: 400\">How to Catch Creation<\/span><\/i><span style=\"font-weight: 400\"> is about intergenerational queer relationships that center black lives. Christina Anderson (the playwright) sets this queer drama against a subtle backdrop of civil rights protest and unrest between two time periods, 1966 and 2014. In spite of a history of slavery and incarceration, racial tensions and economic inequalities through real estate containment and gentrification, Black Lives (in this case, Black Queer Lives) continue to thrive. This play challenges our notions of Black Queer creation. We are not just making political statements, protesting and struggling in this way. We are also artists and creatives wrestling with a dynamic exchange of being caught and negotiating agency, being beat, killed, and incarcerated while also creating art, relationships, and family on our own terms.<\/span><\/p><p><span style=\"font-weight: 400\">I chose this play to direct because I wanted to lift up the work of a Black, Queer <\/span><i><span style=\"font-weight: 400\">Woman<\/span><\/i><span style=\"font-weight: 400\">. I could have chosen the work of a Black Queer <\/span><i><span style=\"font-weight: 400\">Male<\/span><\/i><span style=\"font-weight: 400\"> artist like myself, but I wished to practice a little of what I preach: If we lift up Black Queer Women, we lift up everyone. However, there is a tension here of which I am consciousness that brings up questions about the nature of representation and of who gets to direct who. By directing this play, am I continuing a patriarchal relationship of men directing women? Is their story for me to tell? What does it mean to be a male feminist and how can I help to flatten theatrical hierarchies from casting to production and beyond? I also think this discussion extends to the question of white directors directing black and brown bodies. As a black male feminist, I think these questions are important and I have opened this discussion from the first company meeting with the performers and I bring it up to you today to see if it shifts something in your relationship to the work of these fine artists.<\/span><\/p><p><i><span style=\"font-weight: 400\">How to Catch Creation<\/span><\/i><span style=\"font-weight: 400\"> is itself a cluster of relationships that also reflect our own contemporary moment of quarantine and civil engagement. Our situation of Covid-19 entrapment is not only amplifying our political polarization and income inequalities. It is offering us an opportunity to engage in either a creative sterility or a creative fecundity, a creative (ar)rest or a creative liberation. The world that will emerge through this pandemic and political polarity with not be of a <\/span><i><span style=\"font-weight: 400\">passive<\/span><\/i><span style=\"font-weight: 400\"> emergence but will be a result of our engaged intention and creative drive to manifest a better world that includes ALL OF US. If Black <\/span><i><span style=\"font-weight: 400\">Queer<\/span><\/i><span style=\"font-weight: 400\"> Lives do not matter, then No <\/span><i><span style=\"font-weight: 400\">Black<\/span><\/i><span style=\"font-weight: 400\"> Life matters. If Black Lives do not matter, then <\/span><i><span style=\"font-weight: 400\">No Life<\/span><\/i><span style=\"font-weight: 400\"> matters. In this virtual reading, we seek to lift up, make visible, and celebrate the humanity of Black and Black Queer agency, creativity, and perseverance. After all, we are not the descendants of slaves, we are descendants of survivors and overcomers who, in spite of chains and white hoods, use the power of their souls to laugh, love, and create.<\/span><\/p><h5 style=\"text-align: right\"><span style=\"font-weight: 400\">\u2014 Johann Robert Wood<\/span><\/h5><\/div><\/div><\/div><div class=\"ea-card sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" id=\"ea-header-55831\" role=\"button\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse55831\" aria-controls=\"collapse55831\" href=\"#\" aria-expanded=\"false\" tabindex=\"0\"><i aria-hidden=\"true\" role=\"presentation\" class=\"ea-expand-icon eap-icon-ea-expand-plus\"><\/i> From the Dramaturg<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse55831\" role=\"region\" aria-labelledby=\"ea-header-55831\"> <div class=\"ea-body\"><p><span style=\"font-weight: 400\">Thousands of years ago, when parchment was expensive but more durable than papyrus, writers and artists would save money by utilizing the same piece of parchment for many projects. They would write or paint over the work of previous creators in order to share new ideas, creating documents that could hold many layers of historical record hidden beneath thin layers of paint or complicated writing patterns. We are occasionally able to peel pack pieces of these documents, called palimpsests, to unveil small glimpses into the complex story each piece of parchment may reveal about the ways in which it was utilized over time. Because it is impossible to neatly peel back and understand all of the layers, the resulting revealed palimpsest becomes its own, semi-revelatory piece of visual art.\u00a0<\/span><\/p><p><span style=\"font-weight: 400\">Christina Anderson\u2019s <\/span><i><span style=\"font-weight: 400\">How to Catch Creation<\/span><\/i><span style=\"font-weight: 400\"> is, in many ways, an artistic palimpsest. It spans two different eras, taking us to the San Francisco Bay Area during the heart of the Civil Rights Movement of the sixties, and then the mid-2010s, one year after the Black Lives Matter movement was officially founded. Each character strives to create something: visual art, music, clothing, writing, a human baby\u2014and their methods of creation specifically reflect the varied intersections of being black, queer, and\/or female in America. Each character faces the difficulty of deciding whether they wish to peel back or paint over the symbolic parchment of their lives in an attempt to understand their past and change their future.<\/span><\/p><p><span style=\"font-weight: 400\">This semester, the Theatre UCF community and its audiences are challenged to consider how they can amplify, empower, and illuminate stories\u00a0that have been historically written-over or marginalized. As a white cis-female dramaturg myself, the process of researching\u00a0<\/span><i><span style=\"font-weight: 400\">How to Catch Creation<\/span><\/i><span style=\"font-weight: 400\">\u00a0has been an opportunity to investigate my own privilege.\u00a0How can I best use my voice and institutional power to magnify the artistic work of my BIPOC collaborators\u2014namely, a black director and an all-black cast?\u00a0I believe it starts by first identifying myself as a white, cis-identifying dramaturg, and in doing so, I hope to shift beyond the paradigm of \u201cdefault whiteness\u201d and into a more honest dramaturgical process of self-exploration and acknowledgement.\u00a0<\/span><\/p><p><span style=\"font-weight: 400\">The more layers we peel back from the palimpsest of the characters\u2019 lives in\u00a0<\/span><i><span style=\"font-weight: 400\">How to Catch Creation<\/span><\/i><span style=\"font-weight: 400\">, the more history is revealed. This is a history of oppressive forces\u2014such as white supremacy, homophobia, sexism, and colorism\u2014working against black queer artists who simply wish to create something. G.K. and Natalie lived and worked in the shadow of the Watts Riots; Tami, Stokes, Riley and Griffin struggled to find their voices in the wake of Fergusson; in 2020, we too are living in a flash point moment of history. This year has forced me to look at how and why I create, as well as the ways in which I can leverage my privilege to foster the creations of those whose work has been \u201cpainted over.\u201d\u00a0<\/span><\/p><p><span style=\"font-weight: 400\">This play begins and ends with the possibility of creation. Like the characters in the play, we are all given the call to examine our complicity in white supremacist, homophobic, or purely patriarchal logics and institutions. This play also issues a specific and much needed plea for BIPOC and Queer audiences to find new ways of healing and community through the power of creation.\u00a0<\/span><\/p><h5 style=\"text-align: right\"><span style=\"font-weight: 400\">\u2014 Joni Newman<\/span><\/h5><\/div><\/div><\/div><div class=\"ea-card sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" id=\"ea-header-55832\" role=\"button\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse55832\" aria-controls=\"collapse55832\" href=\"#\" aria-expanded=\"false\" tabindex=\"0\"><i aria-hidden=\"true\" role=\"presentation\" class=\"ea-expand-icon eap-icon-ea-expand-plus\"><\/i> Cast Bios<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse55832\" role=\"region\" aria-labelledby=\"ea-header-55832\"> <div class=\"ea-body\"><p><b>Anita Whitney Bennett (Natalie)<\/b><span style=\"font-weight: 400\"> is a first-year graduate student in the MFA Acting program. This is her UCF debut. Theatre credits include <\/span><i><span style=\"font-weight: 400\">God\u2019s Necklace<\/span><\/i><span style=\"font-weight: 400\"> (Hyena Spotty, Nyaliep), <\/span><i><span style=\"font-weight: 400\">Step Show: The Musical<\/span><\/i><span style=\"font-weight: 400\"> (Monie), <\/span><i><span style=\"font-weight: 400\">Un-tamed<\/span><\/i><span style=\"font-weight: 400\"> (Josie, Lu, Isha, Renee), <\/span><i><span style=\"font-weight: 400\">Inacent Black and the Five Brothers <\/span><\/i><span style=\"font-weight: 400\">(Inacent Black), <\/span><i><span style=\"font-weight: 400\">Black Sparta<\/span><\/i><span style=\"font-weight: 400\"> (Thema), <\/span><i><span style=\"font-weight: 400\">Twelve Angry Women<\/span><\/i><span style=\"font-weight: 400\"> (Juror 10), and <\/span><i><span style=\"font-weight: 400\">Ruined<\/span><\/i><span style=\"font-weight: 400\"> (Salima).<\/span><\/p><p><b>Karlo Buxo-Morales (U\/S Griffin, U\/S Stokes)<\/b><span style=\"font-weight: 400\"> is a BFA Musical Theatre senior and he is honored to be studying beside such talented performers. Previous Theatre UCF credits include <\/span><i><span style=\"font-weight: 400\">Urinetown<\/span><\/i><span style=\"font-weight: 400\"> and <\/span><i><span style=\"font-weight: 400\">She Kills Monsters<\/span><\/i><span style=\"font-weight: 400\">. Other major shows include <\/span><i><span style=\"font-weight: 400\">A Chorus Line<\/span><\/i><span style=\"font-weight: 400\"> and <\/span><i><span style=\"font-weight: 400\">In the Heights<\/span><\/i><span style=\"font-weight: 400\">. Instagram: @karlobuxo<\/span><\/p><p><b>Christy Clark (Tami)<\/b><span style=\"font-weight: 400\"> is a third-year graduate student in the MFA Acting program. Her Theatre UCF credits include: <\/span><i><span style=\"font-weight: 400\">Urinetown<\/span><\/i><span style=\"font-weight: 400\"> (Pennywise), <\/span><i><span style=\"font-weight: 400\">The Rover<\/span><\/i><span style=\"font-weight: 400\"> (Angelica Bianca), and <\/span><i><span style=\"font-weight: 400\">Sweat <\/span><\/i><span style=\"font-weight: 400\">(Cynthia). Other theatre credits include <\/span><i><span style=\"font-weight: 400\">Hairspray<\/span><\/i><span style=\"font-weight: 400\"> (Dynamite, U\/S Motormouth), <\/span><i><span style=\"font-weight: 400\">Ragtime<\/span><\/i><span style=\"font-weight: 400\"> (Sarah), and <\/span><i><span style=\"font-weight: 400\">The Wiz<\/span><\/i><span style=\"font-weight: 400\"> (Glenda). thechristyclark.com<\/span><\/p><p><b>Janiece Deveaux (Riley)<\/b><span style=\"font-weight: 400\"> is a sophomore in the BFA Musical Theatre program. She was cast in Theatre UCF\u2019s <\/span><i><span style=\"font-weight: 400\">A Gentleman\u2019s Guide to Love and Murder <\/span><\/i><span style=\"font-weight: 400\">(Swing). Other theatre credits include: <\/span><i><span style=\"font-weight: 400\">Chicago <\/span><\/i><span style=\"font-weight: 400\">(Velma Kelly), <\/span><i><span style=\"font-weight: 400\">Phantom of the Opera <\/span><\/i><span style=\"font-weight: 400\">(Meg Giry) and <\/span><i><span style=\"font-weight: 400\">Into the Woods Jr. <\/span><\/i><span style=\"font-weight: 400\">(Cinderella).<\/span><\/p><p><b>Jessica T. Johnson (G.K. Marche)<\/b><span style=\"font-weight: 400\"> is an MFA graduate student at UCF. She was born in Houston, Texas, and is an alumnus of Texas Southern University. Her UCF credits include <\/span><i><span style=\"font-weight: 400\">Our Country\u2019s Good<\/span><\/i><span style=\"font-weight: 400\">, <\/span><i><span style=\"font-weight: 400\">The<\/span><\/i> <i><span style=\"font-weight: 400\">Last Paving Stone<\/span><\/i><span style=\"font-weight: 400\"> and <\/span><i><span style=\"font-weight: 400\">The Rover.<\/span><\/i><span style=\"font-weight: 400\"> Other theatre credits include <\/span><i><span style=\"font-weight: 400\">A Midsummer Night's Dream<\/span><\/i><span style=\"font-weight: 400\"> (Helena), and <\/span><i><span style=\"font-weight: 400\">Marcus; or the Secret of Sweet<\/span><\/i><span style=\"font-weight: 400\"> (Shaunta Iyun).<\/span><\/p><p><b>Timothy Jones II (Griffin)<\/b> <span style=\"font-weight: 400\">is a second-year transfer student in the BFA Acting program. His credits include Theatre UCF\u2019s <\/span><i><span style=\"font-weight: 400\">Sweat<\/span><\/i><span style=\"font-weight: 400\"> (U\/S Brucie) and Moment to Moment\u2019s <\/span><i><span style=\"font-weight: 400\">Barren<\/span><\/i><span style=\"font-weight: 400\"> (Tom). He has also directed a play at Pensacola State College called <\/span><i><span style=\"font-weight: 400\">The Worker<\/span><\/i><span style=\"font-weight: 400\">.<\/span><\/p><p><b>Mackenley Ria (Stokes)<\/b><span style=\"font-weight: 400\"> is a third-year transfer student in the BFA Musical Theatre program.\u00a0<\/span><span style=\"font-weight: 400\">This is his UCF debut. He was last seen at the Athens Theatre\u2019s production of <\/span><i><span style=\"font-weight: 400\">Singing in the\u00a0<\/span><\/i><i><span style=\"font-weight: 400\">Rain<\/span><\/i><span style=\"font-weight: 400\">. Other theatre credits include <\/span><i><span style=\"font-weight: 400\">How To Succeed In Business Without Really Trying\u00a0<\/span><\/i><span style=\"font-weight: 400\">(Twimble\/Wally Womper) and <\/span><i><span style=\"font-weight: 400\">Noises Off<\/span><\/i><span style=\"font-weight: 400\"> (Selsdon Mowbrary). He is also studying to be a\u00a0<\/span><span style=\"font-weight: 400\">composer and pianist and hopes to one day write his own musical.<\/span><\/p><p><b>Timandra Richardson (Stage Reader, Receptionist, U\/S Tami, U\/S Riley, U\/S G.K. Marche, U\/S Natalie)<\/b><span style=\"font-weight: 400\"> is a second-year transfer student in the BFA Acting program. Theatre UCF credits include <\/span><i><span style=\"font-weight: 400\">Sweat<\/span><\/i><span style=\"font-weight: 400\"> (U\/S Cynthia), and other theatre credits include <\/span><i><span style=\"font-weight: 400\">Harvey<\/span><\/i><span style=\"font-weight: 400\"> (Mrs. Chumley) and <\/span><i><span style=\"font-weight: 400\">Into the Woods<\/span><\/i><span style=\"font-weight: 400\"> (Jack\u2019s Mother).<\/span><\/p><\/div><\/div><\/div><div class=\"ea-card sp-ea-single\"><h3 class=\"ea-header\"><a class=\"collapsed\" id=\"ea-header-55833\" role=\"button\" data-sptoggle=\"spcollapse\" data-sptarget=\"#collapse55833\" aria-controls=\"collapse55833\" href=\"#\" aria-expanded=\"false\" tabindex=\"0\"><i aria-hidden=\"true\" role=\"presentation\" class=\"ea-expand-icon eap-icon-ea-expand-plus\"><\/i> Production Team Bios<\/a><\/h3><div class=\"sp-collapse spcollapse spcollapse\" id=\"collapse55833\" role=\"region\" aria-labelledby=\"ea-header-55833\"> <div class=\"ea-body\"><p><b>Syd Deines (Assistant Production Designer)<\/b><span style=\"font-weight: 400\"> is a sophomore in the BFA Design and Technology program. Her previous credits include Assistant Props Master for <\/span><i><span style=\"font-weight: 400\">Urinetown<\/span><\/i><span style=\"font-weight: 400\">.<\/span><\/p><p><b>Thom Hagney (Assistant Stage Manager, she\/her)<\/b><span style=\"font-weight: 400\"> is a first-year transfer student in the BFA\u00a0<\/span><span style=\"font-weight: 400\">Stage Management program. This is her first production with Theatre UCF. Her other\u00a0<\/span><span style=\"font-weight: 400\">professional credits include <\/span><i><span style=\"font-weight: 400\">Lil and Louis<\/span><\/i><span style=\"font-weight: 400\"> (Production Stage Manager), at JoMo\u00a0<\/span><span style=\"font-weight: 400\">Productions, <\/span><i><span style=\"font-weight: 400\">Ethal Waters<\/span><\/i><span style=\"font-weight: 400\"> (Follow Spot), <\/span><i><span style=\"font-weight: 400\">Marvoulse Wonderettes<\/span><\/i><span style=\"font-weight: 400\"> (Follow Spot)\u00a0<\/span><span style=\"font-weight: 400\">at Florida Studio Theater, and <\/span><i><span style=\"font-weight: 400\">The Song of Paul<\/span><\/i><span style=\"font-weight: 400\"> (Stage Manager) at Church of the Palms.<\/span><\/p><p><b>Joni Newman (Dramaturg)<\/b><span style=\"font-weight: 400\"> holds a B.A. in English Education from Brigham Young University and is an MFA candidate in Theatre for Young Audiences at UCF. Although her professional background involves nearly a decade of teaching English to high school and junior high students, she has been a performer all of her life.\u00a0<\/span>Favorite credits include <i>The Music Man <\/i>(Marian), <i>The Foreigner<\/i> (Catherine), <i>Steel Magnolias<\/i> (Shelby), <i>Noises Off<\/i> (Belinda) and <i>Little Women: The Musical<\/i> (Beth)<span style=\"font-weight: 400\">. She has also helped assistant direct and choreograph numerous productions throughout Utah. She is passionate about Theatre for Social Change and is honored to be part of this incredible production.<\/span><\/p><p><b>Greyson Phillips (Sound Designer\/Audio Engineer)<\/b><span style=\"font-weight: 400\"> is a third-year transfer in the Design and Technology BFA program. His previous credits include <\/span><i><span style=\"font-weight: 400\">A Gentleman\u2019s Guide to Love and Murder<\/span><\/i><span style=\"font-weight: 400\"> (Audio Engineer), <\/span><i><span style=\"font-weight: 400\">It\u2019s A Small World (or, The Robot Play)<\/span><\/i><span style=\"font-weight: 400\"> (Sound Designer), <\/span><i><span style=\"font-weight: 400\">El Wiz<\/span><\/i><span style=\"font-weight: 400\"> (Audio Engineer), <\/span><i><span style=\"font-weight: 400\">Titanic: The Musical<\/span><\/i><span style=\"font-weight: 400\"> (Mic Technician), and <\/span><i><span style=\"font-weight: 400\">Sweat<\/span><\/i><span style=\"font-weight: 400\"> (Asst. to Sound Designer) as well as multiple shows in corporate AV. He is particularly interested in immersive sound and the influence of music on an experience.<\/span><\/p><p><b>Morgan Polodna (Stage Manager)<\/b><span style=\"font-weight: 400\"> is a second-year transfer in the BFA Stage Management\u00a0<\/span><span style=\"font-weight: 400\">program. She is making her Theatre UCF debut! Other theatre credits include <\/span><i><span style=\"font-weight: 400\">Lion King Jr.\u00a0<\/span><\/i><span style=\"font-weight: 400\">(Production Assistant) and <\/span><i><span style=\"font-weight: 400\">Steel Magnolias<\/span><\/i><span style=\"font-weight: 400\"> (Run Crew)<\/span><\/p><p><b>Johann Robert Wood (Director)<\/b><span style=\"font-weight: 400\"> holds an MFA in Devised Performance and is a UCF M.A. candidate in Theatre Studies. His research interests are radical queer performance and embodied research. At UCF, he has assistant-directed <\/span><i><span style=\"font-weight: 400\">Seminar<\/span><\/i><span style=\"font-weight: 400\">, <\/span><i><span style=\"font-weight: 400\">Bernarda Alba<\/span><\/i><span style=\"font-weight: 400\">, and <\/span><i><span style=\"font-weight: 400\">Intuitive Men<\/span><\/i><span style=\"font-weight: 400\">. Most recently as an Equity Actor, he received Memphis\u2019 2020 Ostrander\u2019s Theatre Award for Best Lead in a Musical for <\/span><i><span style=\"font-weight: 400\">Jelly\u2019s Last Jam<\/span><\/i><span style=\"font-weight: 400\">. @nowcallmeyo<\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div>\n<h4 style=\"text-align: center\">DRAMATURGY<\/h4>\n<p style=\"text-align: center\">Graduate student dramaturg Joni Newman&#8217;s presentation, below, highlights modern Black artists\u00a0<span style=\"font-weight: 400\">who use their medium to highlight the challenges and beauties of creating in the 21st Century. Click through the presentation<\/span>\u00a0below, or\u00a0<a href=\"https:\/\/docs.google.com\/presentation\/d\/1Q5n-l9b-mJTihr3H67jwasMHjmCImSV_pdkfyy8t1R8\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">click here<\/a>\u00a0to view it in a new tab on your browser.<\/p>\n<div class=\"row\">\n<div class=\"col-12\">\n<p style=\"text-align: center\">[iframe src=&#8221;https:\/\/docs.google.com\/presentation\/d\/e\/2PACX-1vQJBXo-mj47N_vn1bAgfszl2UNhJf0fS-4s-nvK4RH96dcVz-MYGWZbMmITWty6-eI1_xRCBC00qnom\/embed?start=false&amp;loop=true&amp;delayms=3000&#8243; width=&#8221;960&#8243; height=&#8221;569&#8243; frameborder=&#8221;0&#8243; allowfullscreen=&#8221;allowfullscreen&#8221;][\/iframe]<\/p>\n<\/p><\/div>\n<\/div>\n<p style=\"text-align: center\"><em>How to Catch Creation received its World Premiere at<br \/>\nGoodman Theatre, Chicago, Illinois on January 28, 2019<br \/>\nRobert Falls, Artistic Director\u00a0 \u00a0 \u00a0 \u00a0 Roche Schulfer, Executive Director<\/em><\/p>\n\t\t\t<\/div>\n\t\t\n\t\t\t<\/div>\n\t\t\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":28,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-fullscreen.php","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[],"tags":[],"class_list":["post-5575","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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