Sullivan, a junior majoring in Theatre Studies and minoring in Music, says her interest in the discipline stems from an interest in research and audience engagement. Used frequently in new play development, dramaturgs assist in gathering historical details and assist in the storytelling aspect of plays. They also assist frequently with audience engagement activities, such as pre-and post- show audience discussions and lobby displays.

“I was first interested in dramaturgy because it consists of a lot of historical research, but now I find that I really enjoy the audience engagement side,” says Sullivan.

Sullivan’s dramaturgy work was first noticed by an adjudicator visiting Theatre �鶹ӳ����ý for the fall 2013 production of The Drowsy Chaperone. “I approached [director Earl Weaver] and offered to be his dramaturg for Drowsy. He agreed, and I worked closely with the assistant director, Rebecca Kane, to research a long list of things Earl wanted more details on. I compiled a packet that included information about food products, language translations, studies of historical figures, and other details. Then I created a lobby display that a lot of patrons enjoyed when they came to see the show.”

“The number of dramaturgy students who get recognized at the regional level is small. For Elle to be recognized on the national level is huge. This is the perfect stepping stone for her to get into a graduate program for dramaturgy,” says Theatre faculty member Earl D. Weaver. “We’ve had very few undergraduate-level dramaturgs. Given that Elle initiated this position with me, it highlights her drive to get everything out of her BA education that she can.”

Sullivan credits her �鶹ӳ����ý education with helping her to get to the competition and doing well once there. “At �鶹ӳ����ý, I’ve had to do a lot of research and writing, which served me well when starting the project. Once at the competition, I was given the task of writing playbill notes for a new play. When the playwright asked for a complete rewrite with a three-hour deadline, I was prepared to switch gears and I made the deadline.”

The Theatre department has a long history of involvement with the Kennedy Center American College Theatre Festival. Theatre Department chair and artistic director Christopher Niess says, “The Kennedy Center competitions provide a unique opportunity for the students to get a sense of theatre training and practice regionally and nationally. By developing this sense, students have an advantage in the marketplace as well as a more matured perspective of art and culture.”

This year, in addition to Sullivan’s achievement, Alex Bair, Lucas Perez, Eric Earley, and Helena Whittaker were Irene Ryan Acting Award semi-finalists; Will Yanni was awarded an honorable mention in scenic design; and Igor Yachmenov received an honorable mention in sound design.

The event, which takes place at the Orlando Repertory Theatre, 1001 E. Princeton St, Orlando, is a perennial favorite, and nearly every performance for the past few years has sold out.

“There’s a little something for everyone in this year’s dance concert,” said Director Earl Weaver. “We’ve got classic ballet, jazz, modern dance, hip-hop, tap—the tap this year is through the roof! It’s a pretty spectacular lineup. We have a lot of seniors choreographing this year and their experience shows.”

Some highlights of the production include:

The concert is not just a showcase for the performers and choreographers. The event also highlights the work of the Theatre Department’s Design and Technology students, who fill the roles of designers and assistant designers.

As a participant in the �鶹ӳ����ý Research and Mentoring Program, senior costume designer Melissa Palomino has spent the past year researching Cuban ballet. She collaborated with dance minor Nicole Gonzalez to create a showcase for her work. The dance, “Cuba Linda,” will be the first performance of the concert. In addition to the dance, Palomino’s research will be on display in the lobby for the duration of the production.
Production at a glance:

With a Twist 7th annual dance concert

Directed by Earl D. Weaver

8 p.m.: April 18, 19, 20

2 p.m.: April 21

Orlando Repertory Theatre

Price: Standard $20, Senior $18, Student $10; Group discounts available.

Address: 1001 E. Princeton St, Orlando, FL 32803

Box Office Phone: 407-823-1500

Box Office Hours: Monday through Friday:  noon to 6 p.m. and 2 hours before performances

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For more information about Theatre �鶹ӳ����ý, visit .

“The Sideshow of Side Show” is an exhibition of student-created and sideshow-themed artworks that will be displayed throughout the run of Theatre �鶹ӳ����ý’s production of Bill Krieger and Henry Russell’s musical Side Show, which runs Oct. 25 through Nov. 4. The artwork will be displayed in the lobby of the theatre building (TH-6).

The exhibition began as an opportunity for the �鶹ӳ����ý Theatre and School of Visual Arts &Design departments to work together. The exhibit will feature the works of advanced painting students in faculty member Carla Poindexter’s class.

The 24 pieces of art featured in “The Sideshow of Side Show” exhibition are unique in subject and message. Some replicate the style of historical sideshow banners with dark humor and irony. Other paintings deal with historical versus contemporary issues related to ethics and exploitation of the sideshow/circus performers and their audiences. Others are simply entertaining and whimsical.

Director Earl Weaver hopes the exhibit will help set the mood for theatre-goers. “Patrons of the circus or side show are surrounded with visual stimuli that enhance their experience: the smell of the popcorn, the sound of the calliope, the brightly colored posters. We are hoping to re-create a piece of that experience for our patrons with this art exhibit. From the time patrons enter our theatre building, we want them to have the full sideshow experience, all the way through the end of the show.”

The resulting paintings and other artworks in the exhibition are visual responses to Theatre �鶹ӳ����ý’s lobby space; the actual props, costumes, and set designs in the upcoming play; and the content of the script from both a historical perspective and contemporary perspectives.

“Throughout art history, visual artists have produced everything from set designs and costumes to hand bills for theatrical productions,” said associate professor of art Carla Poindexter. “This project gave our advanced painting students an opportunity to learn how to collaborate with the theatre to create paintings and mixed media artworks that not only support the production but also stand alone as a compelling exhibition of accomplished individual pieces.”

Early in the fall semester, the Theatre department presented the script and design inspirations to the advanced painting class. Scenic designer Joseph Rusnock reviewed the set inspiration and plans, costume designer Huaixaing Tan presented costume mock-ups, and Weaver talked about the script and Theatre �鶹ӳ����ý’s specific production. Students then toured the theatre lobby, where the art will be displayed for further inspiration.

The painting students also studied significant historical paintings with sideshow-related themes, including carnival-inspired works of Pablo Picasso, Joan Miro, Diego Rivera, and James Ensor. Students also studied the carnival’s “golden age” of art by sideshow banner painters, including the historical but little known works of Johnny Meak and Norman Lewis.

“With programs in digital media, architecture, film, and art all wrapped up into one school, the school of Visual Arts and Design is naturally a group that needs to collaborate” says Paul Lartonoix, director of the School of Visual Arts and Design.  “When the opportunity came up for SVAD to partner with Theatre on Side Show, I thought it was an excellent idea—a special situation where the students can craft their pieces around a theme of a theatrical production. It’s a fun and exciting topic with lots of avenues to explore. A focused topic forces the students to work within parameters and in this case, to work outside the normal ‘client’ experience. It truly is very exciting.”

The exhibition is free, but tickets are required to see the musical. To purchase tickets or for ticket information call the box office at 407-823-1500. Standard tickets are $20 ($18 for seniors; $10 for students) and group rates are available. It is recommended to purchase tickets in advance, available through the Theatre �鶹ӳ����ý box office. �鶹ӳ����ý offers accommodations to make the theatre more accessible to patrons with disabilities; for assistance, call the box office in advance.

Theatre �鶹ӳ����ý is on the �鶹ӳ����ý campus near the intersection of University Boulevard and Alafaya Trail in east Orlando. Performances begin at 8 p.m. Thursdays, Fridays, and Saturdays, and at 2 p.m. on Sundays.

Production at a glance:

Side Show

Book and lyrics by Bill Russell; Music by Henry Krieger

Directed by Earl D. Weaver

Oct. 25, 26, 27, Nov. 1, 2, 3 at 8:00 p.m.

Oct. 28, Nov. 4 at 2:00 p.m.

Main Stage Theatre

Price: Standard $20, Senior $18, Student $10; Group discounts available

Address: 4000 Central Florida Boulevard, Orlando FL 32816

Box Office Phone: (407) 823-1500

Box Office Hours: Monday through Friday:  noon to 6 p.m. and 2 hours before performances

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Those roles traditionally are taken on by faculty members, but faculty said they wanted to reward outstanding seniors who have demonstrated exceptional skills.

“The designs for The Pajama Game are equal to those of any faculty designer I’ve worked with in the past, and even professional designers and stage managers I’ve worked with outside of �鶹ӳ����ý,” said Associate Professor Earl Weaver, Theatre �鶹ӳ����ý’s production director and co-choreographer.

“It is a true testament to the training students have received from our faculty that they are ready to pursue careers in their chosen fields.”

Cindy Heen, a dance minor, is serving as assistant choreographer for the dance-heavy production, which is about labor troubles at a pajama factory.

Heen fully choreographed four of the dance numbers and worked closely with Weaver to create an overall vision for the musical. She has worked on the production since May, and she drew inspiration from the 1957 film “The Pajama Game” and its recordings.

“I didn’t want to just copy the film’s choreography,” Heen said. “I wanted to be original, so I let the DVD inspire me. I listened to the music and created my own movements.”

Students’ ideas were incorporated into the production from the start, said Kelly-Anne Salazar, a student in the Bachelor of Fine Arts Technical Theatre Design Program. Salazar designed the costumes for the musical, which she said has taught her about creative freedom and collaboration.

“Being a student involved with The Pajama Game was such a great learning experience,” Salazar said. “Earl gave us just enough inspiration to get us interested and then let us come up with as many ideas as we could think of.”

By encouraging creative license, Weaver gave students confidence and pushed for greatness, Heen said.

“I am so excited that I was given this opportunity as a student to be creative,” she added. “When you get to do what you love, it’s the best feeling in the world.”

Other students heading technical aspects of the production are Benson Knight, scenic design; Maytte Martinez, lighting design; and Shannon A. Jones, student stage manager.

The Pajama Game will be performed on the Main Stage of the Performing Arts Center, room 107 of the Theatre building.

Performances will begin at 8 p.m. Oct. 20-22 and Oct. 27-29. Sunday matinees will begin at 2 p.m. on Oct. 23 and Oct. 30.

Tickets prices are $19 for the general public, $17 for seniors and $12 for students with IDs. Tickets can be purchased by calling the Box Office at 407-823-1500 or by visiting .

Patrons also can get a closer glimpse at the behind-the-scenes work by viewing design renderings of costumes and a model of the set, which will be displayed in the Performing Arts lobby throughout the production’s run.